WORLD of ART S p e c ial i S Su e 2 0 0 0 WORLD of SpeciARTal Issue 2000

Ar t i s t s Po r t f o l i o Ga l l e r i e s Po r t f o l i o In t e r n a t i o n a l Ex h i b i t i o n s Vi r t u a l Ex h i b i t i o n s Ar t i s t s o f To d a y Ar t w i t h At t i t u d e Em e r g i n g Ar t i s t s Op e n i n g s Ar t We b Si t e s Co n t e m p o r a r y Ar t Le x i c o n

ISSN 1404-3408 EUROPE €6,5 USA $6 Canada $8 petruencaustic and D rawrussuing on Wood

ARES, 1999, 80 x 50 cm, 31½ x 19¾ in

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se franco verdi

gold waves, 1983 oil on canvas 120 x 100 / 42¼ x 39½ in, p. 50

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se Contents For Application Form Contact AA office in Stockholm Artist 1 FRANCO VERDI Topic 4-5 The nature of beautiful and the nature of art by ANDREA PAGNES 2000 Artist portfolio 6-10 FRANCO VERDI Artist 11 AHMED NAWAR Artist JULIE OLIVARI Artist portfolio 12-14 BÉLA CZITROM Art with attitude 15 KEIGO YAMAMOTO Artist portfolio 16-18 EDUARDO PLA Artist portfolio 19-22 LIGIA PODOREAN EKSTRÖM The Lights of the North by Art MIRCEA DEAC Addiction Venice 23 AI SCALZI PICCOLA Artist portfolio 24-26 Petru Russu GALLERIA Correr Artist portfolio 27-29 EDITH SUCHODREW Campo Santa Fosca Artist portfolio 30-31 ANNE DE SUÈDE Cannaregio 2214 Artist portfolio 32-35 HENRYK SZYDLOWSKI IT-30121 Venezia Italy Artist portfolio 36-37 PATRIZIA JEMMA COBUCCI Art Addiction Mörbylund 19, 9tr SE-182 30 Danderyd Artist portfolio 38-39 RAUL MORA Stockholm Sweden Fax+46 8 857264 Artist portfolio 40-41 ELIZABETH ANNE MAXWELL HILL Artist portfolio 42-43 CHANG SANG-EUI Emerging Artists 44-45 CYNTHIA LUND-TORROLL Artist portfolio 46-47 MARTE SZIRMAY October 6 - October 16 Venice 48 LA CANTINA Artist portfolio 49 PALMI MARZAROLI 3rd Artist portfolio 50-51 VASILE POP-NEGRESTEANU XXI Century 51-53 Longing for the other Worlds - Melancholy Versus Anguish by ILEANA BENGA Emerging Artists 54-55 ANDREA ZANATTA Artist portfolio 56-57 Noela Hjorth Artist portfolio 58-60 JOSE SACAL Artist 61 VASILE CORLÃTAN Living the Art 62-63 ANDREA PAGNES Artist 64 KRISTIAN JON GUDNASON Artist KIM SOOK CHA Artist BIRGITTA LUNDBERG 65 SUBASTAS ODALYS Venice NOTTI D’ORIENTE Exhibition Review 66-67 Cows Parading in Chicago by ADRIAN-SILVAN IONESCU Emerging Artists 68-69 JUNKO MATSUMOTO November 7 - November 17 Artist portfolio 70-71 Marta dimitrescu Artist portfolio 72-73 BARBARA STRATHDEE nd Gallery portfolio 74 Art addiction 2 Internet Museum 75 the 6th int’l female artists’s art exhibition Most talented Artists 76-77 KEY ERIKSON Venice 78-79 COLOMBINA Emerging Artists 80 ERGA HELLER Artist 81 ferus Artist dvora agranov Gallery portfolio 82-84 The 2nd Autumn Annual in Venice Art of today 85 contemporary art lexicon Special Promotion 89 19 contemporary IRANIAN Artists Artist 92 Emilia cattan Gallery 99 GREENAWAY ART GALLERY Artist LORNA ROBERTSON Artist ADELE ROWLAND Artist RITA SAPIRA Digital Art 103 KATO KEI april 17 - may 31 DREI /André russu October 6 - November 17 Art with Attitude 104 ken robinson Artinternet 1 Inside Covers Petru russu INTERNET ART MUSEUM

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2 WORLD of ART Special Issue 2000 WORLDInternational Aofrt Magazine ART contemporary Art lexicon Editor and Publisher PETRU RUSSU

Special Issue 2000

Creative & Managing Director petru russu Contributing Editors Andrea Pagnes Andrian Silvan Ionescu Editorial Director marta dimitrescu Editorial Assistant Janna Borg Art Director Art Addiction Designer PR Production Joakim Zaar Advertising Alon Reich Israeli Representative Baiba James Australian Representative Ellen Hilts-Gossett USA Director ART Jason Lee South Korea Representative Lars Karlström European Representative Lena Kelekian Lebanon Representative Nasrin Zar Afshan Iranian Representative Customers Relations Erik fabre WORLD of Business Manager Werner sloman World of Art ISSN 1404-3408 is published quarterly in January, April, July and October. Editorial +46 8 85.72.64 contemporary Editorial fax +46 8 85.72.64 Advertising +46 8 85.72.64 To subscribe World of Art, Mörbylund 19, 9tr SE-182 30 art lexicon Danderyd Sweden Fax+46 8 857264 E-mail: [email protected] Prices Annual subscription 4 issues US$ 24 Overseas US$40 surface, US$50 Air-speeded delyvery Postmaster Send address change to World of Art Mörbylund 19, 9tr SE-182 30 Danderyd Legal Andreas Olson Typography Vectora heads, captions, text brod, Sabon text Separations & Printing Sirivatana Interprint Public Co., Ltd First Cover ANDREA ZANATTA photograph

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Special Issue 2000 WORLD of ART 3 andrea pagnes

and the nature of art

a correct under- Keys for standing of a work of art and suggestions for a thorough investigation of artistic phenomenology’s, in order to acquire a broader and more exhaustive knowledge of the poetics and the ideologies innate in them.

Firmly considering art a the means of expression. There- their connection and in their logical, intuitive knowledge, the human activity ’based on expe- fore it is unthinkable to study development in time. creative faculty of which is imag- rience, on quality and on par- a work of art by trying to ascer- Undoubtly it is a required con- ination; but the importance of ticular aptitudes, on talent and tain “what is being said, who dition to seek the reasons why Vico’s aesthetics is linked to two on individual ingeniousness, any says it, to whom and what the a work of art becomes a subject fundamental themes: the rela- critical estimations of artistic effects are.” of knowledge, a phenomenon, or tionship of art with myth and works must necessarily take In fact art is a form of Man’s an idea because any artistic cre- the identification between art account of their development activity which is intended as a ation can not be considered sep- and language as rules. through various periods, of their confirmation or exaltation of his arately, but should be thought of They were the first to analyze complexity with special ref- creative skill and of his capacity as a moment and a result of his- critically these themes, nowa- erence to their own stylistic of expression, therefore he mod- torical - artistic process in whose days extremely topical in the expression, to the time when ifies himself and the natural context we will be able to under- artistic phenomenology and in they were created, to their place environment according to a dra- stand its full meaning. In this the specify of literary poetics, of origin. matic, ironical etc. connection way the history of art itself with special attention to the syn- However it is not sufficient to which goes with the individual becomes a way of researching ergism that exists among art, pass judgment on a work of art or social needs of a logical or and of viewing the world. myth and symbol. These themes simply explaining its origin or moral nature. Among these considerations of include the concept of art as the essence of its various stylistic Through the qualities of a a general nature the more creation, as expression and as forms; we need to try to under- work of art, criticism should find strictly aesthetical question can communication, which are to be stand art as an aspect of human essential the definition and real- not be left in the background: developed by the idealistic and and social life and, particularly, ization of the nature and origi- how we can identify the nature neo-idealistic aesthetics of Bene- to study the influence of art on nality of an artist, with a con- of the beautiful and the nature detto Croce. man and on society, on the artis- stant reference to the general of art? Kant laid the premise for the tic awareness and culture educa- concepts of imitation, simulation In fact since Plato and Aristotle affirmation of the subjective tion, on the contacts, on the civil and the singular artifices of the the problem of nature-art rela- moment over the objective one and social conflicts that art rep- technical and stylistic particu- tion has taken on specific and of beauty and therefore for the resents, reproduces or is ahead larities. Then the investigation fundamental valences. identification of natural beauty of. and study of the aesthetical The concept of imitation and and artistic beauty. The birth, the development qualities of a work of art will the purifying-or rather educa- According to him, the basis of and the decadency of the social allow us to understand exhaus- tional-role of art that was con- beauty is the aesthetical feeling institutions of art are defined by tively the processes of transfor- stitutional to ancient Greek phi- which is the feeling of pleasure the kinds of organization and by mation and transfiguration of losophy changed into medieval aroused by the inner harmony the social groups, which influ- reality or of a certain ideas and Renaissance speculation. between nature and spirit, ence artistic creations. It is not developed by an artist. The Middle Ages emphasized the between the world of necessity an easy task at all, but such The elaboration of philo- nature of the subordination of and moral need. Then Schiller an approach can make possible sophical concepts and of Man’s beauty to truth and justified art will entrust art with the task methodologies for a wider inter- thought follows the course of as an allegory; the Renaissance of educating without any con- pretation of a work of art with a the whole history of art, from gave more autonomy to natural straint and the whole romantic precise reference to human per- ancient times to the present day: beauty but it always considered aesthetics, and subsequently sonality. therefore it is necessary to search art as imitation, and the prin- Schelling will make of art the Art gives rise to and estab- for the links among the various ciple of verisimilitude as its it’s supreme degree of knowledge. lishes new forms of behavior classical branches of knowledge fundamental rule. Idealistic-romantic aesthetics especially if it is considered from in order to interpret artistic Vico and Kant laid the funda- were succeeded by positivism, the point of view of propaganda, movements and the works which mentals of modem aesthetics. which conceived aesthetics as of the distribution, of the pro- characterize them critically and Vico claimed that the auton- a study and production of cess of communication and of correctly considering them in omy of art is a form of pre- forms-an aspect already singled

4 WORLD of ART Special Issue 2000 P A out by Hegel-aimed mainly to artistic representation. There- known by artists, and to what classify empirically the different fore we can consider this disci- extent this symbolic interpreta- arts in their specify, too. pline the study of the historical, tion agrees with the historical G In our modem times, not only social, religious, philosophical, position and the personal ten- a philosophical, but even a psy- and cultural content, of which dencies of each artist and to NES chological approach is absolutely subjects and images are direct his particular creative disposi- inevitable to aim at the defi- expression, even if sometimes tion. To achieve this we must try nition and classification of the unrelated to the one who has to penetrate the essential sense artistic phenomenology and at used those subjects. The role of of a work of art so as to be the identification of their values. iconology is, in a certain way, able to grasp the unit that com- When considering a work of lined up with the iconographic poses it. This is possible when art we should identify the con- method of Aby Warburg who we manage to grasp and to con- nections, the interdisciplinary studies the programmatic, liter- sider the whole of the moments become not only the history of requests between it and the ary and learned aspects of works of its emanation: subject, icon, semiotics but of all those disci- thought of that particular histor- of art in “contraposition” with and formal element. plines that in the past shared ical moment, but not only that, formal analysis. It is related to Icnology, as being essentially the field of signs and symbols as it is possible to contribute to the theory of ’symbolic forms’: it interdisciplinary and strictly - semantics, logic, rhetoric, the enlightenment of either a pic- is an analysis which goes beyond related to general symbolism, investigation, aesthetics, philos- torial or literary work by com- the explicit meanings of works has become in this way the best ophy, ethnology, psychoanaly- paring authors of different peri- of art, beyond their ultimate example of the solidarity and sis, poetics -. and of some of ods and belonging to trends, and essential content, identify- complementary of all the inter- their subjects named, from time as T.S. Eliot established in his ing those fundamental principles pretations in their mutual, inter- to time, imitation and beauty, essays of poetic criticism. which reveal the basic line of pretative and analytic task of education and pleasure, tropes The re-visitation of these disci- a nation, a period, social class, the various artistic languages, and figures, condensation and plines, the following attempt of a religious or philosophical con- both rational and hype rational, movement. reconciliation, can certainly give cept, unconsciously qualified by which, in the course of time, Through the study of the his- raise to origin new elaborations a personality or abridged in one have expressed the complicated tory of art, of signs and sym- in order to stem the intellectual work. Iconology aims at inter- relationship of Man with Nature bols, we put forward as a pos- waste of the present, probably pretation those symbolic values and the number of images of sibility the research of a plural due just to the frantic pursuit of sometimes ignored by the artist Man himself that Nature and typological thought, which success. himself and which may differ, reflects. Iconology aims at maintains the differences with- The contribution of art criti- even manifestly, from what he clearly expounding principles, out emphasizing it. A meth- cism should awake an incentive consciously wanted to express. methods, structures and at odological principle where the to art itself, should be a reason The subject of a symbol can defining the terminology of cer- reading of an artistic text is for a new vital sap especially in a reveal a meaning consciously tain artistic phenomenology’s intended as a description and an historical time such as this one, bestowed by the artist, if this contributing to develop its study. interpretation at the same time: when men witness powerless the desired significance is at the As previously stated, the a course into space of an artistic ’Faustian’ devastation of nature, same time also deliberately methodological approach to a personality. and the decadency of post-indus- hidden; here the iconographical symbol is not less important to The relations between art, trial society. analysis is necessarily trans- artistic creations than the anal- literature and philosophy are Art can not absolutely be pas- formed into a sort of decipher- yses of its anthropological and a continuum: from Ficino and sive towards these problems. ing. technological functions. In fact Leonardo to Rilke and Rodine, The methodologies of a critical The significances have simply from the point of view of epis- to Beckett and Bacon, up to study and research for a correct turned from “unconscious” into temology the process of symbol- the contemporary minimalists. understanding should be deeply secret ones. The ideas projected izing intervenes on many levels Therefore art criticism must not involved in the analysis about by the artist into his work of experience, from the compli- be a merely structural construc- the connection among art, include the interpretation of the cated mechanism of our percep- tion (without art), but a vital, nature, reality and anthropology artistic phenomenon itself or, tions to the highest degrees of dynamic portrait of a work in order to further examine the at least, they should not be elaboration and arrangement of where the many types, not the considerations on philosophical transcended in the research of our way of representing the many substances, are the sub- aesthetics, in this way bringing the intrinsic, inner significance. world. jects because, otherwise, there out the difficult relationship of Anyway it is required to reveal The evolution of linguistics, would be established a factious an artist’s style of life in the the philosophical prejudices, psychology, history of religions hierarchy that can not abso- modem world. It could be a sig- which lie behind the visual form. and history of art, the problems lutely take place. nificant contribution to art (and In order not to reduce the of signs, of symbols and myths Precisely in the name of its history) in order to give it the value of the interpretation of the have in fact been considered in interdisciplinary we should strength to be “the soul of the single artistic event it is nec- their relationship with the meth- deeply commit ourselves to world and the intelligence to be essary for the approach to be ods and principles of their vari- overcome the ’perception’ of the meaning of reality”. sensible and rational, facing the ous interpretations. In this way artistic language that distin- A science like iconology specific culture in which a par- the study of the history of art guishes a creative experience, rightly aims, in a transverse way, ticular artistic work is inserted. can not be separated from any of towards a broader dimension of to understand and consolidate We need to wonder whether or the other humanistic disciplines, the imaginative production, able the connections that exist among not the symbolic meaning of because it is indispensable for to maintain the irreducible plu- the various disciplines. In this a given motif is usual in a cer- a broader and correct compre- rality of the ways of sense, by way it contributes to keeping tain figurative tradition, whether hension of the various fields of virtue of a research which pre- art in a position of privilege. an iconographical interpretation human knowledge and of reality serves a work from the particu- As Erwin Panofsky pointed out, may be justified with certain itself. If a symbol represents larity of fashions and of tem- iconology is the study of the pur- texts or if it consistent with the one of the elements generally poral restrictions, proposing a pose that belongs to images and ideas that can be alive in that common to the various disci- reading for inner courses, easily to the selected subject in their period and can presumably be plines then the history of art can understood by everyone.

Special Issue 2000 WORLD of ART 5 franco verdi

megahens, 1984 acrylic on wood and Mixed media 120 x 150 x 5 cm / 42¼ x 59 x 2 in, p.358

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se franco verdi italy

Franco Verdi (Giovanni Francesco Silvano Verdi di Belmont), Born Stephan, Wien Austria; Palazzo del Broletto, Novara Italy; Galerie Appunti sul nostro tempo, Lonato Italy; 1972 Tendenze nell’arte in 1934 Italy. He studied art, literature and philosophy. Published im Taxispalais, lnnsbruck Austria; Galleria Sincron, Brescia Italy; d’oggi, Galleria 2B, Bergamo Italy; Operazioni sul visivo, Galleria numerous books and graphic works. Museo Civico Bologna Italy;1969 Visuelle Poesie Westfälicher Barba, Castellanza Italy; 1973 An international encyclopaedia of GROUP EXHIBITIONS 1966 Open Theatre and Gallery Berkeley Kunstverein, Münster Germany; Arte registered, Mentana plans, Anderson Gallery, Richmond USA; Signos Espacio Arte, USA; Mostra internazionale di poesia sperimentale, Casa del Karnhoval, Rieti Italy; Visuelle Poesie, Residenz, Salzburg Austria; Club Pueblo, Madrid Spain; Galleria Peccolo, Livorno Italy; Arte Mantegna, Mantova Italy; Galleria Sala Cultura, Modena Italy; Confronto 69, Galleria Sincron, Brescia Italy; Deutsche Bibliotek moltiplicata internazionale, Studio 2B, Bergamo Italy; 1974 Grafica Galleria Juana Mordo, Madrid Spain; Arlington One, Arlington Roma Italy; Liberté de Parole, Theatre du Vieux Colombier France; multipla, Assessorato Cultura della Provincia di Torino Italy; USA; Galleria Barandarian, San Sebastian Spain; Lettura del Exposicion Internacional de Poesia Visual, Zaragoza Spain; Grafica 74, GalleriaA ndromeda, Bologna Italy; Omaggio al bianco linguaggio visivo, Castello del Valentino, Torino Italy; 1967 Palazzo Proposte 1969, Studio Farnese, Roma Italy; Galeria U, Montevideo su bianco, Galleria Il Gelso, Lodi Italy; 1975 Opening event, Pierce Monte Pietà, Castelfranco Veneto Italy; Libreria Feltrinelli, Firenze Uruguay; Liberarse, Universidad Montevideo Uruguay; 11 giorni College Art Gallery, LA USA; Recycling, Israel Museum Jerusalem Italy; Club Turati, Milan Italy; Rotor, Valladolid, Cuenca San di arte collettiva, Pejo Italy; Galleria Sincron, Brescia Italy; Centro Israel; 1977 La forma della scrittura, Galleria d’Arte Moderna Sebastian Spain; Gallerie Denise Davy, Paris France; Segni nello Suolo, Milano Italy; 1970 Galleria Giovio, Como Italy; Galeria Danae, Bologna Italy; Scrittura visuale, Ca’ dei Ricchi, Treviso Italy; Saloni spazio, Castello di S.Giusto, Trieste Italy; Galleria Sincron, Brescia Madrid Spain; De poesia avanzada, Universidad de Zaragoza del sale, Venezia Italy; Scrittura visuale, Galleria del Centro Udine Italy; Studio 2B, Bergamo Italy, 1968 Poesie de recherche, Les Spain; Exempla, Comune di Marciana Italy; Künstlerhaus Palais Italy; Palazzo della Regione Trento Italy; 1978 Carn.era, Galleria Vaguants, Nice France; Galleria L’lncontro, Firenze Italy; Galleria Thurn und Taxis, Bregenz Austria; Fondo de Cultura Universitaria De Amicis, Firenze Italy; War Memorial Gallery Sydney Canada; Centro Documentazione Visiva, Piacenza Italy; Galerie College, Montevideo Uruguay; Galleria Artivisive, Roma Italy; Bildungshaus National Gallery of Victoria, Melbourne Australia; Mantua Mail Alpbach; Un paese più l’avanguardia, Anfo Italy; Galerie Nachts St. Schloss, Puchberg Stedelijk Museum Amsterdam Holland; 1971 78, Casa del Mantegna,Mantova Italy; VI Biennale Internazionale »

In his concrete painting Franco Verdi isolates mysterious immediateness of the visual the word on the presupposition that it Franco Verdi transforms the communication” (in “Because we make our embodies the primary element of the lexical, gold and the silver in city so ugly” Milan I967). It is a question of a diagnosis, although apparently puzzling in its the narrative connection of the same words, color and light not being so important for the attainment of a logic brought forward from an architect that rational meaning, arousing feelings and wants to see with the eyes and not with the words by images, that go out also but from the presence mind the things and not the descriptions of the Luigi Tallarico materico-graphics, to which it is tied up the same things. freedom of the words. But in the Verdi’s contriteness before the Translated by words can be read, they have to be seen. In the exchange of roles, the ideographic poet Teresa Blanchard Pound remembered that the poetry is “simply Didn’t Leon Battista Alberti say after all that loaded language of meaning to the maximum the dignity of the architect is founded upon the possible degree,” while Montale said, “nobody cultural and projectual commitment? would write verses if the problem of the poetry And didn’t Boccioni remind that the artist, would be the one to be understood.” who more does, more sees? But to avoid the worry of Montale it is On the other hand in the limited particular enough to load the language of which the word franco verdi of the conceptual or of the concrete, of the is the support. From the moment, however, megahens word that denies the mysterious immediateness that “each word is a composite nature, 1984 of the visual concepts and the optical signals resulting from the combination of more that they do not look in the instruments of minimal elements of vowels that consonants, it knowledge of the things, so that many of “the follows that the poetry, confirm Verdi giving freedom of the words” have not always known reason to Pound and to Montale on it, it is how to balance the conceptual and the visual. prone to isolate and to emphasize the word, for In the linguistic and chromatic of Franco which it is the subject of architectural Verdi the two ways have always looked for a construction of it,” soliciting as in the freedom collaborative effectiveness even when the path of the words, in this regard, that active has preferred some particular meanings, but character that is quite of the Poundian charge. without derogate from the extreme active Consequently these more active solicitations function of the text, between word, sign and that determine the relationship between action color. and acting, not so much a meaning of symbolic Franco Verdi slices the verbal structure of his or rational value, as new feelings and as they Walls, a period of his extremely exciting are realized. Those are not determined at the painting, and elevates it to ornament, origin, but elaborated in an architectural admonition, dream, play. construction during the lived-living of whom Franco Verdi transforms the gold and the lives time. silver of his subjects’ plots in the sign of the But the isolated word and denied to word and of the light. completed lexical formulation in the intent to The conceptual journey of Franco Verdi become understood doesn’t exhibit the subject begins when he leaves the explanatory and of the language, that is his autonomous and representative paths. Then, and only then, unrelated presence, from the moment that - words and signs leave the way to the color and says Verdi- “the letters of the alphabet do not to the light. lend themselves to a reading exclusively optics The luministic chromatism is not born from in which the varied chromatics recognize a the abstraction, from the removal of anything. new formal syntax, a new world of signs, of The luministic chromatism is born from the codes always unpredictable, however always to concreteness of the abstract. surprise” (L. Meneghelli, “The walls of Franco His modus operandi does not refuse the Verdi”, in The Arena, Verona, VI. 1981). problems of the historical vanguards, that In fact the architect and theoretical of the already at the beginning of the century had architecture, Philip Johnson, has observed, sensed that the poetic wisdom is not born first “words have a tendency to become tools of and in an aural manner in men of the young knowledge... to increase the interest in the nations gifted “with a corporeal imagination” value of the description of the things rather (G. B. Vico). than of the things themselves. Words are for Philosophy, like the bird of Minerva, arrives the mind not for the eyes. Words... deny the at the sunset, when men are no longer beasts, »

Special Issue 2000 WORLD of ART 7 franco verdi italy

Grafica d’Arte Palazzo Strozzi Firenze Italy; L’arte lascia il segno, Netzt Kunst & In- attuali, Kurhaus Meran Italy; 1985 Studio Morra del segno, Centro Lombardi Milano Italy; 1992 Grafica Incontri, Battaglia Terme Italy; 1979 Originali, Biblioteca Comunale Centrale Napoli Italy; ARCA Marseille France; Galleria Selearte 1, Padova Galleria II Centro, Nova Milanese Italy; Galleria Fortezza da Basso, Firenze Italy; Testuale, Rotonda di via Besana, Milano Italy; The Italy; Galerie BWA, Lublin Poland; Azienda Autonoma Soggiorno Firenze Italy; Studio De Rossi, Verona Italy; 1993 Assessorrat für Umbrella Show, Glendale USA; 1980 Liber, Biblioteca Comunale Turismo, Salerno Italy; 1986 Società Belle Arti, Verona Italy; Kultur, Gemeinde Leifers BZ; 1994 St. Jakob Leifets, Fiera Ante di Prato Italy; Kunstmuseum, Hannover Germany; 1982 Expo Arte Galleria Agora, S.Giovanni Lupatoto Italy; Convento S.Bernardino, Pordenone Italy; Labirynt, Galeria Grodzka, Lublin Poland; Prima Bari Italy; 1983 Arte Fiera Bologna Italy; Expo Arte Bari Italy; Verona Italy; Galerie ON, Poznan Poland; Le Lieu, Quebec Canada; Asta Arte Contemporanea, Palazzo Esposizioni Roma Italy; 1995 Kunstmesse Basel Switzerland; Sessanta Ottanta, Palazzo Galerie Akademia Szutk Pieknych, Warsawa Poland; Galerie The Tree of Poetry, Casa Da Lio, Venezia Mestre Italy; Seconda Massari, Ferrara Italy; Expoarte, Brescia Italy; Logomotives, Wschodnia, Lodz Poland; 1987 Bacanal del Gnoco, Galleria Porta Asta Arte Contemporanea, Palazzina Liberty, Milano Italy; 1996 Galleria Unimedia, Genova Italy; Galleria d’Arte Moderna Udine S.Zeno, Verona Italy; Logomotives, Museum Rocha, Figuera da The 3rd International Graphic Art Exhibition, Art Addiction Gallery, Italy; Gallery Blumenthal, Stockholm Sweden; Galleria La Scala Faz Portugal; Logomotives Gruppenkunstwerk, Documenta Stockholm Sweden; 1997 Pro Croce Rossa, Spilimbergo, Pro Roma Italy; 1984 Il cibo e l’arte, Fiera di Milano Italy; Logomotives, 8, Kassel Germany; Gruppenkunstwerk, Ajaccio Italy; Galleria Spilimbergo Italy; Le belle lettere, Centro Internazinale Semiotica Galleria Nucleo Arte, Bologna Italy; Logomotives, Galerie J. et I. regionale d’Arte, Gradisca d’Isonzo Italy; Rassegna di poesia visiva, e Linguistica Università Studi di Urbino Italy; 1998 30 pittori per Donguy, Paris France; Oggetti d’artista, Galleria Dada, Tavernelle Archivio Lo Specchio di Dioniso, Bologna Italy; Gruppenkunstwerk, Giulietta, Club di Giulietta, Verona Italy. 1998 1999 The 1st and 2nd Val di Pesa, Firenze Italy; Logomotives, Palazzo Strozzi, Nuova Museum of Modern Art New York USA; AEIOU Europalia 87 Autumn Annual in Venice, international small forms art exhibition Strozzina, Firenze Italy; Partiture, Istituto Francese di Cultura Österreich; Naturparkzentrum, Botrange Belgium; 1989 Creativi Palazzo Correr /Art Addiction Venice Italy. 1999 The 1st Spring Firenze Italy, Logomotives, Galleria Il Canale, Venezia Italy; per natura, Comune di Verona, Cadidavid, Roma, Tombetta Annual in Venice, international art exhibition Palazzo Correr Logomotives, Casa Bianca, Malo Mercato del Sale, Milano Italy; Italy; 1990 Galleria Comune S.Giovanni, Lupatoto Italy; Pluralità /Art Addiction Venice Italy. »

untitled 4 1982 oil on paper mixed media 35 x 27 cm, 14 x 10½ in p.5

8 WORLD of ART Special Issue 2000 franco verdi italy

INDIVIDUAL EXHIBITIONS 1966 Poesia percettiva, Galleria Zero, Centro Culturale S.Giovanni, Lupatoto Italy; Galleria Bevilacqua Roma Italy; Istituto Statale Arte di Urbino Italy;; Istituto Statale Verona Italy; Poesia percettiva, Galleria Esagono, Bologna Italy; La Masa, Venezia Italy; 1987 Rivisitazioni, Parrocchia S.Zeno Arte Arezzo Italy; Förderung von Kunst & Kultur Anstalt Lugano Poesia concreta, Galleria Bigoni, Ferrara Italy; 1967 Schema di Colognola ai Colli, Verona Italy; 1988 Istituto Statale d’Arte Urbino Switzerland. 1972 Sound Poetry from Marinetti to Franco relazione, Galleria Le Voilà, Verona Italy; 1970 Galleria Schreiber, Italy; 1990 Galleria Linea 70, Verona Italy; 1992 Il Tempo della Verdi Edited by Franco Verdi and Hans Otte and presented Brescia Italy; 1972 Sfida al comportamento, Galleria Marini, memoria, Galleria Linea 70, Verona Italy; 1993 Peace and Destiny, by Hauptabteilung Musik Bremen Rundfunk und Fernsehen Verona Italy; 1974 Bottega Giovanni Santi, Urbino Italy; Galleria 59th Pen World Congress, Dubrovnik Croatia; Il tempo della Germany. 1973 Futurist Mimodeclamation Franco Verdi and Andromeda, Bologna Italy; 1976 Teoria, Prassi, Adro Italy; 1977 memoria, Istituto Italiano di Cultura Zagreb Croatia; 1994 Natura Ruggero Jacobbi. The first futurist happening in the communist Scripta manent, Studio della Quaglia, Verona Italy; Kursaal, Naturans, Galleria La Goccia Italy; Pro Spilimbergo Italy; 1995 world, Croatian Writer Association Zagreb Croatia. Abano Terme Italy; 1981 Walls, Galleria Linea 70, Verona Italy; Adamo, Galleria Prato Miracoli, Pisa Italy;1996 Armonia della ARTIST’S BOOKS 1971 Timbricaglia, 1971 Natura Piu’che morta; Walls & Stripes, Atelier dell’ Artista, Verona Italy; 1982 Waves, creazione, Galleria Prato Miracoli, Pisa Italy. 1999 2000 Internet 1972 Cartognalia, 1972 Applivation Form, 1972 La Nottola di Walls, Stripes, Centro Verifica 8 più 1, M estre Venezia Italy; 1983 Art Museum www.artaddiction.se Minerva, 1974 Ventuno per ventuno concettose conchiglie, Kontakte, Galerie Bertram, Burgdorf Bern Switzerland; 1984 REFERENCES COMMISSIONS PUBLICATIONS Archivio 1977 Nescio Vos, 1979 Asilo, 1979 Pallecanestro, 1979 Zoo, Paesaggi della memoria, Galleria La Meridiana, Verona Italy; Altre Storico Arti Contemporanee della Biennale di Venezia Italy; 1979 Cassa, 1979 Mastrino, 1980 Aeternum Vale, 1959 1980 storie, Kulturzentrum Meran Italy; 1985 Natura naturans, Villa Kunsthistorisches Institut, Florence Italy; Bolaffi C/ atalogo della Mikrokosmos, 1983 Letto di Procust. Comunale di Crevenna, Erba Italy; Assessorato Cultura Comune grafica italiana; EnciclopediaU niversale SEDA dell’ Arte Moderna, PERFORMANCES & CONCERTS 11.02.1965 Franco Verdi, Circolo S.Giovanni, Lupatoto Italy; Galerie J. et J.Donguy, Paris France; Milan Italy; Almanacco Letterario Bompiani, Milan Italy; Il catalogo Esagono, Bologna Italia; 18.02.1965 Poesia degli ultimi americani, Galleria Comunale Arte Moderna Verona Italy; 1986 Galleria della grafica, Roma Italy; Ministero della Pubblica Instruzione, Centro Culturale Ambasciata USA, Trieste Italia; 26.11.1965 »

untitled 3 1982 oil on canvas 75 x 85 cm, 29½ x 33½ in p. 20

Special Issue 2000 WORLD of ART 9 franco verdi italy

Giovani poeti italiani e tedeschi, Deutsches Kultur Institut, Trieste sonora, International Travelling Poetry Concert 5, Sala del .1983 Concerto Logomotives, Oratorio S. Filippo Neri, Genova Italia; 02.05.1966 Giovani poeti italiani e tedeschi, CUC, Bolzano Comune Montegrotto Terme Italia; 12.10.1978 Poesia sonora, Italia; 10.11.1983 Radiotaxi Concert, Studio Mona, Napoli Italia; Italia; 07.11.1967 Franco Verdi: Sound Poetry, Galleria Sincron, International Travelling Poetry Concert 6, Sala del Comune 14.12.1983 Concerto Logomotives, Galleria La Scala, Roma Italia; Brescia Italia; 20.01.1968 Musica ex machina, Museo di Storia Battaglia Terme Italia; 17.03.1979 Poesia sonora In Concert, 28.01.1984 Concerto Logomotives, Galleria Nucleo Arte, Bologna Naturale, Verona Italia; 25.08.1968 Si gioca alla VEDA: verbal Auditorium di S.Francesco at Corso, Verona Italia; 25.06.1979 Italia; 08.02.1984 La revue parlée Logomotives, Centre Pompidou, drama, Anfo Italia; 05.10.1968 VEDA, Palazzo Broletto, Novara Sanremando, Teatro del Falcone, Genova Italia; 04.07.1979 Paris France; 05.04.1984 Concerto Logomotives, Teatro dell’ Italia; 27.08.1969 Sound Poetry di Franco Verdi, Terme Pejo Italia; Sarenco & Franco Verdi In Concert, Caffé Mocambo, Taormina Istituto Francese Firenze Italia; 08.09.1984 Concerto Logomotives, 08.07.1979 Franco Grignani /Bruno Munari/ Franco Verdi, Museo Italia; 08.09.1979 Oggi poesia domani, Biblioteca Civica Fiuggi Museo Laboratorio Casa Bianca, MaIo Italia; 20.10.1984 Netz- Castelvecchio Verona Italia; 10.12.1977 Sound Italian Poetry In Italia; 06.11.1979 Parola-Immagine, Studio Santandrea, Milano Kunst Konzert, Kurhaus Meran Italy; 27.12.1984 Weihnachts concert, Trento Italia; 11.03.1978 Poesia sonora del futurismo Italia; 13.11.1979 Concerto AIPS Ensemble, Gallerie De Zwarte Performances, Kulturzentrum Meran Italia; 15.08.1985 Stadfest italiano, Verona Italia; 05.05.1978 Teatro della parola, Palazzo Reale Panter, Antwerpen Holland; 20.12.1979 Concerto AIPS Ensemble, in Meran Italia; 09.09.1989 Festaperta, Parco Comunale S.Giorgio Milano Italia; 07.10.1978 Poesia sonora, International Travelling Galleria De Amicis, Firenze Italia; 20.06.1980 Fluxus & AlPS In di Nogaro Italia; 24.03.1992 Gobius, i pesci dell’ Adriatico, Libreria Poetry Concert 1, Kursaal Abano Terme Italia; 08.10.1978 Poesia Concert, Galleria Cavellini, Brescia Italia; 21.06.1980 Fluxus & AlPS Rinascita, Verona Italia; 01.10.1992 Europa tenera, Europa sonora, International Travelling Poetry Concert 2, Kursaal Abano In Concert, Firenze Italia; 22.06.1980 Flurus & AlPS In Concert, violenta, Museum Mimara Zagreb Croatia; 14.01.1997 Poesie Terme Italia; 09.10.1978 Poesia sonora, International Travelling Teatro Laboratorio, Verona Italia; 23.06.1980 Fluxus & AlPS In degli ultimi americani, Circolo Ufficiali Presidio Castelvecchio, Poetry Concert 3, Sala del Comune Montegrotto Terme Italia; Concert, Galleria Unimedia, Genova Italia; 17.09.1983 lnseguendo Verona ltalia and USA. 10.10.1978 Poesia sonora, International Travelling Poetry Concert la parola, Galleria Arte Moderna, Udine Italia; 28.05.1983 Bileler ADDRESS: Piazza Simoni 10. IT-37122 Verona Italy Tel /Fax +39 4, Sala del Comune Treponti di Teolo Italia; 11.10.1978 Poesia zum hören, Galerie Bertram, Burgdorf Switzerland; 21.10 45 591468 Email: [email protected]

» all amazement and ferocity. “poetry jam” ( a mixture of styles) in the Equal to the avant-gardes, Verdi has turned perspective of a reality in dynamic mutation upside-down the Hegelian position, in which and therefore continuous. the philosophy that comes after art and poetry, After having passed from the “poetic placing instead itself first at the origin of the bottled air” and from the isolated and the relationship of the thinking art. And so word reduced to pieces (cut-up), to the Boccioni and the futurism have anticipated. artificial walls and to the hidden erotic It is a conception of Kosuth to place art after object 1 distraction, finally from the “natura the philosophy, but without having to produce 1984 instalation naturans” to the recent “harmonies of wood, neon a purely conceptual art, even though they have mixed media creation,” Franco Verdi look, openly to the built their work with the theory of the p. 10 new expressive means in the awareness, manifestos. Therefore we can now agree that shared with Boccioni, that “the picture will the conceptual idea of Franco Verdi is the object 2 no longer be enough.” critical motivation that is the base of the choice 1984 instalation Boccioni had written in fact in clear letters of the meanings mediated from his own wood, neon that for the “his childish means” the picture mixed media activity, and not the theoretical antecedent. p. 30 will become a anachronism in the vertiginous Argan has in fact remembered: “it is not the movement of human life! Other values will work of art that is built on a theory, but it is rise, other evaluations, other sensibilities of the theory that is built with the work.” (cfr. which we don’t conceive the audacity, the Studies and Nores, Rome 1955). From here the human eye will perceive the color like need of the critical intervention that has emotion in oneself. allowed Verdi to accept the reality not so much The multiplied colors won’t need forms to of the subject, that- Boccioni said- “we refuse be understood and the forms will live for to accept in advance” as its transformation in themselves outside the objects that express elaborate element of the space-environment. them. In fact certainty of reality, similar to Verdi’s And that is why Franco Verdi looks at the choices don’t attribute to the Orinatoio- color himself for the existing spatial Fontana a final creative act (like the urinal of relationships between the objects are bundle object 3 Richard Mutt, manufactured of sanitary 1980 instalation din a panic “empty horror”: and the articles, has acquired an art value for the wood, neon emotional charge, like in a real transfer, is choice operated by the artist (Duchamp), mixed media transferred from the subject to the forms, p. 50 because it still deals with a repetition of absorbing the “liquid shades” and the appearances (Boccioni) and beyond that, as a “incendiary reds.” work of art, does without the ideas in the The unity of opposites is represented by the actual elaboration to which is devoted the morbid yellows and by the deep and silent creative or transforming artist. blues capable of transforming the bi- On the contrary Franco Verdi prompts dimensional surface in a boiling depth and in poetry to draw from sign-word and color-odor a sequence of increasing movement. those new pictorial values regarding the On the other hand the opposites, which aesthetical reaction brought forward by the interact in their expressive pattern, point out vanguards, therefore proposing a renewed a possible variation, dictated by the mutation poetic discourse, deprived of apparent or of the new reality. “It’s necessary to see in descriptive optics representations. that empty (horror)” the signal of an absolute And that’s why the bonding of Verdi to our lack of communicability between the many avant-garde is asked by the original demand of communications and also of a big void in futurism to realize: “not representations of future time. These signals are the denuncia- reality already sure but the creation of answers tion of a serious spiritual lack or, which is the and of problems in continuous coincident same, of a false concreteness, that surrounds transformation with the communicative or and invades us. But that emptiness points out expressive necessity of the individuals” (cfr. also the liberated space, the time that awaits P.Fossati in “Graphics and visual arts from the a new pronunciation, the place where the Futurism to today”) regarding an industrial future will install itself with other laws. society in continuous technological mutation. Other values will rise, other evaluations, And here properly search of Franco Verdi finds other sensibilities of which we don’t conceive new solutions of aesthetical order, out the the audacity.

10 WORLD of ART Special Issue 2000 ARTIST TALK JULIE OLIVARI Carlos Calvo 447, 13 H, Buenos Aires 1102 Argentina Tel +54 1 361 1848 Fax +54 1 361 1848

I’ve worked as a theatrical gave me new ideas about space. set designer and scene painter I am reminded of Antoni in Buenos Aires for many years, Tapies, Joaquin Chillida, Carlos for a very important argentine Saura and a young argentine set designer Mario Vanarelli. painter named Fernando Cano- I love painting. I’ve started vas who lives in Barcelona and working with figurative forms. mixes two manners of painting: I’ve looked at Paul Cézanne and figurative and abstraction on Paul Gauguin. the same canvas. I love the free construction of Afterwards my mind or my Cézanne (Saint Victoire Moun- spirit ran looking for another tain) and I loved the free life form of expression and I found of Gauguin in Martinique, in it in abstraction. The elements Tahiti, the color of the Polyne- in my paints don’t work inde- sian Sea, his quiet figures. pendently. I went back to my I don’t consider myself as a profession and I got pleasure figurative artist because I found from construction of theatre the meaning of art when I was maquettes. From that moment, looking at form involving space. I incorporated the volume and They address other language mixed media in my works, rather the collages and the func- called them “Scene Paints” tion of it show a chaotic world between theatre and painting. in the power of violence. I consider a work finished Many years ago I was tempted when it’s harmonic because the MAN & ENERGY (7), 1994 ACRYLIC CONSTRUCTION ART 60 X 60 CM / 32¾ X 32¾ IN to do something other than physicality of it is very impor- paint. I also loved to write and tant. I’ve published two books of Some specific people were piv- short stories and poems. otal in my career. The meaning I don’t care about the bad of my work has been influenced reviews because the artwork by contemporary artists such as AHMED NAWAR itself is the best way to show the Tapies, Chilliada, Saura. Some own and real truth. Americans have also influenced The meaning of my work me Rochtko, De Kooning, Jack- has been influences by contem- son Pollock. I only say that the Born in Gharbia, 3 June 1945. Graduated porary artist such as Spanish artwork itself is the best way to from the Faculty of Fine Arts, Cairo, in painters and sculptures, who show the real truth. 1967. Earned professorship in 1975. Founder-dean of Menia University’s Faculty of Fine Arts (1982-1988). Head of the National Centre for Fine Arts in Egypt, since 1988. Head of the Museums’ Sector of the Supreme Council of Antiquities since 1994. General-supervisor of the Save Nubia Fund from 1996 to 1999. Participating in exhibitions in Egypt and abroad since 1956. Awards 1995 1st Prize, Ibiza biennial; space II 1985 Prize for representing the Middle East and South-East Asia in a competition held in USA; 1987 The Golden Sailing Prize, Kuwait’s Biennale; 1989 The Prize of , 1997 m Friedrickschtad Triennial, Norway. Medals 1979 Egypt’ Medal for Arts and

Science, 1st Class; 1979 Egypt’s prize of m ixed Merit; 1983 Nobel Gold Medal (Com- memorative Festival); 1992 Order of Merit from Spanish King Juan Carlos; 1995 The c x 30 40 edia French Officier Order for Arts and Sciences. Acquisitions in international museums and institutions in Egypt, Spain, Norway, USA, Poland, Germany, Yugoslavia, m /15½ x 12 in Morocco, Qatar, UAE, Jordan, Saudi Arabia, and UN.

ADDRESS 54 Dimashek st. Mohendes- sen, Cairo Egypt. Tel/Fax +20 2

3488279 Tel +20 122141833

Special Issue 2000 WORLD of ART 11 béla czitrom finland

Born in 1951,in Transylvania, artist sculptor; Lives in Turku Dante Alighieri, Ravenna Italy; 1991 Romanian Sculptors Prize Turku Finland; 1991 Hungarian Culture Center Helsinki Finland; Finland. EDUCATION ”Ion Andreescu” Fine Arts Academy, at Biennial Dante Alighieri, Ravenna Italy; 1979 1990 Museum 1991 Tamperetalo, Tampere Finland; 1991 Joella Gallery, Turku; Cluj Romania; MEMBERSHIP Romanian Union of Artists; of Art Collections Bucharest Romania; 1992 10th Biennial 1991 Raisio Library, Finland; 1991 Ullakko Gallery Tuupovaara Artist’s Society of Turku Finland; Jööti, Turku Finland; Finnish Dante Alighieri, Ravenna Italy; 1993 Memoire des corps Finland; 1993 Galleria 1, Turku; 1993 Vanha Raatihuone, Sculptors Union; SELECTED EXHIBITIONS 1980 Youth Artists UNESCO Paris France; 1994 11th Biennial Dante Alighieri, Cultural Center Turku; 1994 Galleria 1, Turku; 1994 Arture Exhibition, Miercurea Ciuc Romania; 1980 Summer Exhibition, Ravenna Italy; 1994 Salon d’automne, Espace Franklin, Elbeuf Gallery, La Roche Guyone France; 1994 Tuffier Gallery, Les Covasna Romania; 1980 Itinerant Exhibition, Odorheiu Secuiesc France; 1996 12th Biennial Dante Alighieri, Ravenna Italy; Andelys France; 1994 Rollin Gallery, Rouen France; 1994 Le Romania; 1981 6th Biennial Dante Alighieri, Ravenna Italy; 1996 6th Finish Artists, FMK Gallery Budapest Hungary; 1997 Fleuron Gallery Honfleur France; 1995 Joella Gallery Turku; 1983 Inter-District Exhibition, Tirgu Mures Romania; 1984 Eu-Man, Kämpä Gallery Turku Finland; 1998 The Artist’s 1995 Artman Gallery Turku; 1995 Vasareli Museum Budapest Painting and Sculpture, Miercurea Ciuc Romania; 1984 Annual Society of Turku Town Annual Exhibition Finland; 1998 The Hungary; 1997 Vehmaa Library, Finland;1997 Just Gallery Turku; Sculpture Exhibition, Orizont Gallery Bucharest Romania; Autumn Annual in Venice Art addiction, Palazzo Correr Italy; 2000 Joella Gallery, Turku Finland. WORKS IN COLLECTIONS 1984 Painting and Sculpture, Bucharest Romania; 1985 7th 1999 Naantali Museum, Jöötti Ry 10th Years Jubilee, Finland; Wäinö Aaltonen Museum Finland; Turku Town Culture Cnter Biennial Dante Alighieri, Ravenna Italy; 1986 Comparaison, 1999 The Artist’s Society of Turku Town Annual Exhibition, Finland; Jouko Arojoki Collection Finland. AWARDS 1988 Gold l’art actuelle, Grand Palais, Paris France; 1986 Painting and Finland. SELECTED PERSONAL EXHIBITION 1979 Museum Medal, The 8th Biennial Dante Alighieri, Ravenna Italy; 1997 Sculpture Biennial, Dalles Gallery, Bucharest Romania; 1987 of Miercurea Ciuc Romania; 1982 Art Gallery, Miercurea Ciuc; Turku University Prise, Turku Finland; 1998 Certificate of merit, Drawings of Sculptors, Orizont Gallery, Bucharest Romania; 1982 Art Gallery, Tusnad Bai, Romania; 1983 Petöfi Sandor The Autumn Annual in Venice Italy. STIPENDIUMS 1996 Turun 1988 Painting and Sculpture, Art Museum, Bucharest Romania; House, Bucharest; 1984 Small Theatre Bucharest; 1984 Orizont Kaupunkin Kulttuurilaukunta Finland; 1997 Top Säätiö Finland; 1988 8th Biennial Dante Alighieri, Ravenna Italy; 1990 Annual Gallery Bucharest; 1988 Galateea Gallery Bucharest Romania; 1997 Taiteen Keskustoimikunta Finland; 1998 Turun Kaupunkin Sculpture Exhibition Bucharest Romania; 1990 9th Biennial 1990 Runosmäki Library Turku Finland; 1990 Kituuri Hotel Kulttuurilautakunta Finland.

artist talk

I was born in Transylvania; my family constructed my own sculpture from the did, but to learn to understand why they was very multinational - as a heritage of the beginning to the end in my head. I was also used to do everything like they did; of Austrian-Hungarian Empire -, my father working in the foundry of the academy as course their solutions also can be used if being of a half Hungarian, half Jewish origin assistant of the instructor, learning the they are suitable for one’s own reasons. For and my mother of Tatarian-Austrian roots. techniques of casting in bronze. Finally, the me, my own view always was the most Myself, I’ve always been proud of my roots, eighth time of trying I managed to get in the important, I and no one else was the center although in Romania during the communist academy. of my own universe. I wanted to remain my regime a multinational background like When I wanted to study at the art personality untouched, letting no one to mine was a reason for marginalization. But academy, it wasn’t only because of the change me. through the difficult experiences I’ve had certificate of graduation I would get there. I When I graduated from the art academy, I because of my familial background I have felt it was a great opportunity to get in the I landed in an outlying area North from became stronger and more able to follow the magical world of art; also it meant I would Moldavia, where I got a job as ceramic way I have felt my own. get models and materials free of cost for designer. Then, after having worked a short My mother told me that the father of my years. As an artist, my ideal was and is to period of time in my hometown (Miercurea grandfather had been a fresco painter; he’s reach the top, but as I see, this top isn’t a Ciuc), I finally managed to get a transfer to the only artist I know there has been in the stabile level, but it merely could be seen as Bucharest. This was what I had been hoping family before. stairs leading always higher and higher for. I felt that only through competition one As a teenager I was interested in drawing Graduating from the art academy was only can evaluate oneself and make progress, and and molding in addition to sports and one stage on the way up, and my wish was to here I found these circumstances I felt I mountain hiking. I still was quite an become once a pattern for others. necessarily needed. In Bucharest I got to innocent young boy when trying the first The art academy of Cluj-Napoca was know Ion Frunzetti, one of the greatest art time to get in to the art academy. A part of considered by the students over-ratio- critics of that time. He made it possible to the entrance examination was making a nalistic; we were, for example, asked almost send one of my sculptures to the Dante croquis-sketch of a nude female model. As perfect knowledge of the human anatomy. Alighieri biennale in Ravenna Italy. This the woman came in and started to take her However, as I can say now, following from was the very first time someone really clothes off, I was so embarrassed I didn’t this we become able to concentrate only on appreciated my work; Frunzetti also wrote a know where to begin drawing. the idea we have while working, the pieces review on my work. I didn’t pass the examination that time. To of art made getting closer to the original. I In 1988 I had my last exhibition in be accepted was difficult also because of the didn’t regard these instructors in any way as Romania, in the Gallery Galatea. cultural policy that was pursued; the my patterns; if one has to have some, they In the beginning of the ninety, leaving students were chosen in national categories, have to be something greater, something to Romania, I’ve come through hard experi- the greatest per cent of them being ethnic try to reach. For example, I regarded the art ences (in which I’ve found something in Romanians, when only a little amount of the of Ethrusques and the Greek. As I see, the common with, for example, the life of places was reserved for those belonging to idea of having these kind of patterns is not Caravaggio who, through these similarities, ethnic minorities. I tried entering again and trying to do everything in the same way they has become somehow close to me). Although again, year after year, every time getting a I feel that these difficult times have taken a little closer to the entry. period of time off my life, I feel contented I Some professors of the art academy used have got to know the world myself like this, to give lessons in drawing for youngsters not only by listening to other people’s wanting to get in the academy, but I didn’t experiences. In the free world, as I came to have money enough for that. Me and a see it, everything was the opposite of what I group of others in the same situation, used photo had got used to seeing in Romania; however. to go to a little room in the basement of an The same feeling of strangeness that I always g

old house, posing one at a time for the by B raph have had still remains. When I had my first others and drawing each other’s time after exhibitions in Finland, I often was told that time. When I saw an announce of the art my style is not “suitable” for this corner of academy looking for a model I answered at the world, and for this reason my art isn’t once and got the place. Posing for the D ebe understood by people here. I was even made students fifty minutes at time, five times a

raia 1998© raia an offer by a doctor: he could try to day, in my mind I always did the same work hypnotize me so that I would learn to as them: I used to choose one of them as my understand the Finnish soul and change my model, and to listening to the teaching I style to better correspond to it. Of course, I

12 WORLD of ART Special Issue 2000 béla czitrom

demon i 1999 bronze and granite h 40 cm, 15¾ in

didn’t accept. I think the artist doesn’t need to try to make understanding his / her art the easiest possible, but instead the viewer must raise him- or herself from his / her con- ventional level. I’m grateful for how rich the source of my inspiration is, but besides working I also feel the need for more social life which I haven’t had so much of since I left Romania. The feeling of insecurity that I used to have before only has increased since I arrived here because of the darkness, the coldness and the lack of communication. I’m interested in exploring the human soul, especially the dark side of it. I feel that the deeper I dig in it, the more gold I find. I want to bring out into the light the secret, hidden B

parts of the mind; the parts that people often C ela try to avoid looking at. I believe, however, that

the universe is made of a kind of an absolute L zitrom, equilibrium: if there exists darkness, there must be light, too. Now, on the threshold of the new millennium aitainen st. 2c 11, st. S aitainen I have made in my working a move from the bidimensional to the tridimensional, and I also feel having made qualificational progress as well. For me, all this means a revolution and a beginning of a new period in my working. Perhaps these changes also have happened partly because of an experience I’ve had to F-20900 T F-20900 come through this autumn: the authorities of the city destroyed a sculptural garden I had constructed earlier. Little by little I’ve come over of this stupidness of people. Also the [email protected] e-mail: 405664186 tel+358 Finland urku, impression of myself as a part of the universal art has lately become stronger, and this is something that any adversities can’t wipe off. The thematic of Dante Alighieri’s Ulysses have always interested me. Ulysses wanted to get to know the world and in spite of all the misfortunes he had he preferred to continue from returning home to his Penelope, as he knew this was destined to him. He went and passed the Pillars of Hercules although he knew this would lead him to his death. Like Ulysses I want to follow my own destiny. Even if it were possible to change the way of my life easier and happier I wouldn’t do that, as I feel this destiny of mine is my ”goldmine”. Though it can be difficult, even frightening, I want to collect these experiences, explore life, and then return all I’ve found back to the world, passed through my own personality. ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se béla czitrom finland Bela Czitrom talk

I get the inspiration for my works from Every element and detail in my work is of this work. I also like this side of my real life, presenting my thoughts in a very always set in the service of the entity, they working. symbolic form. For me the figure of the are meant to work together. In my works, I I have always my own way of expressing human body is much more important than use very much my own symbolic language, myself. When I looked at other artists or any abstract forms. which is understandable to everyone, as earlier masters, it was to take some A piece of art at it’s best can open the symbols are also a universal language. technical advice etc., but I never took eyes of people who see it and help them to Artwork also is asking quite much of anyone of them as “an idol” for myself. As look and to treat also those subjects they physicality, think for example the casting I feel, you shouldn’t do too much of that; feel difficult. I want to have courage of bronze, which is a very important part as the inspiration mustn’t come from enough to explore the dark side of the anywhere outside, but from the inside of human mind, to express aspects that the artist himself. As I see, all kinds of commonly are denied, even forbidden. experiences of life, good or bad, are a part When I think back, I can say I didn’t Work of artist of an important capital for this. I have choose to become an artist, it was always is not respected found some masters of art very close to clear to me. On this path the only myself especially Caravaggio; for in his conscious decision I made was to acquire Works of a sculptural artist were life I’ve found certain points in common myself through education- the technical moved to rubbish dump in Turku, finland with my own life. abilities of artistic expression. Both intuition and rational control must Sometimes when it happens that I feel A sculptural garden constructed by sculptor be linked together all the time to be able myself weak and in need of something to Béla Czitrom has been destroyed (from the to express exactly the vision you have. way of the marine center Forum Marinum, give me strength, I listen to the music of I accept everybody else around what being enlarged towards the borders of the Richard Wagner, which I find very river Aurajoki in Turku). The ten pieces of ever they are doing as long as they don’t powerful and strengthening. sculpture in metal from the garden of the threaten me; if they do, I battle rele- It’s important to remain absolutely former atelier and home of the artist were ntlessly against everybody! independent while working, and for that found, broken, on the top of a fully loaded I find it really important to give people reason I don’t do work to order. In so platform for rubbish. In the garden there were elsewhere an opportunity to see my doing, the artist always would be obliged still some parts of the biggest sculptures. The works, and also I want to see what artist himself moved away from the way of to act on instructions, and that might happens in the fields of art in other places, the marine center over two years ago, but badly limit the freedom of the artistic the sculptures, the tallest being over two not only in my own little corner of the expression. meters in height, had to be left in the garden world. Any kinds of reviews or criticism don’t of his long-time residence. The artist, living The critics have absolutely nothing to insult me. A review is only one single in a rental apartment, is asking where he could give to me. The media has a great power person’s opinion, not the absolute truth. have brought his sculptures. As big as they nowadays, and it keeps using it to raise up Many critics keep telling you only what are, it would have been necessary to have a some artists and forgetting some others. lorry and some special equipment to move you have done and how you should have This kind of success created by the media them. When Czitrom finally managed to find done it, to be able to valuate a piece of art a place in the countryside where he could is illusionary. Only in the course of time like this the critic himself should be place his works, he found them in pieces. will we see which parts of the con- perfect! In fact, the critic finally is temporary art will survive and show being dependent on the artist, not the contrary. Anneli Tukia of lasting importance.

demon Ii 1999 bronze and granite h 40 cm, 15¾ in

untitled 1999 bronze and granite h 43 cm, 17 in

demon iV 1999 bronze and granite h 44 cm, 17¼ in

demon i 1999 bronze and granite h 33 cm, 13 in

PHotographs by olli jurvainen 1999©

14 WORLD of ART Special Issue 2000 keigo yamamoto japan

Born on February 4th 1936 Fukui Prefecture, Japan; Lives in Tokyo York, USA; 1979 The 11th Tokyo Int’l Prints Biennale, The National others; 1994 The 45th Venice Biennale, ECI, Casino Container, and Fukui. Media Artist; 1958 Graduated from Fukui University; Museum of Modem Art Tokyo, Japan; 1982 The 4th Biennale of Venice Italy; 1995 ’95 Kwangju Biennale, City Art Museum, Kwangju Professor of the Musashino Art University, Department of Imaging Sydney, Sydney Australia; 1983 Photography in Contemporary Japan; 1996 World Wide Network Art 96: Tokyo Station (Laforet Arts and Sciences. Art, National Museum of Modem Art Tokyo, Japan; 1983 ELECTRA, Museum Liikura), Fukui Station, Yugawara, Japan; Oslo, Norwai; PERSONAL EXHIBITION 1968 1972 Fire and Smoke, Event series, Musee d’Art Modeme de Ia Ville de Paris France; 1984 The 41st Amsterdam,Holland; Seoul, South Korea; New York, USA other; Echizen Kaigan, Japan; 1972 Video installation, Gallery 16, Kyoto Venice Biennale, Tapes Section, Venice Italy; 1984 Video 84, 1996 Adicere Animos, Modern and Contemporary Art Museum, Japan; 1979 Media Installation, Vancouver Art Gallety, Vancouver Contemporary Art Museum Montreal, Canada; 1986 New Video Sesena Italy 1996 Siggraph 96, Journeys by Tele-community, Digital Canada; 1980 Traveling One Man Show, Saw Gallery, Ed Video, Art Japan, The Museum of Modem Art, New York USA; 1988 The Bayou, New Orleans USA; 1996 Science and Art, KOEX, Korea Space, Video Inn, Others, Canada; 1981 Media Installation, ”The 3rd Bonn Int’l Video Biennal, Japanischen Kultunnstiut, Cologne Sience Foundation Seoul, South Korea; 1997 Siggraph 97, Electric Bank” Amsterdam, Holland; 1981 Tape show, Kijkuhuis, Den Haag, Germany; 1989 Video Skulptur:Retropekyiv und Akyuell ”1963-1989” Gaden, Los Angeles Convention Center LA USA; 1997 The 15th Holland; 1992 Fukui Fine Arts Museum, Japan. Dumont Kunsthall Cologne Germany; 1989 Network Art, Encounter World Wide Video Festival, Stedelijk Museum, Amsterdam Holland; GROUP EXHIBITION 1968 ”The Trends in Contemporary Art”, Between Japanese Paper and Electronic Media, Fikui-Kyoto-Tokyo, 1997 lndras Net, Gurzenich Koln Station Germany; 1998 K-bit The National Museum of Modem Art Tokyo, Japan; 1975 The 13th lmadate Oublic Center Fukui Japan; 1990 Japan - France Network Art Institute Station Japan. Sao Paulo Biennale, Sao Paulo Brazil. 1977 DOCUMENTA 6, Kassel by ISDN, Fukui Canon 01 Shop, Tokyo Canon 01 Shop, Nagoya Canon ADDREES Fukui: 24-10, Oomura-cho, Fukui City, Fukui Pref., Germany; 1977 ”Bird’s Eye View of Contemporary Art”, The National 01 Shop, Nancy, Paris; 1991 The 2nd Int’l Nagoya Biennal, ARTEC 919-0316, Japan; ISDN Tel: +81 0776-41 7000 Fax: +81 0776-41-7001; Museum of Modem Art Kyoto, Japan; 1979 Cinema Experimental 91, Nagoya City Art Museum, Nagoya Japan; 1992 DOCUMENTA 9, Tokio: 202, 2-21-9, Shirasagi, Nakano-ku, Tokio, Japan; ISDN Tel: +81 Japonais, Centre Georges Pompidou, Paris France; 1979 Video The Int’l Mobile Electronic Café, Casino Container Kassel Germany, 03-5373-720 Fax: +81 03-5373-7200; E.mail:keigo@ nn.iij4u.or.jp from Tokyo to Fukui and Kyoto, The Museum of Modem Art New Nagoya City Art Museu and Fukui Fine Arts Museum, Japan and Internet; http://www.syba.co.jp/k-bit/

vaterdrop: gift from heaven nr.5 blossed forest 1 1999 linked pictures© keigo yamamoto and eiko ito

window of cosmos nr.2 urban energies and rural energies no.28 1998 linked pictures© keigo yamamoto and eiko ito

urban landscape with a banner urban energies and rural energies no.12 1992 october 1996 june, linked pictures© keigo yamamot, eiko ito, undou inamura

the symbol of analogue urban energies and rural energies no.21 1997 april, linked pictures© keigo yamamot and eiko ito

urban energies and rural energies no.30 vaterdrop: gift from heaven nr.3 1998 april, linked pictures© keigo yamamoto and eiko ito

linked Picture Urban Energies and Rural Energies

While culture has been headed for urbanization, during the Muromachi period (1392-1573) could peaks ranging east of Kyoto, is utilized as a the advances in computer technology have made be a good model. I believe the philosophy and borrowed view in this garden. We can learn from the world smaller, and changed our concept of thoughts behind these gardens could give us a this garden how to utilize “natural energies” for time and space. The Internet, in particular, has clue to help survive the 21st century. activating “Urban Energies”. enabled us to communicate with any remote site One good example is “Rock Garden at Ryoanji The landscape changes with the weather each without any time lag, and to introduce telecommut- or Ryoa Temple”. Elements of this garden include day, and needless to say, with the season. Just ing systems into companies as a new working style. natural rocks arranged in as natural-looking a imagine the garden on a fine day, say, after a This progress in electronic information systems state as possible in the midst of white sand shower, or in the snow. The changes in the can be a piece of evidence that the one-way representing flowing water. This style of garden borrowed view produce more varieties in the approach of urbanization is not enough to survive is called “karesansui” or dry landscape, and it landscape. As a result, it evokes the thoughts and the upcoming 21st century. In other words, a features an abstract symbolism of nature. The feelings of the universe with its immense one-way flow of energies alone cannot expect to concept of ”karesansui”is linked to a view of dimensions. We realize that “rural energies’’ create something unique or attractive. Indeed, at universe. The Chinese character or “dry” inherent in the garden interact with “urban this rate, cities in the world might be standardized represents something abstract and intangible, and energies’’, and result in perfect harmony. I believe and turn out to be unattractive places. or “mountains and water” symbolizes the this ideology will be essential when we think of What we need for the cities in the 21st century flow of spiritual energies. Furthermore, Ryoanji the culture we create in the 21st century. In view is intentionally to utilize more of nature. We will Rock Garden provides us with a good example of these matters, I gave this work of mine the title have to explore a new type of culture by mingling for “shakkei” or view-borrowed landscape, in of “Urban Energies and Rural Energies”. A single “Urban Energies” and “Rural Energies”, and which the background elements such as mountains piece of work can hardly explain this concept, so harmonizing them. are incorporated into the garden’s composition. I decided to present a series of works in line with Viewed in this light, Japanese gardens made The scenery of East Mountains with thirty-six this theme.

Special Issue 2000 WORLD of ART 15 Los misterios de Pompeya 1999 digital art 20 x 90 cm, 8 x 35½ in

Eduardo Pla, Italo-Argentine multifaceted artist has exhibited his artwork in several individual and group shows in Europe and in The United States. During his career he has won several art awards in Milan and New York. He lives in Argentina. Since 1995 were he was granted individual shows in local renowned museums and galleries, such as, The National Art Gallery Palais de Glace, Recoleta Cultural Center, Borges Cultural Center and The National Fine Arts Museum. Eduardo Pla is a digital artist; he works with paradigmatic images from religious iconography. These images are composed in a constructive way, using microtons giving them the appearance of a chromatic “pointillism”, This technique allows him to capture the light intervals of the faces and figures selected for this theme. Through his artwork, the artist is searching to recover the spiritual bond, once lost between the human and the divine. The answer to so many questions about the human condition could be found through the metaphysics. And these are Eduardo Pla,s beliefs. According to Jorge Glusberg, “Pla’s art is not virtual because it is there for us to see and observe, it is both present and consistent. But it is undeniable that his work conjures virtuosity and can be defined as an art of the virtual”.

Pla Eduardo, J.M Gutiérrez 3967 5”A”, Buenos Aires 1425 Argentina, tel /fax+1 541 801 8453 e-mail: [email protected] Internet: www.eduardopla.com.ar Eduardo Pla Argentina

Born in Buenos Aires in 1952. PROFESSIONAL EXPERIENCE 1975 Production and Direc- Creativi Comunicazione Vsiva Italiy. BEDA, Bureau of EDUCATION 1970 High School Diploma in Electronics for tion of Radio programs Buenos Aires Argentina. 1976 Free European Designers Associations Associazione Illustratori Communication, ENET N° 39. Buenos Aires Argentina.1970 lance collaboration De Luca advertising agency Buenos Milan Italiy. -ASIFA Torino Italiy. -EMERTT French Associa- 1974 Courses in Architecture and Urban Design, Facultad de Aires. 1975 1977 Contemporary music concerts production tion of Architects and Designers. -ISEA Intersociety for Arquitectura de la Universidad de Buenos Aires Argentina; Buenos Aires. 1977 1980 Production and Direction of film Electronic Art. 1974 Course in Audiovisual Communication, Instituto Di and Video Direction Buenos Aires. 1979 Coordinator of Film SELECTED WORKS and EXHIBITIONS “Gaitisolo” 16mm Tella Buenos Aires Argentina; 1975 Course in Theater and Video Department, Teatro Payró Buenos Aires. 1980 b&w 10m. “Barrock” S8 mm color 50 m. “Op Art” 16mm Direction with Jaime Kogan, Teatro Payró Buenos Aires Public Relations and Press coordinator Centro Europeo color 9m. “Op Art 2” S8mm color 10m Buenos Aires Argentina. 1977 Course in Screenplay, Instituto Nacional di Teatro Como Italia. 1981 Videoproductions Video Argentina. “Pop Art” S8mm color 10m. “Imágenes de de CinematografiaB uenos Aires Argentina. 1978 Course in Como Italiy. 1985 1988 Computer Graphic Design, Studio Buenos Aires” S8mm color 15m - First Prize MCBA -. Film Direction, University of California Los Angeles CA USA. Iampognani Milan Italiy. 1988 Computer Graphic Design, “Aver Buenos Aires Hoy” 16mm color 15m. “Cuadros de 1984 Degree in Art Direction, Istituto Europeo di Design Studio Alchimia Milan Italiy. 1990 Computer Graphic Design, una exposición” S8mm color 15m. “Alicia en el pais de las Milan Italia. 1985 Course in Videographics, Computer Studio Equart Milan Italiy. 1991 Computer Graphic and maravillas” 35mm color 15m. “Los Suerõos de Alicia” S8mm Graphics and Animation, Sony Video Institute Los Angeles Animation Design, Studio Pla Milan Italiy. 1992 Computer color 15m. “Sueño de una noche de verano”, Videocolor CA USA. 1986 Course in Computer Graphics, Sigraph Los Graphic Designteaching Milan Italiy. 60m. “Alicia a través del espejo”Music hall 90m. “Esfera de Angeles CA USA. 1990 Course in Multimedia and Virtual MEMBERSHIPS -Association for Computer Machinery Ana Duch” S8mm color 15m Teatro Payró. “Pianos” S8mm Reality, Philips Institute Milan Italiy. SIGRAPH Los Angeles USA. -AIAP Associazione Italiana color 15m Ballet Teatro Colón.

artist Talk

“El Clavel” Videocolor 3m. “El Malvón” Videocolor 3m Buenos Leonardo was for me a master Las mil caras de Jesucristo Aires Argentina... 1982 “Blue Monday” Videocolor 3m Milan who let me understand the 1999 digital art Italia; -Second Prize Salsomaggiore Festival-. 1983 “Electric 90 x 90 cm, 35½ x 35½ in Dream” Videotape Ferrara Italiy. 1984 “1984” Videocolor relationship between nature and Arts Festival Ferrara Italiy. 1987 “Effetto Arcimboldo” Computer picture Award of Excellence in Computer Art technique. New York USA. 1987 “Trilogia” Computer picture Sigraph Los Angeles USA. 1988 Expo Art-Electronic Graffiti, Before doing digital art I was Computer art works Bologna Italiy. Bienal ’88 de doing films theatre and art Arquitectura de Buenos Aires, Computer graphic videos Buenos Aires Argentina. 1989 “Soli” Videocolor 2m direction. Collezione Alchimia, Spazio Krizia Milan Italiy. 1990 “Giardini Frattali” Computer graphic works. Computer All my life I have search inside and Art Exhibition Villa Ciani Lugano Switzerland. AIAP my self and the different kinds of Exhibition Ideebooks, Graphic design works Milan Italiy. Associazione Illustratori, Graphic design works Palazzo arts and techniques trying to Reale Milan Italiy. 1991 International Exhibition of Graphic Design and Visual Communications, Graphic express my feelings and emotions design works, Arts and Crafts Museum Zagreb and it is not easy to define what Yugoslavia. 1992 International Exhibition of Illustration and Visual Art, Graphic design works, XV Bienal kind of art I was or I am doing. BRNO Czechoslovakia, - Premio Imagine-. 1992 Canale 5 Milano Italia, - Depero Anniversary Award-. I was working for a wile doing 1993 Bologna Children’s Book Fair, Graphic design advertising and design when I works. Illustrators Exhibition, Unicef Award Italiy. Alessi Tendentze Exhibition, 100% Make up, was living in Milan. Industrial design works Milano Italiy. 1994 Jornadas Internacionales de la Critica “Histaria de on Sometimes music is the base of rnalentendido” Videoinstalacion, Centro Cultural some of my works. Recoleta Buenos Aires Argentina.1995 Art Miami, Computer art works Miami USA. ARTE BA ’95, Some of my works looks are Computer art works, Centro Cultural Recoleta. Buenos Aires Argentina. “Eduardo Pla: Diez narrative, some not, anyway we Atios de Arte Virtual” Palais de Glace Buenos always tell the history of our life. Aires Argentina. Bienal ’95 de Arquitectura de Buenos Aires, Computer animation videos, In my works each element work Centro Cultural Recoleta, Buenos Aires Argentina. «Cincuentenario de las Naciones independently. My work is Unidas», Videoinstalation, Centro Cultural concluded when there is a Recoleta Buenos Aires Argentina. «Imágenes circulates», Videoinstalation FIV ’95, I balance between all the elements, Festival Internacional de Video y Artes Electrónicas. Centro Cultural Recoleta when they live together in Buenos Aires Argentina. «Videomundo harmony. Virtual» Vdeoinstalation, Centro Cultural Los misterios de Falerei Borges Buenos Aires Argentina. 1996 When I start painting I am 1999 digital art «Arteba’96” Digital Art, Centro Cultural 90 x 90 cm, 35½ x 35½ in Recoleta Buenos Aires Argentina. influenced by everything close to „Depero Virtual“ Digital Art, Gala Espacio me, to my mind, it culd be other de Arte. Buenos Aires Argentina. „Jardines Fractales“ Instalation, Centro artist, objects or music. Cultural Borges Buenos Aires Argen- tina. «Cascade de Estrellas» Videoin- Sometimes people or critics stalation and «Effetto Arcimboldo» make me feel an outsider just Instalation FIV ’96, II Festival Los misterios de Etruria Internacionai de Video y Artes because I am using different 1999 digital art Electrdnicas, Teatro Municipal 30 x 90 cm, 12 x 35½ in General San Martin Buenos Aires techniques. Sometimes they Argentina. 1997 «Arte ErGtico accept me as a part of a new era Fractal» Digital Art, Museo de Arte Americano de Maldonado Punts of artists. dal Este Uruguay. «Arteba’97” Digital Art, Centro Cultural Media, crtics, and the press Recoleta Buenos Aires Argentina. were pivotal in my career, but «Jugando con el Arte» Interactive children’s game Unicef Argen- most of all the feelings of people tina, Centro Cultural Borges Buenos Aires Argentina. «Ilusibn looking at my works. Urbana» Videoinstalation Museo Nacional de Bellas Artes Buenos Aires Argentina

Special Issue 2000 WORLD of ART 17 Eduardo Pla P la E la duardo, J. duardo, M . Gutiérrez 3967 5” 3967 Gutiérrez . A ”, ”, B uenos uenos A ires 1425 1425 ires A rgentina, tel /fa x+1 541 801 8453 e -mail : epla @ ac t.net.ar t.net.ar ac @ epla : -mail e 8453 801 541 x+1 /fa tel rgentina,

Las mil caras de María /Maria’s One Thousand Faces, 1999 digital art 90 x 90 cm, 35½ x 35½ in I nternet : w w w.eduardopla.com.ar w.eduardopla.com.ar w w : nternet

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se LIGIA PODOREAN EKSTRÖM

words By PER OLOF EKSTRÖM ...... ------WITH HER HUSBAND ... THE SWEDISH WRITER pER-oLOF eKSTRÖM

How precocious Ligia Podorean has been! Her bright, temperamental and colorful personality has inherited its vigor from Romania’s toughest and most genuine peasant stock and then it and makes it appro- merged beautifully into a successful symbiosis with the benefits priate for the medita- of culture and education that modern times make available to tive suggestion or everyone, on the basis of personal qualifications and nothing philosophical reflec- else. tion, beyond the emo- She was born in a highland village of Transylvania, not far tional melancholy. from the city of Sibiu. She took her A-levels when she was What appears as the only 17 and was admitted to the Faculty of Architecture crucial characteristic of “Ion Mincu” of Buchrest at the first entrance examination. Ligia’s interiors is the At the age of 23 she graduated as a fully educated fascinating tension between architect and received her diploma. Only one year after the softness and tenderness graduation, Ligia Podorean set off her first personal, of the painting material on the really large-scale project: a new residential area in one hand and the gravity of the the city of Iasi with seven thousand flats, including subject on the other; between all the necessary social, cutural and commercial the fleeting strokes of the brush units. and the feeling of cease-time in Ligia Podorean is an architect by profession a room full of furniture and other but she is a painter at heart. The surprise is objects, expecting a visitor. There stronger because there is no change in her is a sort of unreal gleam which gives means of expression. She mainly uses these interiors a discrete shade of watercolors and landscape is her favorite light and makes them symbols of theme. One should mention another theme permanence, while the objects become though; the “deep inside” theme. This as many guardian angels for a succes- does not generally create a metmorpho- sion of generations. This method is also sis in the artist, but with Ligia Podorean used in films.L et us recall Ettore Scola’s experiences like these work wonders. film “The Family”. Ligia Podorean’s They open up another dimension symbolism, deliberated and inferred, apart from the visual one which is operates along with the creative process, delightful, clear and graceful; she which is slow, elaborated, mental, experienced skillfully uses the same technique and thereby, invaluable.

Special Issue 2000 WORLD of ART 19 Ligia Podorean Ekström Sweden

Ligia Podorean-Ekström born in Transylvania, Romania. Architect AB Stockholm Sweden. 1988-98 Arranges several Sweden. 1988 Borlanges Art Fair Sweden. 1989 Vienna Graduated from Bucharest school of architecture 1958. courses in watercolor in Sweden, Finland, Denmark and Austria. 1991 The Art Fair of Neuchatel Switzerland. 1991 Employment and projects 1958-76 Architect and Switzerland. 1989-93 Arranges several private courses in Saltskogsgård Södertälje Sweden. 1993-97 The 1st, 2nd, 3rd, urbanism for several projects of town planning in Romania. watercolor technical presentation of architectural projects 4th, and 5th International Exhibitions of Miniature of Art, Art 1962-63 Drawing and art decoration at the Jasi art school in for architects in Sweden and Denmark. 1991 Works at the Addition Int’l Gallery,Sweden. 1994-97 The 1st, 2 nd, 3 rd and 4th Moldavia Romania. 1964 Perspective at the civil engineer architecture project “Stockholms förnyelse”. 1994 Works International Female Artist’s Art Exhibition, Art Addiction high school in Jasi. 1977 Married the Swedish writer at the project “Sarajevo Now”. Stockholm Sweden. 1997 “A Better World for our Children” Per-Olof Ekström and emigrated to Sweden. 1983-92 Group exhibition and art fairs 1979-80 Stockholm International Female Artist’s Art Exhibition, Art Addiction Teaches watercolor painting at art schools in Sweden. and Mantorp Sweden, Ribe and Viborg Denmark, Stockholm Sweden. 1998 The 1st and 2nd “Masks in Venice” 1985: Arranges painting courses for Swedish architects in Bucharest and Art Museum Constanta Romania. 1983- small forms international art exhibition Palazzo Correr / Romania. 1987-89 Teaches watercolor, drawing, art history 84 Toronto Canada, Heidelberg Germany, Stockholm, Art Addiction Venice Italy. 1998-99 The 1st and 2nd Autumn at the Academy of Art of Närpcs Finland. 1987 Starts Östersund Sweden, Vienna Austria. 1985 Padova Italy. Annual in Venice, international small forms art exhibition her private architecture office and art office in Sweden. 1981 Art Association of Foreign Artists in Stockholm Palazzo Correr / Art Addiction Venice Italy. 1999 The 1st 1989-93 Employed as architect and artist by Stjernan Sweden. 1981 Svea gallery 20th anniversary, Stockholm Spring Annual in Venice, international art exhibition

words by mircea deac

Lights of the North Few regions of Europe seem to have such What Ligia Podorean-Ekström has achieved in colors. In defining her work which is being more intensely rich and diverse scenery, such picturesque her pictures will be to many a striking disclosure, and more appreciated, we may stress her gift of settlements as the northern countries. The seas even to the calm and self-controlled Northerner catching the natural effects of light through clear and oceans which wash their shores jagged by who will find new sea- and landscapes full of color colors and of rendering the specific local character fiords, their small islands, rocky tablelands and exuberance and light. It seems that just as the significantly and truly. fresh water lakes, their mountains and woods Gulfstream has brought the warmed waters of the She is attracted by real life and loves the exact which shield towns and villages, their gay cottages Tropics to the Scandinavian coast, so has Ligia fact. Although the details she ‘observes and notes with luxuriant gardens, the ports and modern brought the brilliant colors and light of the South down are sometimes minute, they do not exclude buildings, the old and the new town are only to the northern countries. Her palette, rich in the spontaneous creation or casual and imagined some of the “wonders” which begin to draw colors, rather latin through the warmth of her particulars. In order to define the painter’s aesthetic artists anxious to catch the less-known beauty spontaneous and explosive, yet harmonious outlook we have to start from the visual truth, spots, which have increasingly become sources of handling has fitted in with the northern light, the perception which is conveyed to the artist aesthetic delight. The painter Ligia Podorean has the Danish and Swedish sea and landscapes, through her senses. rendered the images of these novel beauty spots which have been visualized in her canvases in Ligia Podorean was born in Romania, in a with sincerity and spontaneity. terms of light. mountain village of Transylvania. She studied In her pictures she unites the talent of an artist Her oil paintings and watercolors obviously unite architecture in Bucharest. From the plastic born under the Latin climate of Romania, loving the objectivity and precision of the architect who viewpoint she is inclined to use pure colors, without the sunshine and light, a keen spirit of observation discovers, “builds” and changes the landscape, being preoccupied with matter, volume, line or and the scientific precision, which her profession with the talent of the artist who has a keen eye outline. Her only concern is with her own pleasure as an architect has marked her, with her love for for color. The outcome of this combination is an and aesthetic delight. Light and color have given the northern countries strengthened by family ties, original, expressive and highly personal style. It her a spontaneous and creative impulse. Visual interest in art and friend-ship with artists. It is the is the watercolor technique she prefers, because perception and emotion are prevailing in her work. latter that has prompted her to set up the circle of of its fluidity and transparency better suited to They have raised her liberty of creation to an painters known as the Swedish Group. rendering and suggesting the northern light and aesthetic and technical artistic ideal. »

Venezia, 1998 watercolor 40 x 50 cm, 15¾x 19½ in Amsterdam, 1992 watercolor 29 x 42 cm, 11½ x 16½ in

Lausane 1999 drawing 22,8 x 18,5 cm, 9 x 7¼ in

20 WORLD of ART Special Issue 2000 Ligia Podorean Ekström Sweden

Palazzo Correr /Art Addiction Venice Italy. 1999 The 2nd 1998 Galleri Astrån, Stockholm. 1999 Galleri Svarta Sweden; University of Stockholm - Town planning, Sweden. Autumn Annual in Venice, int’l art exhibition Palazzo Correr Sofan, Stockholm. 1998-2000 Internet Art Museum: Summer University Vasa Finland. Kulturhuset and various /Art Addiction Venice Italy. www.artaddiction.se 2000 Greek Culture Center Stockholm cultural associations in Sweden. Individual exhibitions 1964-76 Six individual water- Sweden; 2000 Art Museum Brasov Romania. International Congresses 1983 Vienna Austria. color exhibitions in Bucharest Romania. 1977 Malmö, Collections The National Museum of Ribe and Vibork, 1984 Toronto Canada. 1985 Milano, Padova, Modena, Italy. Stockholm and Östersund, Sweden. 1977 Ribe Art Museum Denmark; The National museum of Brasov Romania; 1991 Constanta Romania. 1992 Sibiu Romania. 1993 Iasi, Århus, Silkeborg and Abenra Denmark. 1981 Sibiu and Department of culture in Sibiu and Bucharest, Romania; American-Romanian Congres. Brasov, Romania. Stockholm Sweden. Århus Denmark. Department of culture in Bucharest Romania; Private, Awards 1970 The annual fine art award of theA rchitects 1988-89 The Museum of Stundars Finland. 1991 The national and corporate collections round the world: Roma- Union of Romania. 1989 Award for town planning architec- National Art Museum of Brasov Romania. 1993 Geneva nia, Sweden, Denmark, Finland, Switzerland, Germany, ture project Strängnäs Sweden. 1994 Award the Honorary Switzerland. 1995 Guest exhibition at the foreign Ministry Austria, France, Spain, Italy, Canada and USA. Mention at the 1st Int’l Female Artist’s Art Exhibition, Art in Bucharest Romania. 1996 Greek Culture Center in Guest Lecturer in Romanian ancient culture Addiction Sweden. 1998 Award the Certificate of Merit at Stockholm. 1997 Gallerie de la Fontenette, Geneva and architecture Architecture Museum, Stockholm the “Masks in Venice” Italy. 1999 Award the 1st Diploma of Switzerland.1998 Galleri Panorama Art, Stockholm. Sweden. Architecture School Stockholm, Goteborg, Åirhus, Merit at the Spring Annual in Venice Italy.

She discovers and sees in nature only what she paint. She therefore paints swiftly, as swiftly as decorous. The waves of the sea, the sky with its is interested in and what she feels drawn to. At possible, spontaneously and sincerely, in order fleeting clouds, the sunrays playing amidst the the same time she is inclined towards synthesis, to render the evanescent impression, the effect foliage, the rain, mist, snow with its glitter and rejecting a too insistent analysis (synthesis belongs which transient light leaves on the landscape. In glimmer, the cottages of the countryside, the to art whereas analysis belongs to science). She this lies the beauty of her art. She achieves an exact bridges of the towns, the different novel scenes applies those artistic laws of necessary relations image of the luminous nature, genuinely, sincerely, of nature, the woods, flowers, etc., have been between objects and color and, like Diderot, spontaneously and truly. discovered by the artist and displayed to the public thinks that the idea of beauty is the perception of Her painting identifies itself with the act of in her exhibitions. these relations. natural creation. The artist is lucid, critical and To her new way of visualizing the world Ligia Her outlook is impressionistic and gives the has a scholarly, yet highly personal expression in Podorean-Ekström has also brought a new aesthetic unity to her paintings which render “the her pictures. She is thoughtful without troubling technique, as is only to be expected. Firstly, she impression” of the world such as it was felt directly the balance of the natural elements. Her pictures renders natural elements under the deforming by the artist. What is important in her work is her are at the same time moral. Nature has become the action of light, and then gives up drawing, the special vision, which the artist has formed about confident of the artist. The fragility of the snapshot, outline and that precision of forms that suggest things and not about what she knows about them. the life out-of doors, the swift on-the-spot sketches volume at the same time. Neither does she pay Andre Gide said in that respect in Les Nourritures are still at the beginning. much attention to perspective. Terrestres, “Any act of knowledge which follows a The artist is closely linked to the scenery, to No longer observing the rules of geometry, she sensation is useless.” what we might call the spirit of the place, to her tries to suggest depth and height by special half Nothing excites more directly the reaction of personal aesthetics and less to the technique of tones, thus rendering space and volume. She is a sensation than light and its various shades. the impressionists. Nature is the study of bright also concerned with tonality in her pictures, for Although light had already been the concern of structures, a reason for emotions, exchanges, the degree of intensity of a hue (the quality of a painters in other epochs, in contemporary art, sensations impressions and reactions, a manner of color) from dark to light becomes essential. particularly since the impressionists, it has become expressing her sincerity artistically. Everything is Her force of suggesting and evoking, her the fundamental element of painting, by being based on observations echoed in her consciousness, sensitivity, accuracy, sincerity and spontaneity; sometimes turned into subject matter. thus creating the validity of these observations in are the distinctive qualities of the artist. it is thanks In the northern scenery Ligia has discovered light her pictures, but not their pure identical copy. The to them that she succeeds in mowing us into a and color according to her own manner. That light painter introduces dynamism, a feature of modern wonderful world of light, into a serene country set and atmosphere have moved and prompted her to art, although her pictures still remain calm serene, in the picturesque landscape of the North.

Tolledo Stockholm Stockholm II 1989 watercolor 1991 watercolor 1991 watercolor 29 x 21 cm, 11½ x 8¼ in 21 x 15 cm, 8¼ x 6 in 21 x 15 cm, 8¼ x 6 in

Special Issue 2000 WORLD of ART 21 Ligia Podorean- Ekström Ligia Podorean E kström, L otsgatan 7, S otsgatan E -116 36 Stockholm Sweden, tel+46 8 6438128 tel+46 Sweden, -116 Stockholm 36

Milan Cathedral, 1998 watercolor on paper 42 x 29 cm, 16½ x 11½ in

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se THE TRADITION OF THE BEST VENETIAN CUISINE AND A FRIENDLY ATMOSPHERE VENEZIA petru russu SWEDEN

Born 1955 January 27 Reghin (Transylvania), Romania. Dual ART RELATED EMPLOYMENTS Founder and director of Art Norwegian Int’l Miniature Exhibition, Miniature 7, Fredrikstad citizenship, Swedish and Romanian. Addiction International Gallery in Stockholm and World of Art, Norway; 1991 Viking Erotica, Glass Forms, Individual Exhibition, EDUCATION Graduated from the Fine Arts Academy of Cluj- international art magazine. Risse Gallery Munches Germany; 1990 The 11th Print Int’l Award, Napoca 1978. Italian Government Studentship 1986. SELECTED EXHIBITIONS 1975-1997 1997 Contemporary Graphic Biella Italy; 1990 The 5th Annual Int’l Exhibition of Miniature Art Art creativity includes a limited edition of 100 etchings inspired Art from Finland and Sweden, University of Virginia /Fayerwather Toronto Canada; 1990 The 10th Mini Print Int’l Cadaques Spain; by Boccaccios’ (1985), limited editions of etchings inspired by Gallery USA; 1996 The 8th Int’l Print Triennial, Creativa, Alvar Alto 1990 The 9th Int’l Print Triennial, Berlin, Germany; 1989 ”The Umberto Eco’s ”The Name of the Rose” and ”The Pendulum of Museum Finland; 1994 Int’l Impact Art Festival, Kyoto Japan; Pendulum of Foucault” Individual Exhibition, Gummeson Gallery Foucault” created in (1987~1989). He has works in museums, 1994 The 3rd World Print Triennial, Chamalieur France; 1994 The Stockholm Sweden; 1989 “The name of the Rose”, and ”Decam- public, corporate and private collections. 14th Mini Print Int’l, Cadaques Spain; 1993 Viking Erotica, glass, erone 100 etching” Individual Exhibition Konstnärshuset, AFILIATIONS KRO /Swedish Fine Artist’s Organisation; AAIAA Individual exhibition, Gallery Glass I, Stockholm Sweden; 1993 Stockholm Sweden; 1989 ”The Name of the Rose” Individual /Art Addiction International Art Association; UAP /Romanian Alternative, group exhibition, Gallery Glass I, Stockholm Sweden; Exhibition, Centro Lavoro Arte Milan Italy; 1989 The 5th Int’l Art Fine Artist’s Organisation. 1993 International Summer Art Colony, Gällivare Sweden; 1992 Biennale, Couven Belgium; 1989 The 3rd Annual Int’l Exhibition RADIO AND TELEVISION TVS 2 Sweden 1994, Canal 4 Sweden The 10th Norwegian Int’l Print Triennial, Fredrikstad Norway; of Miniature Art Toronto Canada; 1989 The 8th Mini Print Int’l 1993, TVR Romania 1993, STV 1 Sweden 1989 (with Umberto 1992 The 8th Norwegian Int’l Miniature Exhibition, Miniature 8, Cadaques Spain; 1989 Int’l Miniature Print Biennial, John Szoke Eco), RTV Romania 1989, Tele Tevere Italy 1987, TVR Romania Fredrikstad Norway; 1992 The 12th Mini Print Int’l, Cadaques Gallery New York USA; 1989 The 6th Int’l Biennial of Graphic 1980, P3 Europe Sweden 1994, Radio Romania 1997, 1989, Spain; 1991 ”New Paintings” Individual Exhibition, Pulchri Gallery, Art, Lods Poland; 1989 The 9th Norwegian Int’l Print Triennial 1987, 1980, 1978, 1976. Represented in Flash Art Int’l, Art Diary The Hague Holland; 1991 The 11th Mini Print Int’l, Cadaques Spain; Fredrikstad Norway; 1989 The 9th Int’l Biennial of Humor and Int’l, Art News 1991 Int’l Graphic Art, Darien, Connecticut, USA; 1991 The 7th Satire in the Arts Gabrovo Bulgaria; 1989 The Name of the Rose,

Words by Dan Hãulicã Honorary President of the Art international Critic Association (A.I.C.A.)

In Petru Russu’s engravings for Boccaccio’s himself-while he was writing about Dante-used the artistic attitude of Petru Russu is like a sort Decameron, the twisted frenzy of the bodies to wonder if his illustrious master might have of a dialogue around the origins of the middle arouses an impression of true release. It is a been angry up above. Boccaccio will not be European Expressionism. Nevertheless, here release that breaks limits, avoiding the difference angry, because he himselflook a lot of freedom the artist privileges the game among historical- between styles, social situations and historical- regarding the epic matter he utilized. It was the stylistic connotation which overcome that main geographical sites. They are not “illustrations” freedom of a superior distance. Boccaccio was quality: suddenly he wants to reach a formal confined to a particular moment of the European the first author capable of dominating the most mechanism verifiable in the entire cycle dedicated history: although within the images there are different subjects-both from a social-historical to Calendrino, with all those lamentable cases some allusions to the fashion of that age, a sort and popular-dialectal point of view-with that that Boccaccio assigns him. It is a mechanism of set-designing care, everything wrapped around distance that belongs to the artistic discipline. comparable to some tendency of the modern art: a dance of vitality that doesn’t want to accept I think that this example is very important not the mechanic anatomy of Picabia’s drawings, stylistic appearances. In the end, the sensation we only for those who create illustrations for books, Duchamp, the facetious combination of Tinguely have is a dépaysement deriving from this attitude, but also for those artists who confront themselves and Luginbuhl, where the sense of humor doesn’t not from a method. A dépaysement that is not with this gigantic masterpieces’ provocation. exclude an accent of restlessness. a metaphorical book learning distance, but an Boccaccio dominates the subject. He In Russu’s work, these mechanisms are easily aspiration for the totality that excludes pedantic reconsiders the epic plot and at the same time, comparable to an inner organ. The funnels, the philological discriminations. he framed it inside the rigorous structure of the crutches and all the mechanisms of that artistic While he was setting up his exhibition, an Decameron, inside sentences where the liveliness tradition become in some of his engravings Italian pointed out some similarities with Chinese of the quip and of the dialectal allusion obeys the similar to the movement of the watches of Callot’s art. Someone else found analogies with the vivid discipline of a rhythm. A rhythm, distinguished engraving, a world in which this dimension has chromatic of the popular Mexican engravings. by participles with a latin flavor and by everything already gone through the vulnerability of human Nevertheless, the exoticism of Petru Russu’s that recalls the rules, the refined modalities of nature. images comes from a sort of poetic latitude, creating a phrase with nobility, as it is in the In our technological time, this dimension- from a distance that he assumes in front of the tradition of the ancient rhetoric. both mechanical and organic-perfectly obeys a narration of the facts. It is -at the most-the same This mixture of promiscuous vividness that contemporary attitude. It is not casual in fact, exoticism used by Boccaccio when he imagined forms Boccaccio’s subject an-at the same time-of that Petru Russu has already been invited to Saladin traveling around the Christian world, high artistic discipline, it seems to me a theme that participate at exhibitions regarding themes around Lombardy, to test the hospitality and deserves consideration from anyone who wants to about the contemporary experimentalism: the magnanimity of the same people he wanted approach this text. It is important to feel pushed “Space-Mirror”, “Alternative”; but he has to fight. to a certain attitude, as Russu did exhaustively also demonstrated his interest for that subject There is an entire cycle of medieval legends dealing with the Decameron universe. in his solo-shows. Undoubtedly, he likes this about Saladin. Recently, I have met an eminent Petru Russu comes from Transylvania. His kind of investigation. Here, in his work, about art scholar, descendant of a distinguished art seems influenced by some expressionist Boccaccio’s Decameron, he has transferred Crusader knight that had the fortune to benefit master: Kokoschka in his best period (1914), all his fundamental problems. In fact, when from that magnanimity. He was captured by with his unique chromaticity and his particular an illustrator approaches a masterpiece of the Saladin, who then set him free, on the condition way of considering the space of the page; past, it is legitimate that he carries with himself that he paid the ransom once he had returned to Kandinsky, with the twisty strength of this all his cultural background, his problems, his his house. But when the knight returned home, image. Consequently, we can easily say that sensibility. he didn’t find any money to pay the ransom. So, Petru Russu is a courageous artist. During the he decided to go back to prison. Saladin was years his work has been correlated by austere impressed by his gesture, and set him free once and sober solutions, as by more provocative, again only on the condition that he change his colorful liveliness. All these prolific variations name to Saladin d’Anglure. This name still exists are characterized by two main things: the after 800 years. stimulating resumption of a great cultural model, I make this example, because the exoticism the importance of a certain persistency. of Petru Russu tells of a magnificent East. An The fact that Boccaccio was one of the first East of admiration and wonder, that has nothing readers of Homer’s original texts and an artist to do with the tendency to indulge in detailed capable to conjugate the “holly studies” with descriptions. It is this exoticism I am writing an apparent frivolousness, can conduces-as about. An exoticism that Russu seems to bend illustrators-to assume as a gift this prolific into science fiction, populated by characters that persistency.* look like ancient Egyptians, or Chinese princes dressed with hundreds of jade stones, as the ones discovered by the archeologists. Boccaccio will not be angry for such interpretation. He

24 WORLD of ART Special Issue 2000 petru russu SWEDEN

Individual Exhibition, Arta Gallery, Arad Romania; 1988 The 2nd Int’l Biennial of Graphic Art Ljubljana Slovenia; 1987 Int’l Exlibris Xalapa City, Mexaly, Ensenada, Mexico; 1987 The 1st Int’l Print Int’l Exhibition of Visual and Experimental Poetry, San Diego USA; Competition, S:t Niklaas Belgium; 1987 ”Decamerone,100 etch- Biennial, Campinas Sao Paulo Brazil; 1986 The 12th Int’l Biennial of 1988 The 5th Int’l Biennial of Graphic Art Heidelberg Germany; ings” Individual Exhibition, Campuslibri Gallery, Torino Italy; 1987 Print Kanagawa Japan; 1986 The 7th Int’l Triennial of Graphic Art, 1988 The 2nd Annual Int’l Exhibition of Miniature Art Toronto ”Asino D’oro” Individual Exhibition, Galateea Gallery, Bucharest Frechen Germany; 1986 The 7th Int’l Biennial of Art, Mouscron Canada; 1988 The 4th Norwegian Int’l Miniature Exhibition, Romania; 1987 The 8th Int’l Graphic Triennial, Intergraphic, Berlun Belgium; 1986 The 25th ”Juan Miro” Int’l Drawing Contest, Miniature 4, Fredrikstad Norway; 1988 Int’l ExLibris Prize, Germany; 1987 Decamerone, Individual Exhibition to Romanian Barcelona Spain; 1986 The 1st Int’l Triennial of Drawing, Kalisz D’Annunzio, Pescara Italy; 1988 Int’l Drawing Exhibition ,Drawing Academy Gallery, Roma Italy; 1987 The 4th Int’l Triennial of Graphic Poland; 1986 The 1st Int’l Art Exhibition ”Arts of Today” Budapest 88, Pecs Hungary; 1988 Decamerone,100 etching”, Individual Art, Vassa Finland; 1987 The 5th Int’l Biennial of Graphic Art, Lods Hungary; 1986 Int’l Print Exhibition, Hautefeuille Gallery Paris Exhibition, Art Museum Craiova Romania; 1988 Int’l Exhibition, Poland; 1987 The 8th Int’l Biennial of Humor and Satire in the France; 1986 Decamerone, 100 etchings, Individual Exhibition, Author Love, Centro Lavoro Arte Milan Italy; 1988 Art Fair, Bologna Arts, Gabrovo Bulgaria; 1987 The 4th Int’l Art Biennial, Couven Italian Institute Bucharest Romania; 1986 Int’l Mail Art Exhibition, Italy; 1988 Eugenio Mondale, Sao Paulo Brazil; 1988 Romanian Belgium; 1987 Int’l Art Exhibition Osaka Japan; 1987 The 2nd Noumea New Caledonia; 1986 ”Decamerone, 100 etchings” Contemporary Graphic Exhibition, Gallery Konstnärhuset Int’l Art Exhibition Arts of Today, Budapest Hungary; 1987 Int’l Individual Exhibition, Hellios Gallery Timisoara Romania; 1986 Stockholm Sweden; 1988 The Name of the Rose, Individual Mail Art Exhibition Shadow Project, Milan Italy; 1987 The 1st Int’l Graphic Exhibition, Espace Delpha Paris France; 1986 Exhibition, Italian Institute Bucharest Romania; 1988 Romanian Int’l Exhibition of Contemporary Authors, Abruzzo and Molise Decamerone, 100 etching, Individual Exhibition, Art Museum Contemporary Art Belgrad Yugoslavia; 1988 Romanian Contem- Italy; 1987 Int’l Mail Art Exhibition, Kassak-Schwitters”, Zamky Craiova Romania; 1986 Paintings & DrawingsIndividual Exhibition, porary Art, Tel-Aviv Israel; 1987 The 4th Int’l Biennial of Graphic Art, Czechoslovakia; 1987 The 1st Annual Int’l Exhibition of Miniature Alfa Gallery Arad Romania; 1986 Space-Mirror, Group Exhibition, Art Prize Stuttgard Germany; 1987 Decamerone, 100 etchings, Art Toronto Canada; 1987 The 2nd Int’l Biennial of Visual and Architecture Academy Bucharest Romania; 1985 The 24th Juan Individual Exhibition D’Arts Gallery Milan, Italy; 1987 The 17th Alternative Poetry, Mexico Tijuana, Veracruz, Mexico City, Puebla, Miro Int’l Drawing Contest, Barcelona Spain; 1984 Romanian »

Il decamerone Giornnata settima /Novella ottava 1987 Etching aqua forte aqua tint 20 x 29,5 cm /8 x 11½ in (image size) 32 x 42 cm /12½ x 16½ in (paper size)

Words by Enrico Crispolti Art Critic RomA Italy

For what I know now, in Petru Russu’s painting the text. technological mechanics and organic unity”. the imaginary seems to develop with an accent of Russu’s figurative tales are not descriptive. They Actually, the visionary world of Petru Russu visionary expressionism rather dramatic, arousing, are only in connection with the text for a pure, seems to allude to both those dimension, as two excited. This particular artistic attitude tests the fantastic solicitation that the artist renews time competing archetypes in the folds of our reality. reality through the upcoming of a symbolic-oneiric after time. The text is a sort of pretest to stimulate They seem to be indistinguishable inside his awareness and in a sharpening that could even his own taste, his own genius for a narrative plot visionary plot, where the explicit components change into a scream. It is a painting of profound, derived from his pure, fantastic, visionary world, are just the floating presences of surreal symbolic psychic investigation. A violent confession of in witch emerges symbolic presences, archetypal figures. Those dimensions remain at the stage of * anguish. Russu’s is crowded by presences, which and mysterious. spheres of allusion. They are references of the Ital i bring dramatically back the reality to a truth of His sheets are precious for their vivid, but mechanical plot of our contemporary world and a archetypes, that the artist put in contrast with the softened chromatic that insinuates among the of the iconic plot that chases us daily. But they n E n leveling of the daily horizon. spaces made by a skillful etching mark aware of are even references of a remote organic root, of gl

In this engraving work, this visionary attitude is the expressive qualities of that medium. In front an anthropological truth on which are based T ish more accentuated by a narrative easing. It loosens of Russu’s engravings, we have the sensation of the motivations of a visionary symbolism, like the dramatic tension. It gains the pleasure of a being in the front of ancient miniatures, singularly Russu’s one.* ra ns

pure dreaming-about. It becomes lighter, ironic, “oriental”, suddenly animated by tensions lat motioning. The plot moves towards dimensions of enchantments, oneiric but actual starts and plots. i o pure imagination, as it happens in the exercises of Undoubtedly, there is a surrealist component in A n by a machine that belongs to the world of fantasy. Russu’s figurative world, that gives to the author

The characters come alive in a metamorphic the freedom to reach a fantastic dimension as space Pagnes ndrea dimension. They cross each other into fantastic of visionary revelation (here we can’t forget the spaces. They are free from every logic, apart from great lesson of the Romanian Brauner, with his the one based on the necessity of their narrative peculiar, archetypal surrealism). plot. The same narrative plot that Russu’s fantasy Regarding these same Russu’s sheets, Dan has developed in a game of possible analogies with Haulica spoke about a ”double dimension of

Special Issue 2000 WORLD of ART 25 petru russu SWEDEN

Contemporary Art Exhibition, The Hague Holland; 1984 Romanian Sweden; 1996 The 3rd Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; 1998 Masks in Venice 1, Contemporary Art Exhibition, Jerusalem Israel; 1983 Romanian Addiction Gallery, Stockholm Sweden; 1996 Graphic Addictions, Art Addiction Annual Exhibition, Art Addiction /Palazzo Correr, Contemporary Art Exhibition, New York, Washington, Detroit, The 3rd Int’l Graphic Art Exhibition, Art Addiction Gallery, Venice Italy; 1998 The 1st Autumn Annual in Venice, Art Addiction Columbus USA; 1983 Romanian Contemporary Art Exhibition, Stockholm Sweden; 1996 ”Addictions”, The 1st Int’l Small Graphic /Palazzo Correr, Venice Italy; 1998 The 5th Int’l Female Artist’s The Hague Holland; 1983 Int’l Art Exhibition, La Rochelle France; Art Exhibition, Art Addiction Gallery, Stockholm Sweden; 1996 Art Annual, Art Addiction Gallery, Stockholm Sweden; 1999 The 1983 Romanian Contemporary Art, Corner Gallery Copenhagen Contemporary Italian Art, Art Addiction in Stockholm Sweden; 1st Spring Annual in Venice, Art Addiction /Palazzo Correr, Venice Denmark; 1980 Individual Exhibition, Orizont Gallery Bucharest 1996 The 4th Int’l Exhibition of Miniature Art, Art Addiction Gallery, Italy; 1999 Masks in Venice 2, Art Addiction Annual Exhibition, Art Romania; 1975~1989 More then 100 group or individual exhibitions Stockholm Sweden; 1997 Femina, Female Artist’s Art Int’l Small Addiction /Palazzo Correr, Venice Italy; 1999 The 2nd Autumn in Romania. ART ADDICTION 1993~2000 1993 The 1st Int’l Forms Open Exhibition, Art Addiction Gallery, Stockholm Sweden; Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; Exhibition of Miniature Art, Art Addiction Gallery, Stockholm 1997 ”Graphic Addictions”, The 4th Int’l Graphic Art Exhibition, 2000 The 2nd Spring Annual in Venice, Art Addiction /Palazzo Sweden; 1994 Graphic Addictions, The 1st Int’l Graphic Art Art Addiction Gallery, Stockholm Sweden; 1997 World of Art, Correr, Venice Italy; 2000 Masks in Venice 3, Art Addiction Annual Exhibition, Art Addiction Gallery, Stockholm Sweden; 1994 The 1st Art Addiction Int’l Drawing Competition, Art Addiction Gallery, Exhibition, Art Addiction /Palazzo Correr, Venice Italy; 2000 ART Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Stockholm Sweden; 1997 Most Talented Artist, Art Addiction 1st internet, Internet Art Museum /www.artaddiction.se; 1993 - 2000 Sweden; 1994 The 2nd Int’l Exhibition of Miniature Art, Art International Prize, Art Addiction Gallery, Stockholm Sweden; 1997 Permanent Member of the Art addiction International Honorary Addiction Gallery, Stockholm Sweden; 1995 Graphic Addictions, Contemporary Italian Art, Art Addiction in Stockholm Sweden; Prize Jury; 1994 2000 Internet Art Museum /www.artaddiction.se; The 2nd Int’l Graphic Art Exhibition, Art Addiction Gallery, 1997 The 5th Int’l Exhibition of Miniature Art, Art Addiction Gallery, 1998 2000 Member of AAIAA /Art Addiction International Art Stockholm Sweden; 1995 The 2nd Int’l Female Artist’s Art Annual, Stockholm Sweden; 1997 The 4th Int’l Female Artist’s Art Annual, Association; Art Addiction Gallery, Stockholm Sweden; 1995 The 3rd Int’l Art Addiction Gallery, Stockholm Sweden; 1998 A better World ADDRESS Mörbylund 19, 9tr; SE-182 30 Danderyd Stockholm Exhibition of Miniature Art, Art Addiction Gallery, Stockholm for our Children, Female Artist’s Art Int’l Open Exhibition, Art Sweden Tel/Fax +46 8 85.72.64 E-mail: [email protected] d Il d Il d Il ec ec ec a a a me me me ro ro ro ne G8 N G8 ne ne G8 N G8 ne ne G3 N G3 ne 10, 1987 Et 9, 1987 Et 1, 1987 Et chin chin chin g 29, /11½ x cm 5 x 20 im x 8 in g 29, /11½ x cm 5 x 20 im x 8 in g 29, /11½ x cm 5 x 20 im x 8 in ag ag ag e size e size e size e size

Words by Ingrid Rose, Art Critic, The Washington Print Club, Washington DC USA

The entire suite of 100 prints of Boccaccio’s Decameron by Petru Russu on view ...the artist was there, too. That was too much plates because iron, according to him, lent itself be tempted to reread Boccaccio’s tales. Russu of a good thing, and I asked whether I might better to illustrating the Decameron than copper provides an image of 14th century Italian life by interview him for my print collector friends in or zinc. Zinc plates, by the way, are often used weaving certain artifacts into his graphic tale. the States. The idea was lovingly accepted. by printmakers for etching intaglio prints, while Checkerboard tablecloths, wine glasses, rigged I was delighted that by pure coincidence we plexiglass or similar material is preferred for sailing vessels, horsemen and horsewomen, may be able to look into the working habits of engravings. Russu explained that the edges of the headgear of the period appear throughout one printmaker. his plates were irregular and crooked on purpose the prints, in variations. Men and women are Russu said that as a 14 year old he had read because he wanted to simulate the condition and barely humanoid, heads, torsi, limbs are floating the Decameron. The erotic tales ruminated in looks of an original edition of the tales which in space, disconnected, yet making sense and his mind while he was growing up, and some he thought would be printed on vellum or early fitting together. Banquet tables with checkered 15 years later he decided to make 10 prints of handmade paper and certainly not have an even, tablecloths are overturned, wine glasses have the tales that had impressed him most. Once ruler-straight edge. The broad, deeply bitten fallen down, unbroken, the wine flowing out. A begun in late 1983, however, he did not finish lines in the plate that sit massively on the paper’s real orgy. One head with a Cocteau-like profile until he had illustrated all the tales on 100 plates surface are the result of dipping the prepared is barely connected to a necktie of the 20th two years later. He printed the edition of 10 plate repeatedly into sulphuric acid. century. Limbs terminate in stumps or clumps or impressions per plate himself. While working, Russu also changed his geometric finials. The anthropomorphic shapes Initially, he worked in finely drawn black technique. In the early plates, fine nervously in prehistoric caves come to mind. lines and brown-toned aquatint, printing 3 to vibrating lines crisscross the plate or run Russu the printmaker forces the viewer 5 impressions of each plate in these subdued parallel. Over time, these sensitive lines give to return to his prints and try to interpret the colors. As he went on working, he found way to single, strong cords, solidly incised meaning of their iconography. While they are himself changing and added stronger colors in into the plate and solidly stacked on the paper, immediately attractive visually, they ask for aquatint. Today, he said, he prefers again more surrounding the aquatinted areas like a wall. more attention in the long run. subdued colors and is even thinking of printing Deciphering the eroticism of t he in black and white only. He worked with iron iconography was a challenge. One may even

26 WORLD of ART Special Issue 2000 edith suchodrew

Edith Suchodrew unreal landscape idyll Nº 2290499 1999 computer graphic en d e m Sw ol ckh d Sto y r e d n a -182 30 D -182 . SE tr 19, 9 d 19, un l by r ö +46.8.857264 [email protected] www.artaddiction.se ART ADDICTION ART M edith suchodrew germany

Born 1953 in Eupatoria Latvia. de Mar, Barcelona Spain; 1994 The Art CentreSeoul Korea; 1995 Better World for our Children ”Int’l Exhibition, Art Addiction 1991 Residence in Aachen Germany. Joensuun Taidemuseo, Joensuu Finland; 1995 1999 Galeria Sweden; 1998 The 1st ”Masks in Venice” Art Addiction, Palazzo EDUCATION 1971 Finished the middle school of arts by Latvian l´etang d ´art, Bages France; 1996 Museu de Sant Joan, Lleida Correr Venice Italy; 1998 The 1st World Small Printing and Academy of Arts in Riga Latvia; 1981 Graduated the Latvian Spain; 1996 1997 Pablo Casals Music Festival, Prades France; Exlibris Works Exhibition, Beijing China, Tianjin China; 1998 Academy of Arts in Riga Latvia as Graphic Artist. 1998 1999 Article 26 Gallery, Barcelona Spain; Travelling Panama Project of Incident Art by Computer ”Virtual Image” INTERNATIONAL EXHIBITIONS 1984 1999 Bratislava CSSR, Exhibition of Mini Print Int’l, Cadaques Spain; 1996 Centro de Galeria DEXA Universidad de Panama; 1998 The 1st Autumn Rostock DDR, Vilnius LITSSR, Sofia Bulgaria, Frederikshavn Arte Moderno Museo Guillermo E. Hudson, First Int’l Meeting of Annual in Venice, Art Addiction, Palazzo Correr Venice Italy; Denmark, Sint -Niklaas Belgium, Oss Holland, Paris France, Mail Art, Exlibris and Graphic about Guillermo Enrique Hudson, 1999 The 1st Spring Annual in Venice, Art Addiction, Palazzo London Great Britain, Belgrad, Ljubliana Yugoslavia, Lausanne Buenos Aires Argentina; 1996 The 1st Int’l Exhibition of Small Correr Venice Italy; 1999 The 2nd ”Masks in Venice” Art Switzerland, Glasgow Scotland, Buenos Aires Argentina, Graphic Art, Art Addiction Sweden; 1997 The 4th Int’l Graphic Addiction, Palazzo Correr Venice Italy. 1999 The 2nd Autumn Beijing, Tianjin China; 1989 The 5th Int’l Graphic Biennale, Art Exhibition, Art Addiction Sweden; 1997 The 4th Int’l Female Annual in Venice, Art Addiction, Palazzo Correr Venice Italy. Varna Bulgaria; 1993 1994 The ”Prix Ars Electronica” Int’l Artist’s Art Annual ”We are different” Art Addiction Sweden; SELECTED PERSONAL EXHIBITIONS 1974 Congress for Culture Compendium of the Computer art, Austrian radio, Linz Austria; 1997 The 5th Int’l Exhibition of Miniature Art, Art Addiction, USSR-France: Art Exhibition, Cinema Palladium,and the Institute 1995 1997 1999 Biennale of Small Graphic, Sint-Niklaas Belgium; Sweden; 1997 ”Femina” The 1st Int’l Female Artist’s Miniature for Traumathology and Orthopaedy, Riga Latvia; 1982 Exhibition Int’l Exlibris Exhibition Sint-Niklaas Belgium; 1992 1999 Mini Art Annual, Art Addiction Sweden; 1997 Meeting Art Fax of Graphic and Water Colour Art, Factoy Radiotechnique, Print Int’l Exlibris Exhibition, Taller Galeria Fort Cadaques, “The Human Body”, Centro de Arte Moderno Buenos Aires Riga Latvia; 1982 1989, 11 Art Exhibitions, the Sanatorium Girona Spain; 1992 1999 Arts & Music Festival, Wingfield Great Argentina; 1997 Int’l Printing Meeting Auditorium de UCMQ, Jaunkemeri, Jurmala Latvia; 1983 Exhibition of Graphic Art, the Britain; 1993 1997 100th Int’l d´Arquitectura de la vila de Canet Quilmes Buenos Aires Argentina; 1998 The Femina Project ”A Club for Republics Cinema Amateurs, Riga Latvia; 1986 1987 Art

words by Doris Suchodrew, Diplomat Bioligist Physiologist

Edith Suchodrew - a as oil painting, silk and highly creative artist - is porcelain painting, well known in many towns computer graphic and and countries. animation. Born in Eupatoria, Edith With oil painting Suchodrew graduated in continues a colored period, 1971 from the middle which takes a new way school of arts by Latvian with computer graphic, Academy of Arts in Riga, animation and watercolors Latvia, and in 1981 she after the “black - white” graduated from the Latvian phase. Academy of Arts as a Bigformated oil pictures Graphic Artist, Diploma with several, often with Free Fine Art. dramatic themes, make the

In the course of time and creative activities richer. Edith Suchodrew, unreal landscape idyll through her artistic Portraits and figurative Nº 3160599 1999 computer graphic activities, she has always painting take an important developed in many place in her art. directions of art. As a Her watercolors are graduated graphic artist, united in series and Edith Suchodrew has variable themes, for created highly-appreciated example: landscape novels, etchings, lithographic, symphony of the woods, drawings which, with their arcs of Byzantine, circles of profound contents, reflect life, fantastic realities etc. the intern position and Edith Suchodrew has, in intelligence of the artist. her artistic life, developed Each large graphic sheet a deep interest for different is an event. With deep cultures of the world and interest 140 bookplates has created a great cycle of were created by the artist big-format watercolors for many different famous under the title: “On the persons. More than 50 traces for ancient Edith Suchodrew, unreal landscape idyll booksplates were shown in cultures.” Nº 20599, 1999 computer graphic a solo exhibition in Aachen Works from Edith 1992 - 1993, where she has Suchodrew are in the lives since 1991. ownership of Museums As a graphic artist Edith and private owners in D

Suchodrew has created many countries. or

designs and illustrations Edith Suchodrew has a is

for more than 40 books, represented herself in nd

drawings for newspapers different medians since Ed i t

and magazines. 1982 . h S

Watercolors, drawings, For the past 25 years, uch woodcut in big forms are since her first exhibition in odr also artistic activities from 1974, Edith Suchodrew has e Edith Suchodrew, as well, been artistically active. w

28 WORLD of ART Special Issue 2000 edith suchodrew germany

Exhibition, the Parlament of LSSR, Riga Latvia; 1988 Exhibition Art Addiction, Palazzo Correr Venice Italy; 1999 ”The Unpassing and Tianjin China; 1998 1st Diploma and Diploma of Excellence, of Water Colour Art ”On the Traces for Ancient Cultures” Club Past” oil Painting Art Exhibition, Jewish Community, Aachen The 1st Autumn Annual in Venice, Art Addiction, Palazzo Correr of young artists Janu Seta Riga Latvia; 1988 1989 Exhibition of Germany; 2000 ”ReflectedI nspiration” Gallery Arthaus, Aachen, Venice Italy; 1999 1st Diploma and Diploma of Excellence, Water Colour and Graphic Art, Factory Biolar, Olaine Latvia; Richterich Germany. The 1st Spring Annual in Venice, Art Addiction, Palazzo Correr 1990 ”Water Colours and Etchings”Art Exhibition, Gallery Hubert AWARDS 1996 1st Diploma and Certificate of Merit, Small Venice Italy; Certificate of Merit, The 2nd Autumn Annual in Kohl, Aachen Germany; 1991 1995 5th Art Exhibition, Jewish Graphic Art, Art Addiction Sweden; 1997 Silver Medal and Venice, Art Addiction, Palazzo Correr Venice Italy. Community, Aachen Germany; 1991 ”Graphic and Painting Diploma, The 4th Int’l Graphic Art Exhibition, Art Addiction MEMBERSHIP IN ART ASSOCIATIONS Since 1985 Member ”Art Exhibition, Artistic House Süsterfeld, Aachen Germany; Sweden; 1997 Certificate of Merit and Diploma of Excellence, of Artist Union of the USSR and Latvia; Since 1991 Member of 1991 Exhibition of Water Colour ”Mexico” Café Petit Paris, The 4th Female Artist’s Art Annual Exhibition, Art Addiction Artists Society Studio House Aachen; Since 1999 Member of Aachen Germany; 1992 Gallery & Graphic W. Schneider, Sweden; 1997 Certificate of Merit and Diploma of Excellence, Art Addiction Int’l Art Association (AAIAA). Aachen Germany; 1992 1993 ”Exlibris Graphic Miniatures” Art The 5th Exhibition of Miniature Art, Art Addiction Sweden; REPRESENTED 1982 ”Latvian Soviet Graphics” Album; 1985 Exhibition, Common Library, Aachen Germany; 1994 ”Etchings 1997 Diploma of Participation, ”Femina”, Int’l Female Artist’s /12 ”Daugava” Art Magazine Russia; 1986/3 ”New Books”; 1988 and oil Paintings” Art Exhibition, Café Liege, Aachen- Richterich Miniature Art, Art Addiction Sweden; 1997 Certificate of Merit Television Riga Latvia; 1992 Radio Interview Aachen Germany; Germany; 1995 ”Terra Cognita” Etchings, oil Paintings, Graphics and Diploma of Excellence, Femina Project ”A better World 1997 1998 Art Diary International Art Directory Milan Italy; 1998 Miniatures Art Exhibition, Bank of Aachen, Filiation Victoria Alley, for our Children” Art Addiction Sweden; 1998 Certificate of 1999 Art Diary International Art Directory Milan Italy; 1997 1998 Vegla House, Aachen Germany; 1995 1999 14 Art Exhibition, Merit, The 1st Art Addiction Annual in Venice ”Masks in Venice” 1998 1999 Internet Art Museum: www.artaddiction.se Pannonia Hotel, Aachen Germany; 1999 ”Memory of the Future” Palazzo Correr Venice Italy; 1998 Certificate of Collection, The ADDRESS Oppenhoffallee 63, D-52066 Aachen Germany, Tel+ Graphic Miniatures Etchings and Coloured Computer Graphics, 1st World Small Printing & ExLibris Works Exhobition Beijing 49 241 54779 http://www.artaddiction.se/edith.htm

Edith Suchodrew unreal landscape idyll Nº 620599 1999 computer graphic

Special Issue 2000 WORLD of ART 29 Anne de Suède Banérgatan 53, SE-11522 Stockholm Sweden Tel +46 8 662 64 46 Mobil +46 070 4930774 E-mail: [email protected] Web: www.artaddiction.se/anne.htm . . n , 10½ x 9¾, 10½ i de m en d e uè m Sw ol ckh 27 x 25 c x 25 y 27 s l d Sto y gh r e

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a a s s st a u j anne de suède sweden

Born in Stockholm Sweden. Anne de Suède is a Franch Sweden; 1997 Art Addiction 1st International Drawing Venice Italy; 1999 The 2nd Autumn Annual in Venice, /Swedish artist with an international art orientation. She Contest ”World of Art” Stockholm Sweden; 1997-The 5th international art exhibition Palazzo Correr /Art Addiction lives and works on Stockholm. Permanent Member of Art Annual International Exhibition of Miniature Art, Stockholm, Venice Italy. 2000 The 2nd Spring Annual in Venice, Addiction Honorary Prize Jury Committee. Sweden; 1997 ”Femina” The 1st International Female international art exhibition Palazzo Correr /Art Addiction INTERNATIONAL EXHIBITIONS 1995 The 3rd Annual Artist’s Miniature Art Annual, MD Gallery Stockholm Venice Italy; 2000 The The 3rd ”Masks in Venice”,small International Exhibition of Miniature Art Stockholm, Sweden; 1997 The 4th International Exhibition of Female forms international art exhibition Palazzo Correr /Art Sweden; 1996 Contemporary French Art ”Salon 1” Art Artist’s Art, Annual ”We are different” Stockholm Sweden; Addiction Venice Italy. Addiction Stockholm Sweden; 1997 Contemporary French 1998 The 1st ”Masks in Venice” small forms international Selected INDIVIDUAL EXHIBITIONS Sweden and France; Art ”Salon 2” Art Addiction Stockholm Sweden; 1996 art exhibition Palazzo Correr /Art Addiction Venice Italy; 1999 Galerie Art-Mod,Tourettes sur Loup Vence, France ; The 4th Annual International Exhibition of Miniature Art 1998 The 1st Autumn Annual in Venice, international small Galerie Cottard Olsson, Stockholm Sweden. Stockholm Sweden; 1996 The 3rd International Graphic Art forms art exhibition Palazzo Correr /Art Addiction Venice MEMBERSHIP Art Addiction International Art Association. Exhibition ”Graphic Addiction” Art Addiction Stockholm Italy; 1999 The 2nd Autumn Annual in Venice, international AWARDS1996 Certificate of Merit, The 4thA nnual Interna- Sweden; 1996 Four France Artists to Art Addiction small forms art exhibition Palazzo Correr /Art Addiction tional Exhibition of Miniature Art Stockholm Sweden. ”Sounds of Colors” Art Addiction, Stockholm Sweden; Venice Italy; 1999 The 2nd ”Masks in Venice” small forms 1997 Silver Medal, Art Addiction 1st International Drawing 1996 The 3rd International Exhibition of Female Artist’s international art exhibition Palazzo Correr /Art Addiction Contest ”World of Art” Stockholm Sweden. Art Annual Stockholm Sweden; 1997 The 1st Art Addiction Venice Italy; 1999 The 1st Spring Annual in Venice, REPRESENTED 1996-1999 ART DIARY; 1996-2000 Internet International Prize ”Most Talented Artists” Stockholm international art exhibition Palazzo Correr /Art Addiction Art Museum www.artaddiction.se

artist TALK

I have worked in an pictures; how many memories advertising agency; I have done are in a picture? theater; I have been a mother I believe that everybody has and I have been trying full the right to his own opinions, time, to learn who to paint and and of course it is essential that what to paint. For a long time I can preserve my own; I am a it was a research of colors, dreamer but I am not the only light, darkness, deep and trying one. to understand how things really I see every painting as an were; one day I felt that it individual and I want paintings “was”, so now I am trying to to always be able to talk self. let my subconscious free. I was very impressed by Van Sometimes I am figurative, Gogh; the more I look at his sometimes abstract but most work, the more I am fascinated often I am a combination of with the courage of telling the both, I try to never limit story about the little suffering myself. In this way I will not man, the tired and broken limit my impulses. model and his subconscious Everybody has needs of pictures; the more you look the talking in different languages, more you find hidden in the some prophet said that kids trees and in the clouds; that is a have 100 languages, but adults big influence. He was a only one or two. For me it is fascinating man. the problem of today’s I always try to do things that civilization that most everyone are essential for me. I have to has forgotten the fortune of follow my intuition and let my living in different worlds and hand tell me the story. A work talking in different languages is never to be concluded and be able to accept the because it will not talk dreams we all have. Essential anymore. I hope that a lot of for my painting is to say artists today feel like me. something, that must be For the art itself it has no use remembered such as birth, love, of being seen at some hate and death. biennales; the interesting of I started with theater now I exposing is the meeting with am a freak of painting, but I other artists. cannot say that I will not also It is stupid to react bitterly work with music. I belong in against contemporary art; the this world of dreams and ideas art of every time is talking and I believe that it is only about society itself and shows different ways of saying I love how it is. Telling how I feel you or I will kill you. about the world, analyzing and Music is always in my trying to understand today’s paintings. It is fantastic to close society is the greatest thanks I my eyes while I hear music and can give to art. see forms, patterns, colors or

Special Issue 2000 WORLD of ART 31 1950 Born on the 23rd of March in Jawor Practiced his profession and Poland. 1957-64 Attended grammar school exhibited in New Zealand and and graduated receiving an award for overseas. 1982 His son Borys his academic excellence. 1958 His Bartlomiej arrived in New Zea- parents divorced. 1958-64 He was land from Poland. Henryk Szyd- brought up by his grandmother, lowski developed a new printing Anna Holliman-Szydlowski. technique which he named Polprint 1964-69 Attended the High (Polish Print). His technique gained School of Fine Arts, Jaro- world wide recognition by artists and slaw, Poland, under lec- critics. 1983 Henryk Szydlowski and his family turers E. Kifferling, S. became New Zealand citizens. 1985 Lectured at Kucia, W. Sliwinski, S. Whitecliffe Art School.1985 Emigrated with his Stelmasik and I.OryI. family to Australia. 1985-90 Practiced his profes- 1969 Graduated from sion and exhibited in Australia and overseas. 1989 the high school of He and his family became Australian citizens. Fine Arts, and was Lectured at Claremont School of Fine Arts. 1990 awarded a prize for Became a member of the Japanese Art Publishing his Fine Art talents. Co. Ltd. 1993 Lectured at Claremont Sehool of He was supported Fine Arts. 1994 Full time artist. 1996 Collection to continue his artis- Stamp Release, Tribute paid by the Who’s Who tic studies at the in International Art, Lausanne, Switzerland. 1998 Academy of Fine Officially appointed the title of Professor Henryk A r t s . 1 9 6 9 - 7 6 Szydlowski by the Accademia Internazionale Greci Attended the Acad- Marino, Accademia Del Verbano, Di Lettere, Arti, emy of Fine Arts Kra- Scienze. Vercelli, Italy. 1999 Featured in the 1999 kow- Poland under Who is Who in International Art “Great Names professors C. Rzepin- and Newcomers in 20th Century Art’ Artcards. ski, A. Siweeki, J. Kocha- 1999 Became a member of the AAIAA -Art Addic- nowski, and S. Wojtyna. tion International Art Association. Stockholm, Awarded Master of Fine Sweden. Arts Degree (Dip. P.D.). 1971 Henryk Szydlowski’s works can be found in private, Married. 1972 His son Borys corporate and government collections in Austria, Bartlomiej was born. 1976-78 Australia, Argentina, Belgium, Brazil, Brunei, Practiced his profession and Canada, Finland, France, Germany, Netherlands, exhibited in Poland. 1976 Traveled Hong Kong, Israel, Italy, Japan, Norway, New to West Germany where he practiced Zealand, Poland, Singapore, Sweden, Switzerland, his profession and exhibited. Returned United Kingdom, U.S.A. and the Vatican. He%nryk to Poland. 1978 Emigrated to New Zealand. Szydlowski to-operates world wide with numerous His daughter Sara Katarzyna was born. 1978-85 private and government galleries.

9 bombard street, ardross 6153, perth, west australia tel/Fax +61 9 364 8350 E-mail ”Hsart Studio” [email protected] Henryk Szydlowski Australia

INDIVIDUAL EXHIBITIONS 1976 Graphics, Euchamer Gallery style, RKS Gallery Auckland N. Zealand; Oils and Graphics, John N. Zealand; Oils- Chapman Gallery Canberra Australia; Oils- Poland; Graphics, Gwarek Gallery Olkusz Poland; Oil, Leech Galleries Auckland N. Zealand; Graphics, Seijoh Gallery Goodridge Galleries Perth Australia; 1992 Oils, John Leech Underhand Gallery Chorzow Poland; 1977 Oils, Euchamer Sendai Japan; 1986 Oil and Graphics, Prism Art Galleries Gallery Auckland N. Zealand; Oils, Flinders Lane Gallery Gallery Poland; 1978 Oils, Muzeum Ziemi Olkuskiej Gallery Fremantle Australia; 1987 Oils and Graphics, Alexander Melbourne Australia; 1993 Oils, John Leech Gallery Auckland Olkusz Poland; Oils, Gwarek Gallery Olkusz Poland; Oils, Galleries Perth Australia; 1988 Graphics and Oils, Holdsworth N. Zealand; Oils, Holdsworth Galleries Sydney Australia; B.W.A. Gallery, Bytom Poland; Oils, Association of Journalists Gallery Sydney Australia; Oils, John Leech Galleries Auckland Graphics, Galeria Pod Zlotym Lewkiem Krakow Poland; Oils, Gallery Poland; 1980 Graphics, John Leech Galleries Auckland N. Zealand; Graphics, Seijoh Gallery, Sendai Japan; Oils, Dobson Bashford Gallery Christchurch N. Zealand; Oils, N. Zealand; Oils, John Leech Galleries Auckland New Zealand; Charlotte H. Gallery Auckland N. Zealand; 1989 Oils and Chapman Gallery Canberra Australia; Oils, Gomboc Gallery 1981 Graphics and Oils, Settlement Gallery Wellington N. Graphics, Vincent Gallery Adelaide Australia; Oils, John Leech Perth Australia; 1994 Oils, The Gallery of Fine Art Perth Zealand; Graphics, Studio Gallery Hamilton N. Zealand; Gallery Auckland N. Zealand; Oils and Graphics, Holdsworth Australia; Oils, Holdsworth Gallery Sydney Australia; 1995 Oils, Graphics, John Leech Galleries Auckland N. Zealand; 1982 Gallery Sydney Australia; Oils, Graphics and Watercolors, International Art Centre Auckland N. Zealand; Oils, Delshan Oils, John Leech Galleries Auckland N. Zealand; Graphics, Charlotte H. Gallery Auckland N. Zealand; Graphics and Oils, Gallery Melbourne Australia; Oils, Dobson Bashford Gallery John Leech Galleries Auckland N. Zealand; Graphics and Oils, Goodridge Gallery Perth Australia; 1990 Graphics, Seijoh Christchurch N. Zealand; 1996 Oils, Holdsworth Gallery Settlement Gallery Wellington N. Zealand; 1982 1983 Graphics, Gallery Sendai Japan; Graphics, Crystal Gallery Morioka City Sydney Australia; 1997 Oils, Gauguin Gallery Singapore; Oils, Touring Exhibition N. Zealand Art Societies; 1983 Oils, John Japan. Oils, Goodridge Galleries, Perth Australia; Oils, John Barry Stern Gallery Sydney Australia; Oils, Delshan Gallery Leech Galleries Auckland N. Zealand; 1984 Oils, Thornton Leech Galleries, Auckland N. Zealand; 1991 Oils, Holdsworth Melbourne Australia; Oils, Int,l Art Centre Auckland N. Zealand; Gallery Hamilton N. Zealand; 1985 Oils and manifest of “Credo” Galleries Sydney Australia; Oils, Charlotte H. Gallery, Auckland 1998 Oils, Barry Stern Gallery Sydney Australia.

artist TALK

I would consider myself to be criticized I paint because it this is what occasionally gives a figurative artist, however my brings me pleasure. me the feeling of being an figures are from my own I create all the decisions when outsider. Although I perceive imagination and are not it comes to painting, myself as being an outsider at established on real life. consequently I have authority times, I do believe that my The language in my art is the over the composition, colour paintings are of an excellent language of poetry and I believe and drawings. I am in control quality. in poetry and colour. People of the harmony the paintings Before the commencement of a can encounter various feelings express making me the painting I can envisage when they glance at my works conductor of my artworks; this approximately eighty percent. and this is what I desire to is what gives me the pleasure of The other twenty percent is accomplish. being an artist. determined in the final stages of I believe that people today All my paintings illustrate a the painting. This twenty purchase art for diversified story. My titles present a sense percent is where I have the reasons. These reasons may be of direction to the public and freedom to improvise and in conjunction with investment, furthermore encourage the arrange colors, composition decoration and enjoyment that public to utilise their and shapes accordingly, and to is retrieved by looking at the imagination. The titles have make a final decision. artwork itself. In most cases I been adopted in order to trigger When I first started my career think people purchase artwork a relationship between the as an artist I focused in the field because they like the work. painting and the public. of commercial art. This was my I always dreamt of focusing on I decide a painting is error, as it did not provide an artistic career. If I were completed on the basis that it pleasure and satisfaction. I like given the opportunity of being has good composition, there is to have independence in the born a second time I would a relationship between colors, way of contemplating what to follow the same path. shapes and rhythm, and the paint. When I paint, music is paintings themselves are telling I never had anyone that continuously being played in a story. The most important influenced me in any specific the background. Music is moment and most professional way. I always knew what I interrelated to my work as it question is “when is it time to wanted but was never motivates me to paint. It helps finish a painting”. encouraged by any other person me portray a sense of feeling In my opinion it is very to follow my dream. My into my paintings. meaningful to make people parents wanted me to be a The market value of my work happy. I want to shock people, successful business man. does not affect the relationship not through ugliness but My works are not complicated I have with painting. through beauty. I wish to offer but there are those people that Motivation to paint I believe people a gate to another world overlook the true meaning of comes from the heart and not where they can escape all their my paintings. It is significant from the monetary value of the troubles and enter into a world that people concentrate not painting itself. of happiness, excitement and only on the paintings but the I have never actually have a feeling of well being. titles as well as this will allow encountered a bad review, but I I have not focused my them to explore the paintings assume that if I was to paintings in the area of story and consequently the experience a bad review I would traditional art but more in the paintings will seldomly be feel insulted to some extent. I area of modern art. I am overlooked. do not paint so it can be different to other artists and

Special Issue 2000 WORLD of ART 33 Henrik Szydlowski hen r yk szy yk dlow ski, 9 b ski, o mb s ard tr ee t , ardro ss 6153,ss p e rt h, w h, es t a us tral i a t e +61 9 364 8350 Fa 8350 l +61 9 364 x +61 9 3648350 E x +61 9 3648350 -m a i l ” H sart S sart tudio” [email protected] tudio”

Musician and the Ginger Woman, 1995 oil on canvas 102 x 76,5 cm, 40 x 30 in.

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se Henrik Szydlowski hen r yk szy yk dlow ski, 9 b ski, o mb s ard tr ee t , ardro ss 6153,ss p e rt h, w h, es t a us tral i a t e +61 9 364 8350 Fa 8350 l +61 9 364 x +61 9 3648350 E x +61 9 3648350 -m a i l ” H sart S sart tudio” [email protected] tudio”

Moonlight Woman in bl ack with the yellow Ribbon, 1996 oil on canvas 50 x 38,5 cm, 19½ x 15 ¼ in.

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se patrizia jemma cobucci

un coup de pinceau sur rougé, 1997 etching sugar 36 x 36 cm / 14¼ x 14¼ paper size, 10 x 10 cm / 4 x4 in work size

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se patrizia jemma cobucci brasil

Born 1947 in Rome Italy. 1st Spring Annual in Venezia, International small form Live and work in Sõo Paulo. exhibition, Art Addiction, Palazzo Correr Venice Italy; EDUCATION Academic title, Graduated in Arts and 1997 ”Gold Medal” 1st International Exhibition of Female Instructor of Arts, University of Ribeirão Preto (UNAERP) Artist’s Miniature Art, Art Addiction International Gallery Säo Paulo SP Brazil and specialization in History of Arts. Stockholm Sweden. ART TRAINING 1974 1975 graphic art Rome Italy, 1993 membership 1999 2000 Art Addiction International Art 1999 artist’s studio Arriet Chaim Säo Paulo SP Brazil. Association AAIAA Created four Ex Libris. REPRESENTED 1999 2000 Art Addiction Internet Art AWARDS 1999 Bronze Medal,”Brasil 500 Anos de Arte” Museum www.artaddiction.se/aaiaa_cobucci.htm. Säo Paulo SP Brazil; 1998 Certificate of Merit and Diploma ADDRESS Patrizia Jemma Cobucci Rua Guarará 150, of Excellence, International Exhibition ”A better World apt142 zip 01425-000 Säo Paulo SP Brazil Tel +55 11 for our Children” Art Addiction International Gallery 8871796, +55 11 8858992 Fax +55 11 8871796 E-mail: Stockholm Sweden; 1999 ”Diploma of Excellence” The mcj [email protected]

ARTIST talk

1. I had many value of my work experiences in artwork doesn’t affect my like drawings, some relationship with it. canvas and when I 7. The masters gave started to do me impulse, influenced engravings (woodcut, my work by the serigraphs and grandiosity of their etchings) I had a immortal art. special enthusiasm 8. I decided that a doing etchings and work has been that is my favorite way concluded when I’m to do artwork. happy with the result 2. I started and I’m and I can say it is ok, still a figurative artist doesn’t matter how (figure, objects and long it takes. some landscapes) with 9. The physicality of a tendency to abstract. the artwork is 3. My works took a important in the direction that resulted moment that the idea des coups de pinceau sur bleue outremer i in this artwork toward is concreted. 1998 etching sugar a new language. My 10. Generally I’ve 40 x 40 cm / 15¾ x 15¾ in paper size tool is the brush and been observing artists 20 x 20 cm / 8 x8 in my canvas is the and some of them I work size metal. My work admire most, like express painting, the Pollock, Yves Klein freedom to do art and and Fontana but I the own art. developed my work 4. I believe that from the addition of artwork today should my life and technical reflect the experiences. contemporary world, 11. Filtering my life as well as the artist’s and technical emotions through his experiences I tried to own language. make my own 5. I’ve always been language. attracted by art and I 12. I had a great graduated in artistic influence from people education. I am art that had familiarity addicted. The elements with me, like my in my artwork, work father who took me to together. museums in Italy and 6. My work used to discuss with sometimes has rhythm me about art, some and in this aspect it’s teacher specially my related to music and History of Art teacher. dance. The market

Special Issue 2000 WORLD of ART 37 R a u l Mo r a

Dinamica, 1999 oil o n c a nv a s 150 x 120 c m , 59 x 47¼ i n

Raul Mora Bosque de Alferez 82, Bosques de la Herradura, México D.F. 52783 Mexico

tel +52 5 589-7782, +52 5 589-9335 fax +52 5 326-8942 Raul Mora Mexico

I was born in Mexico, and have lived in Mexico City of Mexico, Otoño Musical 1994, of Mexico, Arte al Día For many years I have participated in more than 60 group most of my life. At present I live in the very small town Internacional, of Buenos Aires, and books Presencia de exhibitions in the most important forums in Mexico City, of Malinalco, where I have my studio. Since my early Arte Mexicano en Europa and El Arte a Precio de Martillo including the Museo Rufino Tamayo, as well as in several childhood I started painting with teachers such as 1977-1995. other Mexican cities, in addition to countries such as the Grachene and José Bardasano. Later on I was part of I have had 17 one-man exhibits in Mexico, the United United States, Sweden, Spain, France and Switzerland. the studio of Dolores León de la Barra and worked States and Germany. Among them are several sponsored In the words of Berta Taracena, noted Mexican art critic: materials techniques with Luis Nishizawa. The rest of by the Mexican top cultural government organizations ” In his work, the force of color and the sensitivity of lines my painting knowledge I have developed in a personal (Conaculta, National Council for Culture and the Arts, Fondo create a movement that does not leave the spectators on manner. Nacional para la Cultura y las Artes, National Fund for the outside, but includes them, inviting them to activate Numerous publications have made reference to my art Culture and the Arts, INBA, National Institute of Fine Arts, their visual and emotional perceptions. It deals in an artistic work, among which are several editions of International Instituto de Cultura de Tabasco, Cultural Institute of the language that equally attracts the linear writing than the Auction Records, of Paris, Art Sales Index, of London, State of Tabasco, Instituto Mexiquense de Cultura, Cultural speed at which color changes its clothes, its meaning, Directory of the Plastic Arts, of Mexico, the 1999 Arts Institute of the State of Mexico), and the Centennial growing dim and firing up equally whether the subject is Calendar, published by the City of El Paso Arts Resources, Museum of El Paso, Texas, La Llorona Art Gallery of Chicago, a cloud or a flower, rain or field, hope, rhythm, smile, and magazines such as Hola, of Madrid, Mundo Ejecutivo, Illinois, USA and Schloss Liebenstein in Stuttgart, Germany. remembrance or surprise.”

Artist Talk

Painting for me is the means to others; if positive, I am pleased and, if decide when a painting has been interpret all aspects of nature, to capture negative, I try to learn from them but will completed, since I feel that maybe one an instant, the emotion of a face, the not change my style or subject matter to brushstroke in excess may ruin the movement of the human form, the suit any particular review. Although I painting. I experience an intense peacefulness of scenery, the joy of a do not consider myself a master of nervousness when I am working, and flower. Feelings and emotions all of the painting, I do have the self-confidence to even more so when the completion of the grandeur and majesty of Creation. My paint what and how I want to, but also painting is near. I study my paintings for intention when painting is to transmit the feel that I will never stop learning, and many hours throughout the whole joy of life; interpretations of beauty, therefore attend many exhibitions of painting process and more so once I emotions and feelings, through color, other painters, both living and dead. consider them to be complete. After all light and form. In every painting I do, I try to put a the time spent in studying the painting, I I am a figurative artist now totally piece of my soul in it, so that the guess that, basically, it is a gut feeling dedicated to painting oils, mainly on spectator can feel the emotions I try to that lets me know when a painting is canvas or linen, although I have done convey; the narrative, the emotion of a complete. some paintings on wood. My paintings movement or of a sentiment. The Ever since I was a child the are very vibrant, and my use of color is elements in my work do not work impressionists and post-impressionists considered by many to be new and independently, since they are all thought were my favorite expression of paintings. exciting. I believe that a proper out to be a part of the whole, without I feel that this manner of painting is still preparation of the canvas or other which the painting would be incomplete partially in my work, but don’t feel that I materials, such as with the or lacking in depth and emotion. My have entered the stream of traditional art. ”imprimatura” used in the 16th century work does not try to be physically exact I consider my painting to be very ”now” is most important, both for the to the subject matter that I paint; rather it and contemporary, although it is preservation of the painting as well as for is the feelings and reactions that are born figurative and not, say, abstract, the transparency and brilliance of the in me that I try to transmit in my conceptual or other trends, in vogue colors. I have also worked extensively paintings. This makes it very difficult to nowadays. The scribbling I do in my with pastels on paper. paintings, as also happens with the use of For me, the function of art today is, as color and the vibrations I create, are very it always has been, multifold, including intuitive. political, social and functional uses, The only decision in my painting career among others. In my case, the function that I think about occasionally is that I of my art is to bring joy and emotions to did not devote my entire life to it but for the spectators of my paintings. In the a period of time had to work as a past, in addition to painting, I also consultant. This decision would worked as a business consultant, which definitely have changed my whole life, in its own way was also very creative. All but I am not one to brood over things arts have always been very important to that might have been. One of my me. Both modern and classical dance is teachers, Painter Dolores Leon de la especially dear to me and they are themes Barra, who was very influential in my that I often paint. Music is a necessity career, continually told me that things for me at all times, and always when I come when they have to, and not before. paint. Literature is a must. I consider that it is very important to be Although there are themes that are present in mega events such as the Venice easier to sell than others, I always paint Biennal or the Sao Paulo Biennal, what I feel at the moment, not although there are other less important considering the effect of the market value events which are also worthy of participa- on the paintings. The same applies to ting in, both as an artist and as part of reviews of my work by art critics and the public, to see, study, and learn.

Special Issue 2000 WORLD of ART 39 elizabeth anne maxwell hill Ma x w e H ll i Anne El Anne ll iz a be t h, 50 Nort 50 h, h Str ee t , St . An dr e w s, F s, ife, S ife, c otla n d , KY 16 9A Q t e +44 1334 477208 1334 l +44

bosnia, 1 9 9 2 g o u a c h e o n p a p e r 6 1 x 8 4 c m , 24 x 33 i n

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se elizabeth anne maxwell hill scotland

Born 1936 Broughty Ferry, Scotland UK Sweden; 1995 The 2nd Int’l Female Artist’s Art Biennial, Art RECENT EXHIBITIONS 2000 The Art Addiction 2nd Spring Addiction Stockholm Sweden. Annual in Venice, Palazzo Correr Venezia Italy;1999 The 2nd AWARDS 1999 Diploma of Excellence, The Art Addiction Autumn Annual in Venice, Art Addiction, Palazzo Correr Spring Annual in Venice, Palazzo Correr Venezia Italy; 1998 Venezia Italy; 1999 The Art Addiction 1st Spring Annual in Certificate of Merit, A” better World for our Children” Int’l Venice, Palazzo Correr Venezia Italy; 1998 The 1st Autumn Exhibition Sweden; 1998 Silver Medal, The 1st Art Addiction Annual in Venice, Art Addiction, Palazzo Correr Venezia Italy; Annual in Venice ”Masks in Venice” 1997 Certificate of 1998 Solo Exhibition Greenock, Great Britain; 1998 New Merit, The 4th Int’l Female Artist’s Art Biennial Sweden; Art of England and Canada on the Internet; 1998 ”A better 1995 Honorable Mention, The 2nd Int’l Female Artist’s Art the roundabout World for our Children” Juried Int’l Exhibition, Art Addiction Biennial Sweden. st. andrews lammas fair’ 99 Stockholm Sweden; 1998 The 1st Art Addiction Annual in MEMBERSHIP 1999 2000 Art Addiction International Art 1999 acrylic on paper Venice ”Masks in Venice” Palazzo Correr Venezia; 1998 The Association AAIAA. 23 x 30½ cm / 9 x 12 in 1st International Biennial of Contemporary Art, Trevi Flash REPRESENTED 1998 1999 Art Diary International Milan Art Museum, Palazzo Lucarini Trevi Perugia, Italy; 1997 The Italy; 1997 1999 2000 Art Addiction Internet Art Museum: 4th Int’l Female Artist’s Art Biennial, Art Addiction Stockholm www.artaddiction.se

Born 1936 Broughty 1963 she finished at Ferry, only child of the R.A. having won physicist Andrew Grey two prizes, the Land- Hill and schoolteacher seer for Composition Edith May Maxwell, and the other for who were divorced landscape painting. The when she was 4. Her staff at the R.A. said father kidnapped her she was the best young but she thereafter lived portrait painter in with her mother and London. She gained a grandmother, being lectureship at Carlisle taught by her mother at College of Art but this two schools. work was a mistake, she At 11 went to High started the disability of School in Dundee to multiple sclerosis and which she’d gained a had to resign after less scholarship. She worked than a year. in the Art Department In 1973 her health under Thomas Halliday broke entirely while with whom she is still working for British friendly. 1957 left High Telecom and she had to School, going to resign and return to live Dundee College of Art in Scotland with her where she studied mother in a caravan. drawing and painting There a photographer under Alberto Morocco, and painter neighbour on the dodgem st. andrews lammas fair’ 99 Gordon Cameron and J. encouraged her return 1999 acrylic on paper Mackintosh Patrick, to her painting and she 23 x 30½ cm / 9 x 12 in obtaining a diploma in started to work seri- drawing and painting in ously again though 1959 and a post space was so limited. As diploma, commended. her health deteriorated 1960 on leaving she obtained a council Duncan of Jordanstone flat in St. Andrews in College of Art she won 1978. a scholarship to the Kate Fewster assisted Royal Academy School. her for some time, She also shared an exhibiting her work and exhibition in Arbroath arranged for a couple of Art Gallery that year exhibitions locally and with her colleague from delivered paintings to the art course Pat exhibitions in London. Gordon. She spent the 1987 her initial summer at Hospital London exhibition was Field College of art as at the Sayat Nova postgraduate. Gallery in Highgate.

Special Issue 2000 WORLD of ART 41 C h a n g Sa n g - e u i

untitled 1999 oil on canvas 160 x 120 cm / 63 x 47¼ in

Chang sang-eui c - 7 0 2 ya k - soo ma n s i o n , sa n g - do 4 do n g 2 1 1 - 1 6 do n g j a k - k u s e o u l 1 5 6 - 0 3 4 so u t h k or e a

tel /fax +82 2 823-0821 chang sang-eui south korea

Education 1963 B.F.A in painting of Fine Arts, Seoul Hamburg Germany; The 2nd International Ink-wash Prize, Exhibition Sponsored by Ministry of Culture & National University. Painting SHENZEN ’92 Shenzen China; International Information Korea; 1st Prize, National Exhibition by Present Professor, Taegu Arts University. Water Color Arts Exhibition in China; The 1st Exhibition Pusan city Korea; Grand Prize, Hankuk Fine Arts Grand Group Exhibitions Asian Modem Arts Exhibition in of the Korean & China Arts Association Seoul, Korea; Prize Sponsored by Hankuk Daily News Tokyo Japan; Seoul Contemporary Arts Festival Seoul, Seoul 600 International Arts Festival, National Museum Possession of Works Metropolitan Museum Seoul; Korea; Invited by Miltnster city of Germany to take Seoul, Korea; Münchener Kunstlesmesse München Korean National Museum, Seoul, Korea; The ”Ho-Am” Part in the meeting West and East’ Exhibition; ”Light Modern, München Olympiade, München, Germany; Gallery Korea; Taegu Culture & Arts Center Korea; from the East” Berlin, Germany and Budapest, Hungary; Exhibition of Contemporary Korean Painting, Art Gallery Pusan Nongshim Arts Center, Korea; University of Köln, Contemporary Arts Festival, National Museum of of Korean Culture & Arts Foundation China; International Germany. Modern Arts Seoul, Korea; 100 Artist Invitational Arts Women’s Exhibition, Budapest, Hungary; Arts Affairs Address Taegu Arts University San 117-6 Daboo-ri Exhibition Seoul, Korea; 3 Artist Invitational Exhibitions Frances; 1st SHENZEN - INK - Wash Painting Biennale; Kasan-myun, Chiigok-kun Kyungsang Buk-do 718-910 at K.B.S. TV, Seoul, Korea; Seoul Exhibition of Korean 11 Individual exhibitions. South Korea Tel 82. 545. 973. 5311 (ext. 130.134) Contemporary Painting, Seoul, Korea;”Light from the Awards 1st Prize, Modern Arts Invitational Contest Address Yak- soo mansion C-702 Sangdo-4dong, Dongj East” II, Russia; The ’91 Hamburg International Art Fair Sponsored by Chosun Daily News, Seoul, Korea; 2nd ak-ku, Seoul 156-034 South Korea Tel 82.2.823.0821

words by Chang Sang-Eui, Philosopher of Korean Ph.D., Harvard University

Wind and Soul Nº 4 he korean 1995 oil on canvas word for wind 97 x 91,5 cm / 38¼ x 36 in is param, Twhich was used as the name of God in archaic Korean. Pararm, together with sin, which means the spirit, forms the word for “excitement”. Param is also an etymological root for many words related with love and romance. Untitled 1997 oil on canvas Love is the extremity of 180 x 130 cm / irrationality. However, it 70¾ x 51¼ in is the divine act, and it is ultimately transrational.

hang tries to depict an indigenous Cspirituality in the world of Wind. Therefore her paintings are motivated by shamanic movements. The colors she adopts for the movements are primitive and indigenous to Korean sentiments. Such primitivity does not accompany Discord. If there is Discord, it is Nº 1 1998 oil on canvas only for the Harmony of 180 x 130 cm / the whole. 70¾ x 51¼ in

like her painting because it is simple, and it I defies the bifurca- tion of Form and Non-Form. Her mask exists only for maskless primitivity.

Special Issue 2000 WORLD of ART 43 cynthia lund torroll c yn t hi a l un d torroll , 3930 so , 3930 u t h g r een law n t e rrac e, ne e, w be rl in w in i 53151 u e- sa ma i l c yn t hi a . torroll @ w e pco . com

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se cynthia lund torroll usa

always night crossing autumn’s child drawing drawing drawing 99 x 56 cm / 38 x 35,5 cm / 60 x 45,5 cm / « 39 x 22 in 15 x 14 in 23¾ x 18 in cacophony 1998 drawing on paper 76 x 51 cm / 30 x 20 in

Words by Scott R. Weinberger

To see the art, and the artist, at first glance, way I stop is I exhaust myself. I just get tired A private collector of her work recently in person, it would be easy to misjudge Cynthia of the piece and usually another thing has commented, “Viewers who look at these Lund Torroll as some mystical druid princess. crawled into my head at that pointvying for pictures will have a hard time believing that (A description coined by a patron at one of my attention.” a picture is worth a thousand words, because her recent openings) Her willowy frame is Her work often features children or feminine it’s hard to think of more than a dozen when offset by a shocking mass of raven-haired faces with disproportionately large eves filled you are confronted with these static movies, tresses. She’s often clad in black, and the dark with innocence, or a challenge. these black and white still-framed stories. visages of her creations in graphite and paper “The use of children in my drawings stands Questions arise. Who are these characters? seem to bode of a nether world or a cold, wet more for what they embody than for a child What is this space they inhabit? What does November storm. And while these same itself’, she says. ”They’re not to be taken the artist eat? Every look demands another. feelings most surely exist somewhere within literally. Relying on symbols and metaphors, And another. These are puzzles perfectly her spirit, her personage is marked by a quick, I try to create visual material that allows the assembled but having no solution.” full smile, self-deprecating humor and a great viewer to fill in the blanks. While some people Torroll is a life-long resident of Milwaukee, effort to put her visitors at ease. find my work very peaceful, others find it to Wisconsin, a city of 1.4 million people 90 miles But ease has not come easy for this self-taught be disturbing.” north of Chicago. She lives in a quiet suburb artist. Battles with various illnesses have not with her husband and her art. left her unmarked. “The consensus is that I She began drawing in earnest several years have ‘complicated biology’,” she says with a ago at age 35. In a very short time, she has little laugh, “So to feel the best I can, I’ve attained national and international honors. adopted a strict regime that includes yoga, Among her many awards: in 1993, she earned meditation and careful doses of rest and a Silver Medal and four certificates of merit solitude. I used to view my struggles as at Illustration West 32, the Society of something detrimental to my life, but I’ve since Illustrators of Los Angeles; in 1995, she was come to realize that they’re just part of being a top 100 winner in Art Prospect of La Jolla, human. On the other side of the spectrum, I California; in 1996, one of 100 women singled am aware of a deep fount of joy which out in New York’s 100 Women/ 100 Works somehow finds a way to spring - despite any Exhibition; in 1997, she won a silver medal hardship.” in the 4th International Graphic Art Exhibi- All this being said, there is no easy answer tion, Art Addiction in Stockholm, Sweden, and to her art. Her work is both emotionally and in 1998, one of a handful of artists featured technically complex. Each piece takes up to in the National Drawing Show in Chicago, p h

six months to complete. When she feels that o Illinois. Her work has been exhibited in t o

she has finished a drawing, she places it on gr galleries on both coasts in the U.S., and each

the floor of her studio and walks around it ap of her five limited-edition prints are part of for a week to decide if it needs additional work. h by sara the Chaumont, France poster collection and “I throw in all this daily stew and at the end conserved in les Silos, Maison du livre et de of six months, I may recognize it in some way, l’afflche. h m I may not,” she says. “But it’s kind of a “There’s nothing more luxurious, she says, c gathering of things. The best way I can describe ene than a cloudy morning, a gray light, a new a

it is it’s like a dream. I never know until the ny© CD, 47 minutes of drawing and just getting very end what might happen to it. The only lost.”

Special Issue 2000 WORLD of ART 45 marte szirmay new zealand

BIOGRAPHY 1946 Born Budapest Hungary; 1957 Arrived in Venice’ Exhibition, Art Addiction Venice Italy. Gallery Auckland; 1981 Janne Land Gallery Wellington; in New Zealand; 1960 1964 Auckland Girls’ Grammar MEMBERSHIPS Federation of International Medallists, The Hocken Library Gallery Dunedin; New Vision Gallery School; 1968 Graduated DFA (Hons) Auckland University, France; International Sculpture Centre Washington DC, Auckland; 1980 New Vision Gallery Auckland; 1979 Elam School of Fine Arts; 1969 Dip.Teaching, Auckland USA; Artist’s Alliance Auckland NZ; Art Educators of Bosshard Galleries Dunedin; Manawatu Art Gallery Secondary Teachers College. Aotearoa, NZ; Friends of ACAG Palmerston North; Victoria University Wellington; New AWARDS 1968 Air New Zealand Sculpture Award; 1971, SOLO EXHIBITIONS 1999 Drawings Gallery Auckland Vision Gallery Auckland; 1977 CSA Gallery Christchurch; 72 Frances Hodgkins Fellow, University of Otago Dunedin; New Zealand; 1997 Drawings Gallery Auckland NZ; 1976 Barry Left Galleries Auckland; Bosshard Galleries 1973, 78, 82 QE II Arts Council Awards; 1982 Visiting 1995 Lopdell House Auckland; Drawings Gallery Auckland; Dunedin; Brooke-Gifford Gallery Christchurch; Bishop artist, Johnson Atelier, Princeton, New Jersey USA; 1983 1992 Gow Langsford Gallery Auckland; 1991 Gow Suter Gallery Nelson; 1974 Barry Left Galleries Auckland; Visiting artist, Governors State UniversityIllinois USA; Langsford Gallery Auckland; 1989 Gow Langsford Gallery 1973 Govett-Brewster Art Gallery New Plymouth; 1972 1994 Selected as a Woman of the Year, International Auckland; 1988 Fisher Gallery Auckland; 1987 Lopdell Barry Left Galleries Auckland; Dawson’s Gallery Dunedin; Biographical Center, USA; 1997 Honorary Selection, House Auckland; 1986 Denis Cohn Gallery Auckland; Waikato Art Gallery Hamilton; 1971 Dawson’s Gallery International Miniature Art Exhibition Art Addiction Janne Land Gallery Wellington; 1984 New Vision Gallery Dunedin; CSA Gallery Christchurch; 1970 Barry Left Sweden; 1998 Honorary Selection, International ‘Masks Auckland; 1983 CSA Gallery Christchurch; New Vision Galleries Auckland.

chase plaza water sculpture auckland 1987 stainless steel 178 x 51 x 152,5 m / 7000 x 2000 x 6000 in

ARTimartest Talk szirmay My initial Fine Arts training was based on a traditional figurative nological advances visual communication has increased on a global scale, approach to sculpture. While I am not figurative, occasionally I tend to over the past 50 years. Globalisation has given rise to the multifaceted be representational. Although I usually don’t represent the human form, I character of contemporary art practice. The contemporary art work still do represent articles that are of importance to so called humanity. communicates its message to an audience, but that audience may vary in On saying that the figure has always been vital in how I conceive of my size from the global to the intimate, and will have varying and contradic- work, and in how it is received. In other words it exists for the human tory expectations of art. This is what characterises art’s function today - form, to interact with it, either in a spatial sense, or in more literal an indeterminate purpose that can be everything or nothing, universal or interactive ways. Thus although my work is largely non-figurative, it can intimate, political or aesthetic, et cetera. On saying that an art work still only be complete when the human form is present. requires interaction from its audience through the senses, intellect or a I am a sculptor who speaks about sculptural, 3 dimensional issues. physical engagement with it. Art works are still perceived by some as These may be dealing with the object and its placement; spatial instal- something to ’transport’ the observer beyond the everyday, mundane lation; materials; processes; and audience interaction. concerns of daily life. Art works are still collectable and are still tied to the There is a tendency today to confuse anything that is three dimensional economic superiority of the few (collectors, who may be the state, with sculpture. Sculpture is a specific category of creative activity within corporates, or the wealthy). The economic superiority of ownership still the visual arts. I work within this category and its histories, and push and divides the ‘patron’ and those who can only enjoy art works as ’ play with its demarcations. Sculpture is not a closed, static phenomena. worshippers’/ onlookers in a gallery/museum, with all the narcissistic Some might say that I am a traditionalist, in that I tend to work in what benefits that this provides. has, over time, been identified as the fundamental principles of sculpture I did think that I might become a medical doctor or scientist during my - space, mass, volume, surface, et cetera. However within this framework early schooling. These early interests have stayed with me throughout my there is the potential of endless movement, both intellectual and visual. life and have influenced my work in a variety of ways. For example, I Art, of which sculpture is a sub-category, is a name used to label one have investigated the mathematical formulae of biological structures like aspect of our cultural landscape. It is a term for which it is impossible to shells, which then I used to develop a series of sculptures using the same locate a universal definition, and therefor a specific function. It is all sequencing of numbers. culturally linked. Art works as such have not changed their own nature or Music has always played an important focusing function. I listen to function throughout history. It is society’s changing needs, attitudes and music while I work. And, although I do not subscribe to synaethesia, I economic philosophy that has changed art’s function. Through tech- like to think of the contemplative qualities of art as comparable to the »

46 WORLD of ART Special Issue 2000 marte szirmay new zealand

INTERNATIONAL EXHIBITIONS 1998 Federation of EXHIBITIONS IN NEW ZEALAND Since 1968 Multitude Exhibition I; 1085 A and J Gibbs, Auckland; Hawkins International Medallists The Hague Holland; of group shows in New Zealand. Development, Auckland; 1984 NZ Peace Foundation, Simmons Gallery London UK; 1996 Federation of Inter- REPRESENTED IN Public and Private collections Media Peace Prize; Bexley Dev, Marac House Manukau national Medallists, Switzerland; 1994 Federation of in New Zealand, Australia, USA, Britain, Hungary, City; 1982, 83 NZ Foreign Affairs Department, Singapore; International Medallists Hungary; 1993, 95, 96, 98 Sweden. 1979 NZ Housing Corporation Building, Manukau City Art Addiction Sweden and Italy; 1992 Federation of COMMISSIONS 1997 Commemorative Presentation Centre Wiri; 1976 Auckland Architectural Association International Medallists London UK; 1990 Federation of Medal, Consulate of the Republic of Hungary, New (Monier Awards); 1975, 76 Otago Medical School Dunedin; International Medallists Helsinki Finland; 1988 Orthodox Zealand; 1993 Mr & Mrs K Gosling, Auckland; Mr & Mrs Auckland Medical School; 1974 St Cuthberfs College Academy Crete; Tokyo Japan; Taiwan, lnternat Print J Matthews, New Plymouth; 1992 Glendowie College, Auckland; 1972 St Paul’s Cathedral Dunedin; 1969 Biennial; 1984 Kahurangi New Zealand Crafts Council Auckland; 1990 Mr & Mrs P Cross, Auckland; Mr & Mrs Newmarket Borough Council Auckland (Smirnoff Los Angeles USA; 1983 ‘Drawing 83’, 6th International J Hood, Auckland; 1987 Hawkins Dev. Hurstmere Plaza, Award). Drawing Biennale Cleveland UK; 1982 ARTEDER ’82 Takapuna, Auckland; Chase Corporation, Stock Exchange ADDRESS MARTE SZIRMAY 693 Richardson Road, Mt International Drawing Exhibition Spain; 1970, 73 Mildura Plaza, Auckland; 1986 Mr & Mrs Gellert, Auckland; Mrs Roskill, Auckland 4, New Zealand. Tel+ 64 9 6255042 Sculpture Triennial Victoria Australia. Giltrap, Auckland; Auckland City Art Gallery Survey E-mail: [email protected]

emotional evocativeness of music. contained like members of a family. category by choice. These categories are always When a dealer gallery would ‘set’ the market I have always worked in a sequential manner, imposed on the work or the artist by the value, two things have happened - firstly, the often producing copious amounts of work and convergent/linear culture of art criticism/ private collectors who were long time collectors large exhibitions. It has always been a way of history where there is a need to establish of my work were priced out of the buying ‘thinking through’, questioning and pushing the reference points, in order to carry out the range; and secondly, corporate buyers started variable outcomes of my ideas. It is only process of appraisal. Through out the 30 year to collect my work for investment purposes. through commissioned circumstances that a engagement with art making I have used a As a consequence the works changed in their singular outcome is ever seen (but many formula to critically evaluate the strengths/ function from intimate private conversations to maquettes proliferate the rubbish heap). I weaknesses of my work: In Sanskrit the word decorative investment pieces that had little believe the idea as it is regenerated eventually maya means: ma = to measure out, to form, to opportunity to become intimate, thus stilling starts to move in a different direction from the create, construct, exhibit or display. This word my voice and that of the audience. rest of the sequence. It is at this point that one possesses three aspects: The reviewing process is a problematic one. must stop. So, while that may be the point at The Veil Power: that hides or conceals the real, As an artist I am made accountable for what I which an individual object or series may reach the inward, essential character of things. do by the reviews I get. However the same completion, the idea is often continuous. The Projecting Power: which sends forth illu- accountability is never applied to the critic. In my work the interaction of the audience sions, impressions and ideas, together with the Rarely is any response possible, or any has always been a major concern. Touching, associated desires and aversions. corrections made to a review. The voice of the holding, reflecting were always important. In The Revealing Power: which is the function of critic remains, too often, the master voice. this way texture and weight become literal and art, scripture, ritual and meditation. Having become someone who is researched experienced, as apposed to suggested and These events are very much in the vein of a and studied by others has not changed my implied; and aspects such as temperature group exhibition, curated to a predetermined work. If anything, the consistency and focus in become as important as elements such as space. outcome, to serve a particular ideology of my work has strengthened, as I am aware that Most works are of ‘human’ scale, but I have globalisation/internationalism. Individual my directional changes and experiments have also deliberately altered this point of view, from artists see their work as fitting differing to be coherent not only to me but to others as the intimate to the monumental. My intention contexts, if it is mega events, then it is good for well, who are engaged in scholarship. is to invite the audience to ‘activate’ the work/s their work, if the context is wrong then it is of Art making is my response to my world. It is through their engagement with various little benefit to the work. I have attended many a means of comprehending the world; searching dualities, like: light-dark; shiny-reflective-dull; of these events where the curatorial concept has marte szirmay out a language of signs and symbols that transparent-opaque; rough-smooth; open- become a nonsense - twisted to accommodate transcend regional, cultural and social closed; inclusive-exclusive; static - mobile. an artist. However, it looks great on the CV limitations. It is a means of finding order in I was particularly interested in Brancusi, as and it does boost sales! In this way such events chaos and a means of communicating about the his philosophy was very close to mine in terms serve the market or commercial condition of art underlying order and structure of physical of what the function of art is. I began at a time very well. At least in the sense of labelling a phenomena that dictates our place within the when Minimalist artists were asking the same group of artists as “important”, and bringing natural world. It is a means of searching for the questions. I was researching and exploring these to one location. This makes it much easier pattern, the synergy. I have often projected my similar concerns, the spiritual versus the for the big players, whether it be dealers, work in terms of ‘healing /meditation/ material, in my work. collectors, or curators. The Biennials are contemplation’. I do believe that there is a Sculpture tends to be a more individualistic comparable to an Expo. They are also like fundamental need in all human beings to statement than painting, and it is less easy to fit major sporting events. Artists compete to be connect with something that makes them focus sculptors into mass gatherings of a type. I have selected, and they compete for attention when and link into the inner self. In an age of media never seen myself as an outsider of anything. there. Critics decide who wins and who loses; glut, the human condition is more than Nor is it easy to say what traditional art is at they provide a commentary not dissimilar to a revealed/ emphasised, to the detriment of larger this stage in history. Indeed, to label something sports reporter. less transient universal issues and evaluations. I “traditional” is problematic. It tends to lock ‘Contemporary art’ always had negative suppose I am trying to readdress the balance. I something in, close it off from change. It feedback, whatever century we look in. It is have little interest in self reflective, self prohibits the ability to respond to new because contemporary art is not yet type cast, it indulgent social commentary about transient conditions and shifting paradigms. However, I challenges accepted values and cultural human conditions/ my condition. I am far do feel that I have always worked within the “comfort zones”, it sits on the edge. When there more interested in finding the continuum. conventions of the traditional language of is adverse response it either means that the I have often made sculptures that had more sculpture; this is what makes me a sculptor. work is outside the norm of the “acceptable”, than one physical component to them. Each But, as I have said, I push and pull these i.e. it shocks; or it makes the audience engage interlocking part functioned as an independent conventions, they are starting points that I with it beyond the expected, i.e. think about element of the whole, thus allowing the interpret and reinterpret. They are my it/relate it to their individual experience/ audience to change the composition to their playthings. interact with it physically etc. to fully activate liking. Also because I work in a sequence the Neither, for I do not believe that it is essential it. It is no longer just decoration or entertain- individual sculptures in the sequence are self for an artist to “belong” to a particular ment, it demands a response.

Special Issue 2000 WORLD of ART 47 S trada N u o v a , C a n n ar e g i o 3 6 8 9 V e n e z i a

tel +39 041 5228258 palmi marzaroli switzerland

BIOGRAPHY Was born in 1962 in Vevey Switzerland. Printemps, Galerie d’Arfi Denges Lausanne Swirzerland; Self-taught artist. In 1980 began sketching and painting. 1994 Galerie du Casino Montreux Swirzerland; 1994 Since 1991 exhibit regulary in various European countries. Exposition collective, Mines & Salines de Bex Swirzerland; In recent years, his painting research is essentially based 1994 Exposition collective, Galerie Art Top Montreux on the various expressive alternatives, of China ink, using Swirzerland; 1995 Retrospective, Galerie du Pressoir, a very personal technique. He presently lives and works Ecublens, Lausanne Swirzerland; 1995 Exposition d’art in Leysin Switzerland. contemporain, Neuchâtel-Art, Neuchâtel Swirzerland; EXPOSITIONS PRINCIPALES 1991 Atelier d’Avô, Broc, 1995 Retrospective, Atelier 11, Montreux Swirzerland; 1996 Fribourg Swirzerland; 1992 Exposition collective d’art Exposition collective, Museo Civico Troia Italy; 1997 Centre contemporain sur le theme ”La philosophie”, Université Les Airelles. Concert-Expo, Leysin Swirzerland; 1998 Prima de Fribourg Swirzerland; 1992 Galerie du Pressoir, Ecublens, Biennale Internationale d’art contemporain, Trevi Flash Art Lausanne Swirzerland; 1992 6ème Salon International des Museum Palazzo Lucarini Trevi Italy; 1998 The 1st Autumn Arts, Palais des congrês de Liege Belgium; 1993 Exposition Annual in Venice, Palazzo Correr, Venezia Italy; 1999 collective, Galerie Patrice Alexis, Thonon France; 1993 Biennale Internazionale dell’Arte Contemporanea, Firenze, 1er Salon International des Arts, Abbaye de Floreffe Italy; 1999 The 1st Spring Annual in Venezia, Palazzo Correr Belgium; 1993 4ème Salon International des Arts, Centre Venezia Italy; 1999 The 2nd Autumn Annual in Venice, Culturel Hollerich Luxembourg; 1993 16ème Salon de Palazzo Correr, Venezia Italy.

Address: cime de l’est a 25 CH-1854 leysin (VD) switzerland tel +41 24 4942951

rêve d’un paysage 1999 ink on paper 30,5 x 24 cm / 12 x 9½ in

femme nue 1999 ink on paper 46,5 x 32 cm, 18¼ x 12½ in

artist Talk

I consider myself to be a figurative nourishing than accomplishing moved by music and philosophy and artist as I am inspired by reality, but something, which gives complete then later inspired by a few famous always leaving space to explore satisfaction. My painting has brought men renowned for their magnificent alternatives to reality, deep reflections me everything I need to survive. and spiritual minds. There is, of or thoughts from my mind lived or Painting is like learning; it is a way of course, the genius of Mozart & the dreamed. Through my paintings I can experiencing liberty whilst living in worldly vision of Schopenhauer, but I psychologically and physically express reality. think for me it has been more impor- my perception of the world and my The market value affects the artwork tant to look beyond the obvious as way of understanding it. A painting is when commercialism imposes itself things are not always as they seem to often represented by its intelligence upon the artist, but I do think that it be. Certain people do not understand and its sensitivity. is normal that the price of artwork my work and even underestimate it. Is If we consider that in life we are in a certainly should increase with the it really necessary for an artwork to perpetual conflict, then art can take experience and evolution of the artist. be explained? us to a higher level of consciousness. Every artwork reveals a story I feel it very important for an artist Art is a language without limits; it is whether it is true or fictional. Each to participate in events as it allows born through the liberty of one element within a painting tells its own him to share his artistic ideas, express expressing himself. Art is the expres- story, but also plays a part in the himself and to meet a world of people sion of all cultures. Art may be creation and life of the painting. I feel with an equal passion for art. The admired or despised; it remains a that an artwork is completed when the media will always continue to give perpetual memory in the mind. depth of the raw material has reached their opinion on contemporary art; Any form of art is a continuous its highest level of expression. negative or positive, I will always apprenticeship. Nothing in life is more During my initial years I was firstly follow my path of believing in my art.

Special Issue 2000 WORLD of ART 49 VASILE POP-NEGREST, EANU

soUND OF WHISTLE, 1 9 9 9 o i l O N c a NV A S 4 8 X 3 4 c m , 1 9 X 1 3 ½ I N

VASILE POP-NEGRESTEANU CAROL I Blvd., #30, 2nd floor, RO-70433 BUCHAREST 3 ROMANIA

tel +40 1 65.08.604 tel +40 1 32.04.792 fax +40 1 21.05.871 vasile pop-negresteanu romania

Born on December 28th, 1955 Negresti-Oas, Bucharest Romania; 1995 Art Museum Baia Mare, ing at Cotroceni Presidential Palace, Bucharest Romania. Museum of Negresti-Oas Romania; 1997 Palace of Romania; 1989 Museum of Brancoveni Nunnery, Education 1976-1981 The Fine Arts Academy the Parliament of Romania, Bucharest Romania; fresco, 400 x 1200 cm., Romania; 1997 The last ”N. Grigorescu”, Bucharest, Monumental Art and 1999 Museum of Archaeology and History, Baia dinner, oil on canvas, 180 x 600 cm., the Chapel Restauration section. Mare Romania. of the Hospital, Negresti-Oas, Romania. Membership Since 1984 Member of The Roma- International exhibitions (selective) 1990 WORKS IN COLLECTIONS National Museum nian Fine Arts Union-UAP. Miniature, Hyperion Gallery Ottawa, Canada, 1991 Cotroceni Bucharest Romania, Art Museums of participations Since 1978 Vasile Pop-Negres- Majdaneck Poland; 1992 First Biennial Exhibition Satu Mare, Baia Mare, Ploiesti, Museum of Oas teanu participated in all official exhibitions of of Contemporary Art of the Francophile Countries, Country, Romania; Negresti-Oas and other private contemporary art organized in Bucharest and in San Senart France; 1993 Mozart Variations-Museo collections in Romania and abroad. some of the exhibitions organized in other towns della Carta e della Filigrana, Fabriano Italy; 1999 STUDIO ADDRESS #30 Carol I Blvd., 2nd floor, of Romania: Satu Mare, Baia Mare, Negresti-Oas, International Drawing Salon, Arad Romania. Sector 3, 70433 Bucharest Romania. Tel 0040 Tirgoviste. WORKS OF MONUMENTAL ART 1982-1989 Works 1 6508604 Tel 0040 1 3204792 Fax: 0040 1 Personal exhibitions 1994 Orizont Galleries, of restorations and monumental-decorative paint- 2105871

For what reason do we constantly need to each of us - child and adult - the yearning for any classificatory approach is the point of represent some Other World emerging into objectifying other worlds. view, which operates this distinction. The our lives every time these last ones suffer Other World or After World - this is handiest one analyses the emplacement of the any individually or socially meant disconti- only a matter of perception over these frontier. The most common emplacement of nuities? Leaving apart dogmatic needs for profoundly normal, psychologically proved, the kind places the boundary on the side of ontological legitimization, rests - psychologi- human needs. Understanding this means step- our limit between ourselves and something cally ready - the receptacle to be filled with ping inside our shared (more or less) patri- else; this very limit is to be, and so will be, over frontiers, transgressing, and imagery. mony and entrusting at least our propensity ritually instituted. It is a way to observe that This wide range of mental representations for “reversed” living-world-order stories with the only boundary we can come to know over the other world belong, as an essential axiological legitimacy. is our side 0/the limit; whatever would be component, to every spiritual tradition of all Not even one of the analysis over the impact placed on the other side is to be explored by times, places and civilizations, even if one of the images of the Other World can avoid means of cognitive and conceptual categories could define our modern time taste and pro- a reality that every mythology asserts, that is of the world as known to us; so that the pensity for other worlds and dimensions as that: there is an osmosis between This World Other World is to be “defined” as congruent a fashionable quest. The amount of informa- and the Other Worlds, operated at precisely with any of the stated spaces of symbolic tion these descriptions of transgressing the those moments and at those spots where a topography. Or as an Interval of beyond the limits between the two worlds lighten could shift of the limitary border-plans becomes limits of our world and aside those of the be perceived as overwhelming; we do have, possible and opens the translation of materia. other one, as a space of non-creation, un- though, some means to quantify it: as Principles and living agents in between. Such formed, diffusion, peopled by entities which I.P.Culianu says (1997, Introducere), the moments occur usually by the time of collec- lack in onthic determinations, but do possess degree of elaboration of the vision of the tive, or restraint collective - that is family - some sort of an interface with and for mun- Other World is directly proportional with the shared feasts, or in all magic-manipulating dane reality so that they seek for the man, in degree of elaboration of the corresponding situations, and these facts are heavily dem- order to obtain those missing identity deter- religion. onstrated by the careful study of Romanian minations. This assumption complicates the picture: customs and mythological imagery. The only In this second acceptation, the interval first, because it is really hard to state that thing to happen is to cause and sustain / would be that area of beyond the limits, it is only religion to deal with “legitimate” describe somehow the necessary break into of beyond the existing orders of both This representations of the Other World; second, the order of normal present so that other World and the Afterworld and excluded by because religious feelings are as typically mental dimensions may burst into actuality both of them, before being part of any of human as any awareness of transcendent and meet somehow our rationality. them. Its space is a kind of trap, where one reality, so that magically-instrumented Trying to say something about those frac- can only wander without aim; its time is not representations confound their origins ture points where the contact between the humanly linear, but, on the contrary, circular (within collective mentalities) with religious two worlds becomes possible, essential for and typically lost; as for the entities that mythical roots; and populate this space, they third, because Culianu’s seem to appear, for the statement is just another traditional imaginary, as way to express the idea purely energetic as that we can comprehend LONGING FOR THE OTHER WORLDS humans are material. one of the forms of What matters for our representing the Other means of studying tradi- World, but the inte- MELANCHOLY VERSUS ANGUISH tional imagery - Roma- grated vision which nian or not - is that bases the representation by Ileana Benga the great majority of the remains remote. stories implying beings For those who deny from the other world are the relevance of this inquiry of ours within Ileana Benga dealing only with the “earthly” point of view, the context of our secularized society, we anthropologist whereas the impact of a certain event for the would emphasize onto the hunting for honor extra-mundane entity seems not to interest The Folklore Archive of the literature or cinematography that character- Romanian Academy institute in neither the story-teller nor the message of its izes our modern leisure-time; onto the ava- Cluj-Napoca Romania tale. lanche of stimuli our culture urges to besiege We do have a huge amount of information Nicolaie Iorga scholarship fellow at the us with, in order to manipulate those con- Romanian Institute of Culture and concerning traditional beliefs about the stant traits in our imaginary which cause in Humanistic Research in Venice ITALY beings that populate the Other Worlds, would »

Special Issue 2000 WORLD of ART 51 ovidiu petca ROMANIA dies irae 1997 silkscreen 20 x 15 cm / 8 x 6 in

participation katalin hervai work on the ROMANIA small graphic art touch international 1998 c3,4,7 exhibition 11 x 9,5 cm / art addiction 4¼ x 3¾ in srockholm sweden 1997 participation work on the 2nd autumn annual in venice international exhibition organized by art addiction palazzo correr venice italy 1998

« those be the above mentioned Interval or the antique, transformed, divinities or spirits of anyone who would spy for their council, Afterworld; we share, more or less, the same the wilderness. In a book concerning the except for the midwives, who are held to immense amount of stories about meetings birth of the fairies in the Middle Ages, remain silent on what they found out. There with these entities, while being here or there L.Harf-Lancner (1989) tries to demonstrate even is a legend about the disappearing of or in between. Earthly beings who only tem- the filiations of the fairies - the specific fairies these Ursitoare, while midwives and other lis- porary assume behaviors of beyond, ghosts of of the period, as found in the literature of teners would have unraveled in time all their abnormal-dead, demons or genii, or whatever all kinds of the time - from the Parcae and secrets to the common people (S.Fl.Marian, we got used to call fairies, our mythologies Tria Fata, as well as from the nymphs of the 1892, p.150/151). abound in unidirectional or double-sensed Greek-Roman patrimony; beside them, some However, their coming into our world is a “visits”. They do a lot of deeds and who could ancient strata of the European Great Moth- socially admitted - and even invoked - neces- tell if these are to matter only for the human ers, superposed by Celtic isomorphous divini- sity: a child does born and his life needs a part, or whether they might have some conse- ties. As for us, we do believe that fairies rep- succession of causes and effects to support quences for the “others” also? What we do resent some other dimension of our human his earthly voyage, that only the so called know is that they magically steal the manna - common mental structure, impossible to trace “weaving deity” of the history of religions that is the milk from the cow or the harvest in the history of humanity by means of can provide. In extension, the principle pas- from the field, the love from the lovers or the origin, filiations and effects, as it does rep- sage periods in his life will be endangered, man from his wife and children; in this case resent one of the most general constant in but obliged to some reaction, from the part we deal with living ghosts (in Romanian: stri- our lives. Such affirmation can be sustained of other entities from the rich mythological goi - strigoaice, bosorcai, bosarci, etc), with exactly with that non-aulic traditional Roma- patrimony, not only Romanian; for example, sorcerers (vrajitoare, farmecatoare), or with nian material, that abounds in semi divinities the concept of Fate madrine, implicated at dead ghosts (strigoi, moroi ) which generally with extremely wide attributions, faces, com- first to early medieval texts (v. L.Harf-Lanc- trouble their families in extent of their petences, relationships with the mortals and ner, 1989, p.20-28), helps us generalize, with household. They command over the powers resulting interaction with these last ones. the help of universal mythology, the whole of nature: so we have the technicians of Analyzing the totality of entities that can symptomatology of the godmother fairy, from weather-changing, having the appearance of be recalled with the name of fairies into the legend to the fairy-tale and then back beggars for ordinary people, but in reality Romanian mythology, we find an impressive to the personal-experience tales. Further on, testers of these last ones’ harmony as parts number of life-situations that cannot pass we find passage rites on puberty described of the universe (solomonari, solomani, zgrim- without the supposition of some external, as magical encounters with odd personages; intesi, zgribuntesi), the patron of the forest other than human, implication. From the very for the western imagery, these ones follow (Muma Padurii, Mama Padurii), the patron birth of the child, we find him visited by the dichotomy Fata Melusiniana Fata Morga- - sheperd - of wolves (valva lupilor, pastorul the Fates, the three (?) Weird / Fatal Sisters niana (L.Harf-Lancner, op.cit.), abundantly lupilor), the patrons of the wilderness of (in Romanian: Ursitoare, Ursoane, Ursatori, exemplified by the Italian fairy-tales collected waters (valva apelor, stima apelor), of the Ursite, Ursoaice, Ursoni, etc); they are said to by Italo Calvino (1975). Also characteristic beasts (valvu iepurilor, e.g.), of the mine come in the first nights after the birth of the for the western fairy-tale is the effort to point (valva baii) and of the deserted, harvested, child and, very careful to seize the attention out the origin and the homeland of fairies - field (iepurele, duhul holdei). And last, but that the parents and the midwife have shown with evident bookish cult literature influences not least, we have the fairies. toward them - in the form of adequate food - whereas Romanian stories point onto the The discussion surrounding fairies in gen- and drink and service - began to weave the subject not in order to describe the “fairy- eral could last for books and years. They were linen of his life with every significant detail. saga” but in order to describe and motivate subsequently considered heiress of antique Their showing in is highly prized, but usually human behavior. Let’s take an example: divinities of the destiny or nevertheless there is a terrible interdiction hanging above there are also some Italian fairy-tales which

52 WORLD of ART Special Issue 2000 emphasize onto internal society-rules of the were viable). However, as none of the other fairy kingdom, beside the telling of the entities from the other worlds has a purely important gifts fairies made illo tempore economic or juridical relevance, it would be to humans (Dizionario della fiaba, 1998, absurd to consider their incidence as a threat p.165-166). Romanian folklore makes and nothing else but a threat toward the humans meet with fairies a lot more inci- woman or the girl who did not finish spinning dentally and insists onto some parallelism and weaving. There must be another reason between our world and their other world; for sequencing ordinary time with ordinary from this, the extremely fragile boundary of - but still efficient - laws. The most dreadful the culturally admitted custom into dealing is the personification of the Thursday on the with them; and this fragility begins with the Passions’ Week (Joimarita - I.Muslea, 1972, impossibility of naming them on the generic p.213-237; I.Ghinoiu, 1997, p.101); but there name (they are called: iele, zane, zanioare, are also forbidden Fridays for the fairies - sfinte, soimane, danse, frumoase, iezme, ielele- and forbidden Tuesday evenings, per- fecioare, rusalii, milostive, miluite, maiestre, sonified in another terrible demon called puternice, doamne, imparatesele vazduhului, Martolea, Marti-sara; she is also an old ursoaice), with the interdiction of talking, and ugly, even deformed, woman, torturing imitating their song or letting on any way women who do not know to protect them- their presence to be guessed while those fair- selves and their homes (I.Evseev, 1997, ies are accidentally surprised, on the terrible p.210-212, 257-258; A.Fochi, 1976, respect that is to be paid to their dancing, p.196-197, 182-186). places, songs and forbidden days (O.Birlea, A lot of things remain uncovered in the field 1976, p. 196-199; I.Muslea, O.Birlea, 1970, of mythological imaginary; we underlined just p207-218; A.Fochi, 1976, p.138-146). a few traits and tried to lighten some connec- Another entity, this time a purely forester tions that Romanian mythological representa- daemon, is the Maid of the Forest (Fata Padu- tions bring into understanding. A lot of work rii, Padureanca - M.Ionita, 1982, p.34-91; awaits the scholar who wants to unravel some A.Fochi, 1976, p. 12-122); a lot more savage, true assumptions about our native propensity toward the transcendent, the other, more and she still sings but hasn’t the appearance of suzana fântânariu a normal woman, tempting young boys with more distant, worlds; moreover, his task gets ROMANIA her strange feminity; the children resulted are complicated by the accelerating process of dis- Portret astenic i solution of traditional culture and way of life. 1998 mixed media to be changed by theft with the children of 20 x 20 cm / inattentive mothers. Here she plays a double In the context of the total transformation of 8 x 8 in role into the life-cycle of a person: as a child realities within our modern society, we will very soon find ourselves in front of the same silent participation and as a young man. For the young man, she work on the may harm him in a similar way with the iele type of archive as any historical archive is; we 1st masks in venice (cf. the nympholeptic enthusiasm of the Greek will, of course, subsequently define a new Eth- international exhibi- nology - the pair of the horror concretization of tion mythology). organized by Romanian traditional imagery contains this new world’s longing for the Other. art addiction another type of figures: they regulate domes- Worlds - but what has to say our still-present palazzo correr tic activities of women through the year (or at day field, Romanian field in our case, would be venice italy 1998 least did so for that long that those activities very soon completely unused, and so forgotten.

cristian neagoe holland ghosts 1995 oil on canvas 80 x 60 cm / 31½x 23½ in corlatan vasile participation ROMANIA work on the untitled most talented art- 1999 oil on canvas ists 20 x 12 cm / international prize 8 x 4¾ in organized by art addiction participation stockholm work on the sweden 1997 1st spring annual in venice international exhibition organized by art addiction palazzo correr venice italy 1999

Special Issue 2000 WORLD of ART 53 andrea zanatTa italy

4 metri e rotti... 1999 photographs © »

untitled 1999 photographs ©

untitled 1999 photographs ©

biennale 1997 photographs ©

Review

Andrea Zanatta was born in Treviso the more he succeeds in making us per- allows him to characterize in a unique on the September 3, 1967. Since child- ceive reality in a different way: in that way even parts of the world and events, hood he has shown a great interest in the variation, however small, resides his which have been the subjects of other art- world of art. He has visited exhibitions poetic vein, his style.” And if style signi- ists’ photos. This happens because each and museums, in an attempt to under- fies the thoughts of an artist about the artist infuses his work with his own life stand what art is and, above all, what world, then Andrea Zanatta is an artist. experience, and his own vision of the distinguishes a “normal” person from an These thoughts cannot be the world. artist. He wanted to be an artist but he same as another person’s because, other- By looking at his photographs did not feel like one. wise, they would already be portrayed in we understand his poetic vein, which is After his first disappointing attempts at a previous photograph, and there would not expressed by focusing on a precise painting, which did not satisfy his thirst be no reason for taking that photograph subject matter, because life is expressed in to express himself, he was struck by a again. many different forms. As a result, Andrea phrase written by the Spanish writer San- A photograph, if it is a work loves taking photographs of the coun- tiago Ramon Y Cajal, who says: “The of art, offers us a different view of the tryside, taking portraits, photographing camera lens alone can satiate the thirst world. By means of a photograph we see architecture, still life events, in a press for beauty for those who, born artists, the world as we have never seen it before. fashion, because he says “everything have not had the time to practice their For this reason, each artist is which is around us is part of and is also art methodically, to the point where they different from any other, because his style the essence of life”. become ‘maestros’ of the paintbrush and I believe that in photography the palette.” he has found the way to liberate his feel- This sentence almost seemed to ings and to express himself uncondition- justify Andrea’s inability to paint and ally. Andrea Zanatta’s photographs con- gave him the necessary strength to try tain the primeval instinct of the cave photography with new and unexpected painters; that necessity which makes pho- energy. He thus found in photography the tography a physiological need, maybe answer to his questions on the subject of because it satisfies the need to leave a “real” art. How can one be original and trace of himself for posterity and there- create a new piece of work and therefore p fore acquire a form of immortality, but, h o be a “real artist” when everything seems t above all, because it is essential in order o to have already been said, invented or gr to “live” and not to “survive”. ap

photographed? V. Sgarbi, an Italian art h by a It is perhaps the exceeding vari- critic says: “a new work of art exists ety of his subjects, which expresses his,

when we see in it a different way of n will to overcome any obstacle and to dr

perceiving reality. If we are used to per- e knock down any barrier, of participating ceiving reality in accordance with certain a z in any manifestation of life. a models, when we discover a new artist we n Andrea Zanatta is living and atta will know that that artist is the greater working in Venice at the moment. ©

54 WORLD of ART Special Issue 2000 ANDREA ZANATA l +39 54.00.032 041 / +39 52.28.258 041 e y t a Ital enezi o V g lla e art T-30030 M a 36, I n r e a B i , V atta n a Za e dr

An ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se trees of wisdom

sophia’s sacred trees, 2 0 0 0 w o o d s c u l p t u r e 1 8 3 c m , 6 ft

GRANROTT PRESS Box 6 CLARENDON 5157 AUSTRALIA tel +61 8 83.83.60.81 fax +61 8 83.83.60.67 noela hjorth australia

1940 Born, Melbourne Australia. Australia; 1979 1982 Salamanca Place Gallery Hobart 1994 Installation, St John’s Church, Adelaide Australia EDUCATION 1958-59 Full-time Art studies at Prahran Australia; 1979 1988 Greenhill Galleries Adelaide South SELECTED GROUP EXHIBITIONS 1994 Montserrat Gallery Institute of Technology (Victoria College). 1960-63 Studied Australia; 1980 Powell Street Gallery Melbourne Australia; New York USA; 1995 Contemporary Sculpture Exhibition at Royal Melbourne Institute of Technology. 1968-71 Studied 1980 Fremantle Arts Centre Western Australia; 1980 Riverina Royal South Australian Society of Arts Adelaide Australia; at Chelsea School of Art. College of Advanced Education Wagga Wagga NSW; 1980 1998 Contemporary Art Center of South Australia. CAREER 1973-74 Lectured part-time at CaulfieldI nstitute of Hawthorn City Art Gallery Vic. Australia; 1981 Silpakorn COLLECTIONS Australian National Gallery Canberra; Technology Monash University Australia. 1976 Established University Thailand; 1981 Wagga Wagga City Art Gallery National Gallery of Victoria Australia; Art Gallery of New the Victorian Printmakers’ Group and Workshop. Vice- Australia; 1982 Stadia Graphics Gallery Sydney Australia; South Wales Australia; Art Gallery of Western Australia; President of the Print Council of Australia. 1980-81 Artist in NSW, Kalamunda Gallery of Man Perth Australia; 1982 1984 Art Gallery of South Australia; Queensland State Gallery Residence at Riverina College Wagga Wagga NSW. Tynte Gallery Adelaide Australia; 1983 Hogarth Galleries Australia; Tasmanian Museum and Art Gallery Australia; INDIVIDUAL EXHIBITIONS 1970-71 Gallery 273, Whitechapel Sydney Australia; 1984 Niagara Galleries Melbourne Australia; Northern Territory Museum of Arts Darwin Australia. London England. Exhibition Gallery Hornsey London, England. 1988 Northern Territory Museum of Arts and Sciences COMMISSIONS Hilton International Hotel Adelaide; 1993 Battersea Arts Center London England; Victor Mace Gallery Darwin Australia; 1988 Spencer and Gillen Museum, Alice Sculpture for the Peace Circle, Riverbend Park Australia. Brisbane, Australia; 1972 Warehouse Gallery Melbourne Springs Australia; 1994 Installations, St Peter’s Cathedral, 1996 Video, Journey of a Fire Goddess; 1998 Video, Sophia Australia; 1973 Swan Hill Gallery, Vic. Australia; 1978 Robin Adelaide Australia; 1994 Greenaway Art Gallery Adelaide and the Seven Serpents. Gibson Gallery Sydney Australia; 1978 1984 Solander Gallery Australia; 1994 Melbourne Contemporary Art Gallery CONTACT ADDRESS PO Box 6, Clarendon 5157 Australia. Canberra Australia; 1979 Burnie Art Gallery Tasmania Australia; 1994 Sophia Cumber land Park Adelaide Australia; tel +61 8 83.83.60.81 fax +61 8 83.83.60.67

artist Talk

My imagery has always been about the Queen of Heaven who visits her dark Sister in the installations relating to “Sophia” (Greek word feminine with a celebration of pervading Underworld - (or Isis, the divine Feminine for love of wisdom). Working with church darkness related to my personal journey and the Symbol from the Egyptian era and the Greek structures has not always been simple; as art and universal Mother Goddess. Earth Mother Goddess, Gaia.) These are all spirituality were separated in the post Renais- These art works included a cycle of full size embodied in my works of the “Return of sance Era from Medieval Times. “Body Lithographs” followed by some large Sophia” and the “Trees of Wisdom”. Black, The travels that I have made throughout 3-Dimensional constructions on canvas. These white and red are the colours corresponding to Europe and the UK in the late 60’s and early 70’s constructions have a central Mandala surrounded Life / Death and Rebirth with an emphasis on were significant to my work, particularly the by fragments of drawings and paintings gathered red for regeneration. catacombs of Rome and the Highlands of over the previous decade. Smaller individual The cycles of my work have their own Scotland where I felt a mystic presence. works on paper were also prevalent until this beginning and their own end as with the cycles of Later, during the early 1980’s I travelled to current cycle. nature. Each art work, or stage, has its own India and Indonesia and Arnhem Land in I have always considered myself a figurative journey related to the life force, so that its Northern Australia and discovered the balance to artist, however in the last decade the underlying completion is indicated to me as part of the flow my Western experiences. These ancient cultures symbolism has become more prevalent, and the of that energy. revealed an essence and integration that seemed current installations suggest recurrent archetypal My imagery has always flowed from within, more profound than any individual con- references from ancient cultures (such as the and it was only after I saw a sculpture from 6th temporary artist’s work that I have viewed. circle and the cross). Century Albania relating to my “Bird-women” It is possible that the rise of the individual artist This 7 year cycle, to be completed in the year series that I began to realise “our universal (prevalent in the latter half of the 20th Century 2000, has been predominantly three-dimensional, memory” could express itself, as though through and continued from the Renaissance) whose art with sculptures of terracotta, ”Seedpods”, bronze a fertile imagination if we are able to “let go” work is based on a synthesis of concepts, has “Mallee Roots” and wooden and cast iron and become the “process”. allowed an art market to encourage an ego “Trees” as a balance to my earlier “works on Later I began to search for images throughout driven hierarchy to develop, which is basically paper” and canvas. Eastern (particularly Indian and Indonesia) and patriarchal. Thus female artists (particularly These sculptures are mainly set in “Western Tribal (north-western Australia) cultures that those who express feminine imagery) are often sacred sites”, related to the earth and the natural related to my own visual expressions. overlooked, and only seen as a voice crying in the life forces, to activate a positive and procreative As it is a matter of survival for the artist to wilderness energy for our Planet and ourselves. achieve the full flowering of one’s work, it is only My artwork possesses the natural polarities of As I spiritually relate to Eastern and Tribal now, after over 4 decades of art practice and strength and vulnerability, order and chaos, cultures I often find it difficult to equate to the commitment to my primal imagery that I more related to the Seasons and the bursting forth of more materialistic and ego-driven aspects of our fully understand where my place is in our global life in springtime. Western art market. My art works are like my culture, and in retrospect, I can see links with It is preferable to work in a certain isolation to creative “children” other International artists, e.g. my Black body allow our “dreaming” to emerge. Success and Throughout my career I have found it lithographs of the 70’s, perhaps related to some recognition may be a sense of respect and rewarding to have reviewers who utilised a imagery of Robert Morris. attribution to the artist when they have fully positive personal and universal interpretation. As I basically feel like a “Sophisticated Primitive” developed. However, to be conscious of one’s I believe they have a responsibility to generate an and often I have felt like a “loner” working in own standing in the art world too early may be a understanding and awareness of current isolation at the time of creating. However, on limiting factor. symbolism in terms of the “thread” that links all looking back on each decade and cycle of my I am optimistic that more female artists that humanity through various cultures to the work I realise there are direct links with past work from the realms of a feminine archetypal beginning of our global creative expressions. cultures of ancient symbols and also with imagery will be understood and recognised in our The artist often works through a process from individual artists in the 20th Century that are “global village” for the next millennium. the subconscious, with intuitive images that do scattered throughout the world. For example I Meanwhile I am making a large publication on not have corresponding words - until much later. have felt links much earlier in my life with the the “Trees of Wisdom”. It is a fairy tale book for With the last cycle for this millennium, I am Fantasy Church of Antoni Gaudi and the dream - adults, full of lyrical truths. It combines both the deeply immersed in the life/death/rebirth like images of Chagall. word and the image (the Logos and the Vision) mysteries that I have continually explored - Thus The marks I make as an artist are a combina- and tells the story of the Wisdom of the Ages. I am totally optimistic that a New Age is tion of both intuitive and more actively At the present time there is a certain sense of dawning for our Western culture that will see controlled expressions. A combination of inner dislocation of art and culture from the rest of the some artists as true visionaries. and outer aspects those are basically intuitive. community. Thus an innate sense of fear is often In ancient cultures (e.g. Neolithic) the Life / For example even Paul Klee’s famous saying of expressed through the media towards unfamiliar Death / Rebirth mysteries have had a story or taking a “line for a walk” is part of a cerebral artworks that may have a potent density. narrative that equates with their understanding. function or a conscious thought, intrinsically However I am optimistic that art and culture will My feminine imagery often involves reclaiming linked to intuition and the natural life force. be more integrated into a less goal driven, less those lost myths from ancient cultures, - for My whole career has been one of cyclic growth materialistic Western society in the 21st Century example Ishtar (or Innana) the Babylonian with the “blossoming” resulting in whole and 3rd millennium.

Special Issue 2000 WORLD of ART 57 S acal

JOSE SACAL Jos e, Sie rr a P a r acai m a #50S, a #50S, L ., Ch apul t epec, Mexico DF 11000 Mexico, Tel+ 525 5205393 Fax+ 525 Fax+ e- 5401722 Tel+ 525 5205393 11000 DF Mexico, Mexico epec,

According to Jose Sacal his art can be the outcome of a dream, or of a transmitted feel- ing by someone close to him that inspires him. It may emerge by a daily event. His process begins by playing with clay or metal, and it is then when that idea begins to take form between his hands, developing it until it reaches live poetry his sculptures. Born in Cuemavaca, Morelos, Mexico in 1944, m

Jose Sacal studies in The Instituto Regional de ail Bellas Artes, in Morelos, Antiguo Molino de st

Santo Domingo (I.N.B.A.) and with the masters u d

Arthur Khrohnengold and Enrique Aitamirano. io@ His work has been exhibited individually and j o collectively in various museums and galleries s e s

within Mexico City around the country as well acal.co as in Barcelona, Spain. This is the result of more than 30 years of dedication and discipline. A piece of work that orgullo m speaks about a destiny and that gives it the 1998 bronze , 48 x 45 x 40 cm / www necessary thrust to move, to integrate 19 x 17½ x 15½ in

within and maintain or break with the . j o

harmonic rhythm of life. s e s acal.co Maité Alarcón Vidal m Jose Sacal Mexico

Born September 25, 1944 Cuemavaca, Morelos Mexico. 2000 Siqueiros Museum Cuemavaca Mor. Mexico. 2000 Michoacán Mexico; San Esteban Park Monterrey Mexico. Studio Sierra Paracaima #50, Lomas de Chapultepec, Latinoamerican Museum Seoul Korea Proiects Bassiman Walkway London England; Contem- 11000 Mexico D.F. Tel +(525) 520 53 93 Fax +(525) 540 Collective Exhibitions 1997 “Barcelona Fair” Barcelona porary Museum Shanghai China. 17 22 E-mail: [email protected] Internet http:// Spain. 1997 “Bienal Contemporánea” Florence Italy. 1997 Prizes 1997 Gold Medal Bienal International Florence www.josesacal.com Casa Turquesa Hotel Cancun Mexico. 1998 Cámara de Italy. 1998 Trophy “Grand Prix Mondial” Musse Beaux Arts Studies 1965-69 The National Institute of Fine Arts Diputados de Mexico Mexico D.F. Mexico. 1998 Ippodromo D’Unet France. 1998 The President’s Prize Florence Italy. Cuernavaca Morelos Mexico. 1969-72 The Institute of Arts Della Capannelle Rome Italy. 1998 The 1st Autumn Annual 1998 The Jury Special Prize, Italia per L’arte. 1998 Diploma “La Esmeralda” Mexico. 1973-78 Arthur Kronhnengold’s in Venice Palazzo Correr /Art Addiction Venice Italy. 1998 of Excellence, The Autumn Annual in Venice. 1999 Gold Workshop Mexico. 1979-82 TheAntiguo Molino de Santo Mexico Bulgaria Encounter Sofia Bulgaria. 1998 Palazzo Medal, L’Elite Contemporaine Paris France. 1999 Director Domingo (INBA) Mexico City Mexico. 1983-97 Enrique Degli Afari Firenze Italy. 1998 Palazzo Beccio, Firenze, Italy. Choice Award WinterFest International Omaha USA. 1999 Altamirano’s Workshop Mexico. 1999 La Mision de Senecu Gallery El Paso Texas U.S.A. 1999 Special Recognition, Miniature International Nebraska USA. Individual Exhibitions 1996 Dube Gallery Barcelona Amparo Museum Exposición Intinerante Mundial.1999 Latin 1999 Gold Medal, The Autumn Annual in Venice. Spain. 1997 Jardin des Arts Gallery, Paris, France. 1997 American Museum, Long Beach, CA USA. 1999 La Mairie Permanent Collections Mexican Embassy in Rome Menache Gallery, Mexico D.F. Mexico. 1998 “José Luis XVI Paris France. 1999 Fortezza D’Abasso Florence Italy. Italy; Zichy Thizzen Museum; Beaux Arts Museum D’Unet Cuevas Painter, José Sacal Sculptor”, The Pendulum Gallery 1999 The 2nd Autumn Annual in Venice Palazzo Correr /Art France. Mexico D.F. Mexico. 1998 Jewish Community Center, Addiction Venice Italy. Address Sierra Paracaima #50S, L., Chapultepec, Mexico DF Mexico D.F. Mexico. 1999 Wansung Fung Gallery Beijing Public Sculptures National Theater, Miscolc Hungary; 11000 Mexico, Tel+525 52 05 393 Fax+525 54 01 722 e-mail China. 2000 Contemporary Museum Morelia Mich. Mexico. Lincoln Park Chapultepec Mexico D.F.; Central Park Morelia [email protected], www.josesacal.com

la familia geodas 1998 bronze 1999 bronze 70 x 60 x 40 cm / 22 x 17 x 15 cm / 27½ x 23½ x 15¾ in 8½ x 6½ x 6 in Lucha 1998 bronze 95 x 45 x 40 cm / 37½ x 17½ x 15½ in

he divine thought has turned abundant multicolored groups of smiling figures; ur talent of introverted Tit begets the repetition of those delicious maneuvers, made up by two or three Opersonality, quiet and a bodies that do not know how to break. One of them is kept captive and will dreamer Jose Sacal uses art to never exit its magic ties. express his emotions and transmit Paul Valéry his love. Also his work is full of harmony, ccording to Jose Sacal his art can be the outcome of a dream, or of a transmit- movement, and perfection, with Ated feeling by someone close to him that inspires him. It may emerge by a precision of those beings to use daily event. His process begins by playing with clay or metal, and it is then when happily their inner selves. that idea begins to take form between his hands, developing it until it reaches His art is a delicacy of many live poetry, his sculptures. moods and language. It’s living Born in Cuernavaca, Morelos, Mexico in 1944, Jose Sacal studies in The lnstituto poetry. Body expressions of feel- Regional de Bellas Artes in Morelos, Antiguo Molino de Santo Domingo (INBA) ing order and discipline, a mani- and with the masters Arthur Khrohnengold and Enrique Altamirano. His work fest of each of his sculptures. He has been exhibited individually and collectively in various museums and galleries establishes with the spectator a within Mexico City around the country as well as in Barcelona Spain. This is the silent communication, with a lan- result of more than 30 years of dedication and discipline. A piece of work that guage far larger than words and speaks about a destiny and that gives it the necessary thrust to move, to integrate facts but a language that reaches within and maintain or break with the harmonic rhythm of life. the soul.

Maité Alarcón Vidal Eduardo Luis Feher

Special Issue 2000 WORLD of ART 59 JOSE SACAL

caracol 1998 bronze, edition 1/8, 95 x 45 x 55 cm / 37½ x 17½ x 21½ in, US$ 12900

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se VASILE CORLÃT, AN n / 78¾ x 70¾ i m R 200 x 180 c p a p e N D A S A NV c a N O

A R p e M E 1 9 9 8 T

X IFI U C R c

VASILE CORLÃTAN AVRAM IANCU ST., #4, ro-2180 sinaia romania

TEL +40 44 31.49.80 andrea pagnes italy selected ARTISTIC CAREER 1990 Assistant curator and catalogue Exhibition, Art Addiction Int’l Gallery Stockholm Sweden.1995 Mocenigo, Venice Italy; 1997 Art Cologne, Scognamiglio&Teano texts. International Art Project Oberhalb der Baumgrenze, Art & Co-curator, catalogue texts, “La Stanza degli Sguardi”, Venice Gallery, Napoli Italy; 1999 Group sculpture exhibition, Studio 13, Nature, Munich Germany; 1991 Assistant curator and catalogue Italy; 1996 Art Fear Bologna Italy; 1996 Curator, catalogue and Renncs France; 1999 World Wide Millennium Painting Competition, texts, International Art Project Gluck Auf, Policy & Society, Cologne participating artist, “The Garden of Gods - impulses for a new glass Italy; 1999 XLVIII Biennale of Venice: 1) Coordinator for ART 30 Germany; 1992 Group exhibition, Thomas Jerig Gallery, Duisburg art culture”, Ateneum San Basso /B & S Art Gallery, Venice Italy; BASEL; 2) Coordinator “World Wild Flag” Belgium Pavilion; 1999 Germany; 1992 Curator, catalogue texts, “Corale”, Bevilacqua 1996 Images and writings, Il Muro, Venice Italy; 1996 ”Aspects de Associated Artist for the stage in sculpture organized by Giò La Masa Foundation, Venice Italy; 1992 Catalogue text “Artistic Part contemporain en Italie de 1950 a nos jours”, La Chataigneraie Pomodoro and group exhibition ”Inside-Out” Atlantic Center of Laboratory” Fossato di Vico Italy; 1992 Curator, Stanze Mistiche, de Flemalle Belgium. 1996 1997 Workshop, Artist in residence, the Arts, Florida USA. Cultural Club, Ai Miracoli, Venice Italy; 1992 Catalogue texts and Stiftung Starke, Berlin Germany; 1996 Internet project MEDIART Personal exhibition 1995 Il Cantiere Gallery, Venice Italy; curator, Il Biennale del libro illustrato per l’infanzia; 1993 “Ferita 100-selected Italian artist; 1997 Invited for the project “Voda a 1995 Bugno & Samueli Art Gallery, Venice Italy; 1996 Stefan Vogdt da taglio” performance for saxophone, acting voice and work in Zivot”, Installation for the Moravian Water World, Czech Republic; Galerie, Munich Germany; 1996 NTV Jubilee, Berlin Germany; 1997 progress, Ottomat, Vicenza Italy; 1993 Curator, catalogue text, 1997 XLVII Biennale of Venice: 1) Coordinator of ”Sarajevo”, Stiftung Starke, Dresdner Bank Berlin Germany; 1998 Eagle Gallery, “Entraxis, History, Environment and Society”, Venice Italy; 1993 project for the Bevilacqua La Masa Foundation, Querini Stampalia London UK; 1999 Videoinstallation ”Colours”, Casanova Music Curator, “Rifondazione”, Venice Italy; 1994 Participant, catalogue Foundation; 2) Organizer of ”Europarte”, five young proposals Café, Venice Italy 1999 Avida Dollars Gallery, Milan Italy; 1999 text “Paternoster” Cologne Germany; 1994 Curator, “Entraxis for the Bevilacqua La Masa Foundation; 3) Club Media, Virtual & Galerie Flux, Liege Belgium. 2”, Malvasia Vecchia Club, Venice Italy; 1994 “Artriti”, Abano Internet Art project, ”Imagine that”, video-dia installation at Teatro ADDRESS San Polo 559, IT-30125 Venice Italy, tel /fax +39 41 Terme Italy; 1995 Art Fair Bologna Italy; 1995 1st Int’l Graphic Art Fondamenta Nuove, Venice Italy; 1997 ”Quasi per gioco”, Palazzo 5222272 Mobile 0039-85724374

frozen 1998 mixed media sand man dark wood on canvas 1998 mixed media 1999 mixed media 100 x 100 cm / on canvas on canvas 39¼ x 39¼ in 70 x 50 cm / 70x 100 cm / 27½ x 19¾ in 27½ x 39¼ in

Words by Emma Hill director of THE EAGLE GALLERY LONDON UK

rtist, poet, curator and critic, Andrea Pagnes is agnes’s paintings have an ambiguous three- Apart of the young creative generation in Venice. Pdimensional quality - an insistence that they be He perceives his practice as a constant and evolving regarded as objects existing in space. Their exploration exploration of expressive languages where no single of the poetic geometries of nature result in surfaces, discipline takes precedence but connects to explore which are redolent of vaster desolated -almost archeo- and make concrete a vision of reality. The recent logical - landscapes. The paintings are fragments, which paintings made for the Eagle Gallery in London speak of the whole. His way of making them (without follow a series of slide and video works begun during brush or tool) letting paint and natural pigments fracture a residency at the Stiftung Starke in Berlin in 1997 under intense heat or washed to the silkiness of marble which explored correlations in natural phenomena attempts a process whereby any mark of the ’particular’ - and materials. While acknowledging the influences of any subjective sense of the artist is eradicated. Yet the European artistic tradition (discernibly Tapies, attempt to uncover the reality within material, where the Fontana, Burn, Giacometti, Beyus, Schwitters) artists acts as conduit or mediator (as part of the Pagnes is equally involved with scientific phi- process) is an expression of a deeply held philosophic losophies: chaos theory, the mathematical precepts of belief that the work becomes part of a material reality the Fibonacci series, the discoveries of Rupert that can speak of the universal. Nature as material Sheldrake into plant auxins, for example. The recent contains its own nemesis. The paintings exist as evi- work presents microcosms and macrocosms of the dences of intellectual and conceptual beliefs, which are natural world - the process of their making a parallel at once destroyed and yet made concrete by paint. In this to their subject. they become objects of contemplation.

62 WORLD of ART Special Issue 2000 andrea pagnes italy

Born 24 November 1962 Venice-Lido. Married, father of one books; 1989 An essay on poetry published, by the yearbook of the by Guy Lesser, Milan Italy. daughter. Venetian Athenaeum, Italy. THEATRE & VIDEO 1991 Assistant of Professor André Françoise EDUCATION 1980 Scientific High School Diploma, Liceum Pietro JOURNALISTIC CAREER 1987 1991 Collaborator of Gazzetta di Villon for the play “Evelyn” by James Joyce; 1994 “John Keats”, Orseolo II, Venice Lido Italy; 1981 English language certificate Venezia and Gazzetta Veneta magazines; founder of the cultural screenplay and acting, directed by Asia Argenbo; 1992 “Picture British Institute Cambridge, Venice Italy; 1986 Archivistic and column ”Officina Veneziana” Italy; 1990 Collaborator of Flash it!”, video clip for ”Corale” art exhibition; 1993 Stanze Mistiche, Librarianship courses, State Archive of Venice Italy; 1987 Art Critic Art and Flash Art International magazines Milan Italy; 1993 videoclip for Si anze Mistiche art exhibition; 1994 “He-Art”, video Diploma, International Art University Venice and Florence Italy; Founder of Nexus magazine Italy; 1993 1995 Collaborator of Flux clip for ”Artisti” art exhibition; 1996 “Imagine that”, video for Club 1989 Modern Literature Degree, University of Venice Italy; News magazine Belgium; 1993 Entered in the Italian Journalist Media, Venice Biennale 1997 Italy; 1999 “Colors”, video clip. PUBLICATIONS 1987 ”Uno studio sugli affreschi di San Giovanni Corporation; Articles appeared in other national and foreign AWARDS 1991 Robert Schuman award: reprehensive of Italy (EC Decollato”, art essay published by Edizioni Helvetia, Venice Italy; magazines. Strasburg). Pertaining to this award, a written essay about the 1990 ”Verso Samain” prose work published by Edizioni Helvetia, TRANSLATIONS 1990 Lieders of Schumann, Schubert, Strauss for question of immigration is published by the EC Parliament in Venice Italy; 1991 ”L’arte della litografia nell’opera di Marc Chagall”, the event ”La Musica dell’Imperatore”, Venice Italy; 1991 Jurassic 1991. 1990 National award ”Selezione Poesia” for the book Azione art essay, Milan Italy; 1992 ”Azione Poetica” prose work CD, Ragusa Park by Michael Crichton, Garzanti e Vallardi, Milan Italy; 1995 Poetica Italy; 1991 II literary award ”Città di Venezia”, Venetian Italy (after winning a contest set by ”La Repubblica” newspaper); Ripley Bogle by Robert McLiam Wilson (collaboration), Garzanti, Athenaeum, Italy; 1995 Honorable Mention received by the 1997 Two essays published in “Filosofia 2”, Ed. Politi, Milan Italy; Milan Italy; 1995 Picasso curetted by Vittorio Sgarbi, from Italian International Graphic Exhibition of Stockholm Sweden. 1999 The 1998 ”Il Labirinto” prose work to be published in the near future; to English, Milan Italy; 1995 Chagall curetted by André Françoise national award, World Wide Millennium Painting Competition, Poems and prose works published by some national anthology Villon, from Italian to English, Milan Italy; 1996 Alexander Brodky Italy.

7 skins lumiere 1999 mixed media 1998 mixed media on canvas on canvas 70 x 50 cm / 50 x 50 cm / 27½ x 19¾ in 19¾ x 19¾ in

dark wood berlin 1999 mixed media 1998 mixed media on canvas on canvas 70x 100 cm / 100 x 70 cm / 27½ x 39¼ in 39¼ x 27½ in

artist talk: BRIEF DESCRIPTION OF MY ART WORK AND THE DIRECTION I SEE IT HEADING

Expressively nomadic, since in the acute attention to the and reveal that the importance the beginning of my artistic presence (more than a condi- of art may even be due to the career I perceived my practice as tion) of man in his world. ability to perceive and portray a constant and evolving Equally, during my cura- that which is beyond the edge of exploration of expressive torialship experiences, I have sensorial information: the languages where no single always tried to bestow priority ineffable. discipline takes precedence but to the organization of a col- Reviews of my work appeared connect to explore and make lective work regarding to the in Great Britain: Time Out and concrete a vision of reality. particular artistic expression of The Thames; Germany: Der Consequentially, I have always any given artist, as to enable a Spiegel, Westzeit, Koelner endeavored to exhibit my work positive convergence of syner- Stadt-Anzeiger, Abendzeitung, (painting, sculptures, videos, gies for a civil and poetic Reinische Post, Sueddeutsche installations, written texts) in communication. Zeitung, Express and Frank- an open and direct confronta- What I am presenting are furte Allgemeine; Holland: tion with situations connected direct testimonies of my current NRC Handelsblad; France: Art to reality. My expressive researches. They consist of a & Culture; Belgium: Le Soir, urgency comes from the careful investigation into the Libre Belgique and Hux News; necessity of confirming a poiesis poetry of material and its Italy: Flash Art, Arte In, Arte, intimately ingrained in the spiritual geometry from where Juliet, Cultura Duemila, Ii essence of creating art, in the the simplicity of beauty derives. Resto del Carlino, Ii Gazzettino, inner look towards things, and In all, my aim is to understand La Nuova Venezia and Nexus.

Special Issue 2000 WORLD of ART 63 / 96 x 17 cm x 17 x 43 A x 43 in 244 p e r Obé g ol l i i a s , 1999 acr , 1999 que en que sol y ei l i ll c o é, 1999 o 1999 é, n ca nv rt Fair N Fair rt bje 193 as x 122 /76 in cm x 48 ct , acr ice France 1999 France ice y l i c o n ca

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Ki m So o k Ch a Sook-Cha Kim 6540 Braddock Rd., Alexandria, Virginia 22312 USA Tel +1 703 354 5715 p e r g ol i a , 1999 acr y l i c o n ca nv 193as x 122 /76 cm inx 48

THROUGH, 1998 ACRYLIC ON CANVAS 20 X 16 CM. / 8 X 6¼ IN.

64 WORLD of ART Special Issue 2000 CASA DE SUBASTAS ODA LYS

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tel + 39 041 717315 Cows Parading in Chicago by Adrian Silvan Ionescu A strawberry blonde, bejeweled, smartly clad cow was mocking Marilyn Monroe and one of her During a visit to Chicago in late-August 1999 I had the opportunity to see songs. This humorous exhibit, a strange parade: a bovines’ parade. The long and spectacular Michigan signed by Victor Skrebneski, was Avenue was dotted with the most charming and colorful cows one ever entitled Diamonds Are A Cow’s saw in a lifetime. Gentle, immovable fiberglass animals were lining the Best Friend. fashionable sidewalks. The project for such an exhibition in the open Well-known works of art gave was launched by the Public Art Program of the Chicago Department mean s of inspiration for various art- of Cultural Affairs. ists. Borrowing motifs from Leon- The idea for such an exhibit was offered by Beat Seeberger-Quin’s ardo’s paintings, Sandy Kowerko’s 1998 presentation of some 800 cows in Zurich, Switzerland. bovine was called Da Vinci Cow. An impetus to the Chicago project was given by Peter Hanig, a Picasso’s Guernica inspired artist Karl prominent local businessman, who was captivated by the Swiss Kochvar in his work captioned Guern- cows while spending his holidays in Zurich. Due to his endeavors sica. The cubist master’s name was used the private sector was attracted into the project for sponsoring by Todd Treleven, Jeff McMahon and part of it. So, the success was assured. Scott Wallace for their exhibit entitled Artists and artisans were invited to submit proposals of piCOWsso. A cubist-orphist cow was decorated cows. The fiberglass cows had three standardized painted by Chris Hill and was labeled positions: grazing, resting and walking. The artists chose Spot and Line Composition. Rob Davis’ any model in accordance with their idea of decoration. A Psychedelic used the bright colors and the standing cow revealed grace, elegance or strength, while a elaborate composition of the short-lived seated one revealed quietude, affability or indifference. style of the 60s associated to the hippie Due to the shape and color, the cows became humanized. movement. Their identity was given the artists. The exhibits became A gilded and crowned cow with two other alter egos of their author tiny cows on its back was on top of the Most of the cows bore an obvious, straightforward Chicago Water Tower. This was also Victor message, sometimes serious, mostly humorous. Com- Skrebneski’s work, and it was entitled The mercials and trademarks, religious and political hints Chicago Cow Tower. Maria Tubay’s Dairy- were prohibited. Yet, some proprietors exhibited Go-Round was a pretty saddled cow resem- cows in front of their shops, thus making a good bling the wooden horses of a merry-go- advertising for their trade. For instance, a Kodak round. shop announced that any film that contained a Such American characters (read clichés) as the photo with the cow in front of the window was tourist, the fast-food waitress, the postman and free of charge. What a better commercial could the cowboy were often humorously rendered have been conceived? In the United Airlines’ under the traits of cows. Here are some examples: window was the London Cow clad as a Ken Aiken’s Wait Cow is a proud, fat waitress; Buckingham Palace guard, with a red coatee Tim Brower’s Bovine Messenger Service is a a huge bearskin cap. In the same place the funny blue cow provided with bicycle wheels as Hawaiian cow was adorned with flowers a postman’s vehicle; Tom McCaffrey’s Accidental as a native belle of the wonderful Pacific Tourist was representative for its travelling habits island. The cow’s moo was often used in onomatopoeic Stan Sczepanski’s Uncle Sam is a national titles that contribute to the hilarious message icon: white goatee, top hat and star of the artwork: Mooveena Newhaus, Moovies, spangled tails gave this cow its Ameri- Mooooonwalk, Limoosine, On the Mooooove, Moo can personality. Placed in the vicinity Blue Cow, Mooving Eli, Moo-chos Colores, Moo-n of Ivan Mestrovici’s monumental Light, Virtual Cow in Reflective Moosaic, Moolenium, Indians, Sczepanski’s cow turned etc. into a symbol, though an ironic The noun cow was also included in ironic titles, one. such as: Incowgnito, Chi-cow-go, Spotting Famous Suspended on the west side of the Chicowgoans, ‘Chicowgo, My Kind of Town’, Cowch Opera House, high above the Potato, Cowbeille De Fruits, Cow-leen Moore’s Fairy ground, was Robert Perdziola’s Cow-stle, Winter Wondercow, Cowccinella Novemno- cow entitled Toreador’s Song. tata, Cowffalo, etc. This elaborately painted cow Not all the cows were painted. Some were sculpted. But reminds us of the elegant other media were also used, such as mosaic, collage, costume of the toreador, decoupage, patchwork, or puzzle. One of the full of tassels and gold cows was entirely covered with mirrors; embroideries. Like Esca- another of them was embelished millo in Georges Bizet’s with hundreds of crys- opera Carmen, this cow tals; another was was also wrapped in a adorned red cape. »

66 WORLD of ART Special Issue 2000 adrian-silvan ionescu romania

Ph.D., Art critic; Senior researcher at the Institute of The Documentary Art in 19th Century Romania, Editura silvan History ”N.Iorga”Bucharest Romania; Lecturer at the Fine Meridiane Bucharest Romania; this work was awarded the Arts Academy in Bucharest Romania. ”George Oprescu” Prize of the Romanian Academy for the EDUCATION 1975 Graduate of the Art History Department best book on art criticism published that year; 1997 The of the Fine Arts Academy in Bucharest Romania; 1997 19th Century Balls, Fundatia culturala D’ale Bucurestilor, Received his Ph.D. Bucharest Romania; 1998 The Sad History of the Prairie, Worked for fifteen years as Curator and Senior Curator at Editura Globus Bucharest Romania; 1999 America Seen by the National Museum of Art 1975-1977 Museum of History a Queen, Queen Marie’s Diary of Her 1926 Trip to the United of the City of Bucharest Romania; 1977-1984 Museum States of America, The Romanian Cultural Foundation of History and Art o the City of Bucharest Romania; Publishing House Bucharest Romania; 1999 The Romanian 1984-1989 Becoming the Deputy Director of this institution Artistic Education, 1830-1892, Editura Meridiane Bucharest 1990-1993. After a brief time spent as Cultural Councilor at Romania; 1999 Bucharest in 19th Century by Ulysse the Bucharest City Hall 1994. Now he is Senior Researcher de Marsillac, book edited by Mr. A.S. Ionescu, Editura at the ”Niclae Iorga” Institute of History in Bucharest Meridiane Bucharest Romania. Romania. He is also teaching art history and history of currently he contributes with exhibition reviews to photography at the Fine Arts Academy in Bucharest various periodicals as well as to radio and TV releases. published the following books: 1990 Art and Document, Contributing Editor of World of Art int’l art magazine.

with buttons, shells and beads; yet another was wrapped in leather stripes; and lastly one was covered with multicolored candies. In order to » keep the gourmet out of touch, this special exhibit was surrounded by a cord, like the most valuable masterpiece in a museum. Moulding plastic material in shapes resembling pieces of dung, one night a witty Chicagoan put them under some of the cows. The following morning his fellow citizens were astonished and amused seeing the overnight miracle. Consequently, the author of this joke was acclaimed as an inspired contributor to the exhibition. Prior to being notorious for its prohibition era gangs, Chicago was celebrated for its 19th century slaughterhouses. Here was the end of the trail for many cattle herds brought from the South and the west by the mighty cowboys. The Cows on Parade exhibition was a tribute to the gentle bovine, which made the city prosperous. It was a half serious-half humorous tribute. It was a tribute bridging the gap between art and kitsch as only the Americans can do.

chicago michigan avenue cows on parade

I Uncle Sam by Stan Sczepanski

II young at heart by layne jackson

III modern family cow

PHOTOgraph BY Adrian Silvan Ionescu ©

Special Issue 2000 WORLD of ART 67 untitled 1999 mixed media digital image on coated paper © macintosh adobe photoshop 5,6mb print size 18.93 x 14,5 cm / 7½ x 5½ in

JUNKO MATSUMOTO 1-7-19 nagaodai, takaruzuka, hyogo 660-0807 japan e-mail [email protected] www.133.1.160.127/junko

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se junko matsumoto japan artist talk My subject of work is expressions of people’s information languages and visual technologies What do you want us to know unconscious mind and physical impressions. are causes of unreality of my subjectivity. Our when we look at your work? I feel a great interest in the idea that we have feelings are traveling between our illusion space a sense of ’mechanism’ or ’machinism’ in and living space. And our busy daily life and Mainly, I am expecting you to feel our intellectual function and behavior. It is rationalization affect our emotions. something in your body through said that people’s social life and media create The feeling that dominates this mind will be your vision. Also, I hope that these these functions. I have chosen this concept of a sense of unreality of the reality, which I affections are not going to stop at unconscious mind as a subject of this year. I face, the ding of the image, which I image, and your skin or biological materials. I would like to know what I feel in my daily life incompatibility between a object and image wish for them to at a deeper place and what kind of intellectual aspects affect in the space. than that. At the moment, I want my unconscious mind through my painting How can I express the feeling and tactile of to communicate with you about the activities. less-reality of physical objects and reality of sense of balance, gravity, rhythms, Actually, I have been creating my idea of metaphysical images? What is the incompat- and scales of you in an gallery unconscious mind by making works. The ibility in the visions? If I could visualize that; space. Then I want you to notice actual painting method I employed was very is such a work able to be a beautiful work? that now we have such a opportu- simplified images and colors of picture. For the Although there are still many assignments nity and equipment outside of the expression of my mechanical physical feeling, I about mediums, which are suitable for this gallery, and to think what is your wished these can be successful elements which sense, I tried to employ different type of feeling in that world. are like automatic techniques of surrealists mediums and form of works at the end of this and DADA artists. For example, Max Ernst’s semester. Some painting appeal more frottage made you feel a tactile of wood surface Sometime my works have strange titles. These to the emotions, some appeal very realistically. Instead of this, in my painting, are for the positive communication of my more to the intellect. Where are I wish my universalized shape of tables and image. By putting a very complicated title on your paintings on that scale? numbers to affect the sense of gravities and simple picture, I wish to stimulate people’s rhythms in the mind space. Also I employed imaginations, too. Many early works are about peo- the shape of a 3-D box in term of horizon Photograph In the 2-D visual art, the quality of ples emotions, and recent works are and set of space. By looking at the works of photographs creates a most rationalistic view appealing to intellectual aspect of color field painters, I could know the feeling of and very chemical surface of pictures. I wish humans. There are some reasons. illusion that comes through our vision. my photographs to supplement something the Firstly, with early painting, I only As an example of visual artists who I looked at abstract painting can not express without it. think about the character’s feelings during this period are Tadashi Kawamata and To make more positive communication with in Mishima’s novel. This character Syusaku Arakawa. These artists works have the audience, I would like to get a chance is a typical woman of emotion, and a point of view that they enjoy taking a part to talk to them in variety of languages. Also my paintings got that feeling. After their and the viewers bodies in the space. I diversified mediums might cause a reality of our this project, I started to work for feel interest in their primal sense of image, daily life. There are some contemporary artists my subject. I have not decided my material, and functions, which are for these who positively employ this sort of expression: shift and point on the scale between elements. I also looked at Japanese traditional Jennifer Bartlett, Robert Longo and Alain emotion and intellect. Between painters in 17th century; Sotatsu and Korin Sechas. They show me a possibility of narrative these, It is very hard to say which is Ogata. These artist’s sense of expansion of image in their fragment of installations. How a truth of us and which is ideal of space is interesting to me. their elements of installations decided its styles human beings. The feeling that we live with a variety of as symbol of their images is interesting.

frigid (Detail) 1999 mixed media © 15,1 x 30,3 cm / 6 x 12 in 1-7-19 nagaodai, takaruzuka, hyogo 660-0807 japan e-mail [email protected] www.133.1.160.127/junko

Special Issue 2000 WORLD of ART 69 art addiction sweden marta dimitrescu

Born 1955 August 4, Cluj-Napoca, Transylvania Romania. Int’l Print Triennial, Fredrikstad Norway; 1989 Individual and Alternative Poetry Mexico City, Puebla, Xalapa City, EDUCATION Graduated from the Fine Arts Academy of Exhibition, Orizont Gallery Bucharest Romania; 1988-The Mexaly, Ensenada, Tijuana, Veracruz, Mexico; 1987 The Cluj-Napoca Romania. Her artworks is characterized by 2nd Int’l Exhibition of Visual and Experimental Poetry Int’l Print Biennial, Campinas, Sao Paulo Brazil; 1987 The intensity and passion including paintings, drawings and San Diego USA; 1988 The 2nd Annual Int’l Exhibition of National Graphic Art Exhibition, Dalles Gallery Bucharest etchings. Miniature Art Toronto Canada; 1988 The 4th Norwegian Romania; 1986 The 12th Int’l Biennial of Print Kanagawa AFILIATIONS 1990 1883 KRO /Swedish Fine Artist’s Int’l Miniature Exhibition, Miniature 4, Fredrikstad Norway; Japan; 1986 The Int’l Watercolor Contest ”Sinaide Ghi” Organisation; Permanent member of AAIAA /Art Addiction 1988 The National Graphic Art Exhibition, Dalles Gallery Rome Italy; 1986 The 1st Int’l Art Exhibition ”Arts of Today” International Art Association; Permanent member of Bucharest Romania; 1987 The 17th Int’l Biennial of Graphic Budapest Hungary; 1984 Contemporary Art Exhibition, UAP /Romanian Fine Artist’s Organisation; Permanent Art Ljubljana Slovenia; 1987 Int’l Exlibris Competition, The Hague Holland; 1984 Contemporary Art Exhibition, Member of the Art addiction International Honorary Prize Sint-Niklaas Belgium; 1987 The 8th Int’l Graphic Triennial Jerusalem Israel; 1983 Contemporary Art Exhibition, Jury; EMPLOYMENT Founder and owner of MD Gallery ”Intergraphic” Berlun Germany; 1987 The 5th Int’l Biennial New York, Washington, Detroit, Columbus, USA; 1983 for Contemporary Art. of Graphic Art Lods Poland; 1987 The 4th Int’l Art Biennial Contemporary Art Exhibition, The Hague Holland; 1983 EXHIBITIONS 1981 - 1993 1993 /2000 Internet Art Museum Couven Belgium; 1987 Int’l Art Exhibition Osaka Japan; Int’l Art Exhibition, La Rochelle France; 1982 Individual /www.artaddiction.se; ”Alternativ” group exhibition, 1987 The 2nd Int’l Art Exhibition ”Arts of Today” Budapest Exhibition, Hanul cu Tei Gallery Bucharest Romania;1982 Gallery Glass I, Stockholm Sweden; 1993 Int’l Summer Hungary; 1987 The 1st Annual Int’l Exhibition of Miniature Contemporary Art Exhibition The Hague Holland; 1981 The Art Colony, Gällivare Sweden; 1989 The 9th Norwegian Art Toronto Canada; 1987 The 2nd Int’l Biennial of Visual 2nd Int’l Drawing Triennale, Wroclav Poland.

Abstract painting III Abstract painting I Abstract painting II 1999 mixed media 1999 mixed media 1999 mixed media on canvas on canvas on canvas 46 x 38 cm / 50,5 x 40,5 cm / 48 x 38 cm / 18¼ x 15 in 19¾ x 15¾ in 19 x 15 in

Words by Horea Horsia, art critic

arta Dimitrescu intro- artist’s responsiveness. Thus, ship set between light and Mduced herself as a on the one hand there are motif. On the other hand, most talented painter who several things that have been there are a few things highly attempted to approach reality removed suchas strict subjects cherished the accuracy to imposing on it strict geometri- and their specific features, the create a familiar environment cal rules of shape and color. local color, the materializa- that undeniably belongs to Her present prove a basic tion of surfaces, the relation- nature, the maintenance of tendency towards what I proportions between forms should call “the appeal to and colors. nature”, since nature is for The painting drawings Marta Dimitrescu vitally achieve unpredictable optical essential. effects resulted from the Therefore, the artist who whirling and flowing in quick has primarily enforced her sequence of colors, from the strict rules upon reality sub- effective superposition of sur- sequently re-creates it, grasp- faces and planes that build up ing its vital force of matter a coherent visual system. and color. The creative work The imagery of Marta Dim- is carried on within nature’s itrescu is a balanced and frame, complying with the eloquent synthesis between traditional device of “painting motif, artistic insight, and on the spot.” It engenders an chromatic matter. The bend image of nature as it is per- towards nature signifies a real ceived and re-shaped by the gain for the painter at this stage of creation.

70 WORLD of ART Special Issue 2000 art addiction sweden marta dimitrescu

ART ADDICTION 1993 - 2000 1993 The 1st Int’l Exhibition Small Graphic Art Exhibition, Art Addiction Gallery Art Addiction Gallery Stockholm Sweden; 1998 ”Masks of Miniature Art, Art Addiction Gallery Stockholm Sweden; Stockholm Sweden; 1996 The 4th Int’l Exhibition of in Venice 1”, Art Addiction Annual Exhibition, Palazzo 1994 ”Graphic Addictions”, The 1st Int’l Graphic Art Miniature Art, Art Addiction Gallery Stockholm Sweden; Correr Venice Italy; 1998 The 1st Autumn Annual in Venice, Exhibition, Art Addiction Gallery Stockholm Sweden; 1994 1997 ”Femina”, Female Artist’s Art Int’l Small Forms Open Palazzo Correr Venice Italy; 1998 The 5th Int’l Female The 1st Int’l Female Artist’s Art Annual, Art Addiction Exhibition, Art Addiction Gallery Stockholm Sweden; 1997 Artist’s Art Annual, Art Addiction Gallery Stockholm Gallery Stockholm Sweden; 1994 The 2nd Int’l Exhibition ”Graphic Addictions”, The 4th Int’l Graphic Art Exhibition, Sweden; 1999 The 1st Spring Annual in Venice, Palazzo of Miniature Art, Art Addiction Gallery Stockholm Sweden; Art Addiction Gallery Stockholm Sweden; 1997 ”World of Correr Venice Italy; 1999 ”Masks in Venice 2”, Art Addiction 1995 ”Graphic Addictions”, The 2nd Int’l Graphic Art Art”, Art Addiction Int’l Drawing Competition, Art Addiction Annual Exhibition, Palazzo Correr Venice Italy; 1999 The Exhibition, Art Addiction Gallery Stockholm Sweden; 1995 Gallery Stockholm Sweden; 1997 ”Most Talented Artist”, 2nd Autumn Annual in Venice, Palazzo Correr Venice Italy; The 2nd Int’l Female Artist’s Art Annual, Art Addiction Art Addiction 1st International Prize, Art Addiction Gallery 2000 The 2nd Spring Annual in Venice, Palazzo Correr Gallery Stockholm Sweden; 1995 The 3rd Int’l Exhibition of Stockholm Sweden; 1997 Contemporary Italian Art, Venice Italy; 2000 ”Masks in Venice 3”, Art Addiction Annual Miniature Art, Art Addiction Gallery Stockholm Sweden; Art Addiction in Stockholm Sweden; 1997 The 5th Int’l Exhibition, Palazzo Correr Venice Italy; 2000 ”ART internet”, 1996 The 3rd Int’l Female Artist’s Art Annual, Art Addiction Exhibition of Miniature Art, Art Addiction Gallery Stockholm Internet Art Museum /www.artaddiction.se Gallery Stockholm Sweden; 1996 ”Graphic Addictions”, Sweden; 1997 The 4th Int’l Female Artist’s Art Annual, Art ADDRESS Marta Dimitrescu Mörbylund 19, 9tr; SE-182 30 The 3rd Int’l Graphic Art Exhibition, Art Addiction Gal- Addiction Gallery Stockholm Sweden; 1998 ”A better World Danderyd, Stockholm Sweden tel /fax+46 8 857264 e-mail: leryStockholm Sweden; 1996 ”Addictions”, The 1st Int’l for our Children” Female Artist’s Art Int’l Open Exhibition, [email protected]

The beautiful green 1999 mixed media on canvas 30 x 39 cm / 12 x 15½ in

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se Special Issue 2000 WORLD of ART 71

S BARBARA S MANA 35 TRATHDEE T V OGELTO W N W NE ELLINGTON W ZEALAND , tel /fax +64 4 9346210 email b. email 4 9346210 +64 /fax , tel

oruawharo 1999 acyilic on canvas 100 x 70 cm / 39¾ x 27½ in s trah@paradi s e.net.nz ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se barbara strathdee new zealand

Born Barbara Smythe, Wellington 1941. Lives and works in Gallery Auckland NZ; 1990 33 1/3 Gallery Wellington NZ; 1999 Conversations, work by selected women artists, Wellington New Zealand. Lazelle Gallery Auckland NZ; 1989 Waikato Museum of Fisher Gallery Auckland NZ; 1995 Galleria L’Uovo di Struzzo EDUCATION 1982 BA degree Victoria University of Wel- Art and History, Te Whare Taonga O Waikato, Hamilton Turin Italy; Fiera d’Arte Pordenone Italy; La natura delle lington NZ double major: English literature and Italian; NZ; Galleria Interno Quattro Udine Italy; CSA Gallery cose, Villa Brandeis San Giovani al Natisone Italy; Blitzart, 1973 Kokoscha Summer School, Salzburg Austria, First Christchurch NZ; 1988 Wellington City Gallery Wellington Fortress of Kluse, Bovec Slovenia; Local Colour, City Prize in painting; 1971 and 1972 Urbino Summmer school NZ; 33 1/3 Gallery Wellington NZ; Nadia Bassanese Studio Gallery Wellington NZ; Town & Gown, Collection of Victoria in lithography Urbino Italy; 1967 1971 Private tutor: Prof d’Arte Trieste Italy; 1985 Nadia Bassanese Studio d’Arte University City Gallery Wellington NZ; 1994 Stazioni Augusto Cernigoi, Trieste, Italy; 1965 Byam Shaw Art School Trieste Italy; Denis Cohn Gallery Auckland NZ; Janne Land Topolo`/Postaja Toplove, Val di Natisone Italy; Portici London, part-time one term; 1963 Sir John Cass Art School Gallery Wellington NZ; 1980 Galerie Legard Wellington NZ; Inattuali, Sitran d’Alpago, Belluno Italy; Revotella Estate, London UK part-time painting; 1962 Auckland Art Gallery; 1978 Galleria Spazio Alternativo Rome Italy; Galleria de` Museo Revoltella Trieste Italy; 1993 Pilot Essay, Studio 1954 1957 Wellington Girls College Wellington NZ. Carbonese Bologna Italy; 1976 International Centre for d’Arte Trieste Italy; From Liquid Darkness Artists’ books, SELECTED SOLO EXHIBITIONS 1999 Tinakori Gallery Theoretical Physics Trieste Italy; 1975 Commonwealth Dunedin Public Art Gallery Dunedin NZ; 1992 Erewhon, Wellington NZ; Lesley Kreisler Gallery New Plymouth NZ; Institute London UK; Galleria Acquario Venice Mestre Mestna galerija Ljubljana Slovenia; Erewhon, Nadia Portfolio Gallery Auckland NZ; 1998 Warwick Brown Gallery Italy; Galleria Tommaseo Trieste Italy; Galleria Cartesius Bassanese Studio d’Arte and Teatro Miela Trieste Italy; Auckland NZ; 1995 Nadia Bassanese Studio d’Arte Trieste TriesteItaly; Studio Pozzan Vicenza Italy; 1971 Galleria Perspectives, Te Papa Tongarewa/Museum of New Zealand Italy; Galleria L’Officina Anagni Italy; 1992 Diecidue Arte Cortevecchia Ferrara Italy; Galleria Piccinnini Bari Italy. Wellington NZ; 1991 Il Sud del Mondo, Galleria Municipale Milan Italy; 33 1/3 Gallery Wellington NZ; 1991 Lazelle SELECTED GROUP EXHIBITIONS and other venues Marsala Sicily Italy;

artist talk

For ten years I worked on a series, incorporating a decorative use of least one work a year, for many which I eventually titled ’The gold leaf, and experiments in many years. Conventional Canvas’. In fact it forms of the visual language. My painting, since I commenced was about the end of the con- I have done many other things but on the present series with the ventional canvas. Paint brush- always return to painting. subject matter of ’Historical marks within the rectangular frame Contemporary experimental Memory’, is very traditional. explored the beginnings of art music was important to me during Possibly English and United States language. Next the axis was marked earlier years; now the music, which Pop painting are important influ- in various ways on the canvas I listen to in the studio, is largely ences. surface, and finally the canvas itself classical. There are moments where I could was torn, and stretched in nominal I don’t allow the market to affect have more profitably made another ways. When I came to the end of my work because I have chosen not choice in my development. But I that road I published a booklet on to attempt to live by art alone. I have never thought of my art as a the work and began painting works divide the periods rigorously career above all. Decisions have that were more about being a social between art making and discussing been made that allowed me time witness to the times I am living its value out in the art world. and freedom to explore painting through. I welcome critiques of my work if ideas. In my case this meant questioning they are serious attempts at Certain people, especially senior my identity as a European living in understanding and contextualizing artists who have shown com- New Zealand, where Europeans the work. The worst are reviews, mitment in face of all obstacles, had occupied the land by conquest which parrot the words of the artist have influenced me. and legal trickery more often than herself. Also certain of my peers with not. The narrative in my works has whom I’ve worked alongside, and This led me in 1985 to search out been described above. The concern above all the belief of one gallery images not seen before in painting: that I haven’t mentioned so far is an dealer in my work for nearly twenty wood engravings used to illustrate ongoing exploration of color as the years. articles in newspapers of the last predominating element of my art Networking seems to be the factor century about the wars between language. that ensures attention. But painting Europeans and Maori and about the As part of my work I fragment and requires months hidden away in the meetings between the two peoples isolate elements in different studio to produce the work. Also over hunting for gold, overlaid by paintings. the artist’s own concerns don’t diggers, axes and other tools, gun Deciding when a painting is always coincide with the interests of barrels, wallpaper, parasols: all the complete is a purely visual process. curators etc. But it is important to paraphernalia of occupation and Everything in the work must hold be included in commissions and settlement. together in a precarious balance: major exhibitions. These stimulate I have worked with aluminums something added would wreck it, as the artist to be ever more complex and photographs in installations at would something taken away. A and ambitious in the work. times. color or tone modified, an edge The visual culture presented by the Often in non-gallery sites. softened or sharpened. mass-media is only that which will The function of art is different Photographic reproductions of my sell their products: the shocking or depending on the culture. In New work don’t satisfy me to the degree the easily understood. The inno- Zealand some art is used to the work itself does - yes, the vative visual culture is for the reinforce identity in a national sense physicality of the work is hugely audience that wants it. The big but other streams of art deal with important. biennials prove that there is a huge contemporary technological living, I have always looked at the work international audience for con- with a super-refined aesthetic of other artists and have collected at temporary art.

Special Issue 2000 WORLD of ART 73 ART ADDICTION sweden gallery Director petru russu

Art Addiction was founded in 1993 to promote the art and the work of 1996 The 4th Int’l Exhibition of Miniature Art, Art Addiction Gallery, Stockholm Sweden; contemporary artists. 1996 Hanna Barak Engel, Individual Exhibition, Art Addiction Gallery, Stockholm Sweden; It pursues its aim mainly by organizing international exhibitions of its mem- 1997 ”Femina”, Female Artist’s Art Int’l Small Forms Open Exhibition, Art Addiction Gallery Sweden; bers work. In the past years, Art Addiction has organized a series of 70 major 1997 ”Graphic Addictions”, The 4th Int’l Graphic Art Exhibition, Art Addiction Galler Sweden; 1997 ”World of Art”, Art Addiction Int’l Drawing Competition, Art Addiction Gallery Sweden; international exhibitions at the Art Addiction Gallery in Stockholm Sweden, 1997 ”Most Talented Artist”, Art Addiction 1st International Prize, Art Addiction Gallery Sweden; Palazzo Correr in Venice, Piccola Galleria Correr in Venice and Internet Art 1997 Contemporary Italian Art, Art Addiction in Stockholm Sweden; Museum. 1997 The 5th Int’l Exhibition of Miniature Art, Art Addiction Gallery, Stockholm Sweden; Art Addiction also maintain the Internet Art Museum, a virtual art gallery 1997 The 4th Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; www.artaddiction.se including the works of more than 500 artists from 65 1998 ”A better World for our Children”, Female Artist’s Art Int’l Exhibition, Art Addiction Sweden; countries, which is regularly consulted by galleries, exhibition organizers and 1998 ”Masks in Venice 1” Annual Exhibition, Art Addiction /Palazzo Correr, Venice Italy; individual buyers. 1998 The 1st Autumn Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; Art Addiction is a meeting point for art and artists, a forum that artists can 1998 The 5th Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; exhibit their latest works, a place where all media of artistic expression will 1998 Elizabeth Anne Maxwell Hill, Individual Exhibition, Art Addiction /Palazzo Correr, Venice Italy; 1999 The 1st Spring Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; stimulate the sensitivity of the art lover, penetrating his inner vision. 1999 ”Masks in Venice 2” Annual Exhibition, Art Addiction /Piccola Galleria Correr, Venice Italy; In operation for less than eight years, Art Addiction has over 6000 artists 1999 Edith Suchodrew, Individual Exhibition, Art Addiction /Palazzo Correr, Venice Italy; exposed. The Art Addiction International Art Association AAIAA has more than 1999 Raymond Hampton, Individual Exhibition, Art Addiction /Palazzo Correr, Venice Italy 300 artist members. 1999 The 2nd Autumn Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; INTERNATIONAL EXHIBITIONS ORGANIZED BY ART ADDICTION 1993 -2000 1999 2000 Franco Verdi, Individual Exhibition, Internet Art Museum; 1993 The 1st Int’l Exhibition of Miniature Art, Art Addiction Gallery, Stockholm Sweden; 1999 2001 Alyce Ritti, Individual Exhibition, Internet Art Museum; 1994 ”Graphic Addictions”, The 1st Int’l Graphic Art Exhibition, Art Addiction Gallery Sweden; 2000 2001 Raymond Hampton, Individual Exhibition, Internet Art Museum; 1994 The 1st Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; 1999 2001 Marta Dimitrescu, Individual Exhibition, Internet Art Museum; 1994 The 2nd Int’l Exhibition of Miniature Art, Art Addiction Gallery, Stockholm Sweden; 2000 The 2nd Spring Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; 1995 ”Graphic Addictions”, The 2nd Int’l Graphic Art Exhibition, Art Addiction Gallery Sweden; 2000 ”Masks in Venice 3” Annual Exhibition, Art Addiction /Palazzo Correr, Venice Italy; 1995 The 2nd Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; 2000 The 3rd Autumn Annual in Venice, Art Addiction /Palazzo Correr, Venice Italy; 1995 The 3rd Int’l Exhibition of Miniature Art, Art Addiction Gallery, Stockholm Sweden; 2000 The 2nd Small Graphic Art Exhibition in Venice, Art Addiction /Piccola Galleria Correr, Venice Italy; 1996 The 3rd Int’l Female Artist’s Art Annual, Art Addiction Gallery, Stockholm Sweden; 2000 Bela Czitrom, Individual Exhibition, Art Addiction /Palazzo Correr, Venice Italy 1996 ”Graphic Addictions”, The 3rd Int’l Graphic Art Exhibition, Art Addiction Gallery Sweden; 2000 ”ART internet”, Internet Art Museum /www.artaddiction.se; 1996 ”Addictions”, The 1st Int’l Small Graphic Art Exhibition, Art Addiction Gallery Sweden; 1994 2000 Internet Art Museum /www.artaddiction.se; 1996 Contemporary Italian Art, Art Addiction in Stockholm Sweden; 1998 2000 The Art Addiction International Art Association / AAIAA. member exhibition.

Art Addiction Internet art museum: http://www.artaddiction.se

Art Addiction office in Sweden: Mörbylund 19, 9tr SE-182 30 Danderyd Stockholm Sweden tel /fax +46 8 857264 e-mail [email protected]

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se 74 WORLD of ART Special Issue 2000 Internet Art museum The 6th female artist’s art annual virtual exhibition 1999 The sixth International Purpose of the exhibition The exhi- Organizer Art Addiction. Winner of SILVER Female bition, founded in 1994 by Art Addiction, Medal Julie Olivari, Argentina. Certificate Artist’s Art aims to promote female artist’s art and of Merit Blanka Stepancic, Slovenia; Fanio present to the public world wide a survey Stylianidou, Cyprus; Janet Winton, Canada; annual of current creativity in the field of painting Michiko Kakuta, Japan; Mireille Collet, virtual and graphic. Honorary Committee Canada; Rhea Atha Bailey, Cyprus; Shong of Prizejury Anne de Suède, Marta Jixin, China; Sook-Cha Kim, USA; Susana INTERNATIONAL EXHIBITION exhibition Dimitrescu, Åke Wallen and Petru Russu. Herrero Kunhardt, Puerto Rico. 1999

WWW.artaddiction.se

Blanka Stepancic, Slovenia We are orchestra 1 Mixed mediA We are orchestra 2 Mixed media One man band Mixed media Fanio Stylianidou, Cyprus My sister on her weding day, Monica kargulewicz Oil on canvas great keppel island, serigraph Janet Winton, Canada You, Etching Are, Etching Both, Etching

Julie Olivari, Argentina Julie Olivari Rhea Atha Bailey Untitled, collage UNTITLED, collage /acrylic on canvas Galactic Gardens I, Silk /acrylic on canvas Talking with Plato, collage /acrylic on canvas Near the Future, collage /acrylic on canvas Susana Herrero Kunhardt Michiko Kakuta, Japan Tension Urbana, Lithography Blue Circle -a, Gouache Blue Circle -b, Gouache Visitor, Gouache Vacant -b, Gouache Mireille Collet, Canada Marguerites, Pastel Imagination, Pastel Monica kargulewicz, australia

great keppel island, Michiko Kakuta Blanka Stepancic Janet Winton serigraph /blockout technique Vacant -b, Gouachehnique One man band, Mixed media Both, Etching Rhea Atha Bailey, Cyprus Galactic Gardens I, Silk Galactic Gardens II, Oil on canvas Shong Jixin, China Work 98-1 Water Base Pigment Work 98-2 Water Base Pigment Sook- Cha Kim, USA 1997 National Christmas Tree Switch, Acrylic on canvas Pray for Thanks B, Oil on canvas Janet Winton Are, Etching Susana Herrero Sook- Cha Kim Kunhardt, Puerto Rico 1997 National Christmas Tree Switch Mireille Collet Tension Urbana, Acrylic on canvas Imagination Lithography Pastel

Special Issue 2000 WORLD of ART 75 KAY ERICKSON USA artist talk

I have always been a photog- of communicating through artis- and then there are things that do was very inspired by his use of rapher since I received my first tic media of any kind. nothing for me visually. I think layers, and color intensity inter- camera at age 7. I have had I like to create works with avoiding mundane, emotionless, relating to the subject in the pho- other careers for monetary sup- layers of images and colors. and non-reflective images is my tograph. port over the years such as: Works that invite the viewer to goal. I want the piece to stir My work has always been a school librarian, film lab techni- look into the piece and experi- some emotion in the viewer. I part of me. I will continue to cian, and film editor. ence some of my original visual want the spirit of the place or create pieces with or without an Being a photographer implies a excitement. Some of my images object in my works to come audience. I can’t attach myself realistic style just by the nature would stand alone complete through. to outside trends and styles. of the media. I like to add without the addition of color, Seeing other artwork con- What comes from me is my own another dimension by adding but I always photograph with stantly keeps me in touch with style based on my visual experi- transparent oil paints to my pho- the intent of adding color to the mainstream of art. As I said ences. tographs. I think it’s important the final print. Color adds that before, art is a solitary experi- I would like my artwork to be to teach people how to really additional layer that hopefully ence. For me it’s good to keep a means for people to stop for see. If I use certain colors draws the viewer into the piece. seeing other works and how they a minute, and to feel and really that would not normally be in With color, I have found that impact me emotionally. Having see. the subject matter of my photo- subtle is better. Sometimes I exhibitions helps me really see Having accumulated a large graphs, or manipulate the inten- have to fight the urge to keep my work in a different, public body of work, it is good to be sity of the colors, I feel it makes adding color, when the piece context. I love to see the reac- able to expose it to large groups people look twice at the piece is complete with just a hint tions of the viewer to see what of people and to more impor- and really see certain details that of color. That goes back to they are getting out of the piece. tantly, be a part of an exhibition they may have missed at first having the time to experiment I have also done images for uniting with other artists. It’s glance. and allow myself to fail. greeting cards and postcards, great to see exhibitions with I think we live in a very tech- Adding color to the original which I feel help develop my varieties of styles and media. It nological and fast paced society. photograph can also be done on style in a positive way. It’s shows me what else is possible People are losing the ability to a computer. I love the hands on a good feeling to have images to achieve visually. It’s great to slow down and observe their experience of touching the pho- on postcards and greeting cards have art celebrate events around environment. As an artist, one tograph and applying the oils. that are mass produced and sent the world. I hope it shows the of my goals is to preserve the That is more satisfying than sit- all over the world. I get a lot world how important artists are art of noticing details, and ting in front of a computer and of positive feedback from these in the whole scheme of things. seeing the aesthetics in everyday pressing keys. Although I do see types of images. I feel that all artwork is valid. objects. a place for electronic manipula- My late photography professor It’s a subjective arena, and not As an artist, I feel that I was tion, I don’t think I would ever at the University of Minnesota, opens to definite rules and born with these skills and acute convert totally to it. Allen Downs, was one of my boundaries. The purpose of perceptions. It’s not a choice of I feel that every piece of art most influential mentors. He art is to teach, explore, explode doing something other than art that I have ever seen contributes always managed to capture a myths, create feelings, and visu- it’s a part of me. My husband is to my own personal style. feeling or spirit in his photo- ally guide the viewer to open up a jazz musician so music is inte- Sometimes viewing another art- graphs and documentary films. his or her thoughts and beliefs. gral in our life. I definitely feel ist’s work allows me the freedom I also respect the work of Jan That is the joy of art and music. that all the art forms are inter- to change direction and experi- Saudek the Czech photographic We need to break out of our related. The pacing, symmetry, ment. There are things I see artist. I recently attended a old habits and beliefs and always rhythms and color are all ways that I love, that really move me, gallery show of his works, and know that anything is possible.

PARIS GUARDIAN 1997 HAND-TINTED PHOTOGRAPH ©

Kay Erickson Photographer

76 WORLD of ART Special Issue 2000 KAY ERICKSON SA, /Fax 800-635-5185 Tel +1 , PO Box 5088 Santa Monica CA 90409-5088 U on s y erick ka ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se t h e t r a d i t i o n S o f f i n e h o S p i t a l i t Y W i t h a l l t h e c o n f o r t S o f A LARGE MODERN HOTEL IN THE ORIGINAL VENICE C o l o m b i n a , Ca l l e d e l Re m e d i o , Ca s t e l l o #4416 It-30122 Ve n e z i a It a l y

t e l +39 041 2770525 f a x +39 041 2776044 erga heller israel

Group Exhibitions 1987 Centre culturel francais Beer Masks in Venice 1, Palazzo Correr Venice Italy; 1998 The Canet de Mar Barcelona Spain; 1994 1997 Ateneo, Barcelona Sheva Israel; 1988 Centre culturel francais & Achva College Bible, Int’l Miniature Art Exhibition, IMAS, The Bible Museum Spain; 1994 The Art Center Seoul Korea; 1997 Pau Casals Beer Sheva Israel; 1988, 1989 Del Bello Gallery Toronto Tel Aviv Israel; 1998 The Bible, IMAS, Hebrew Union College, Music Festival, Prades France; 1997 1999 L’Etang d’Art, Bages Canada; 1989 The Israeli Painters’ Association Gallery Tel Society for Jewish Art Jerusalem Israel; 1998 Negev, IMAS, France; 1998 Article 26, Galeria Barcelona Spain. Aviv Israel; 1992 Ecked Gallery Tel Aviv Israel; 1996, 1997 The Beer Sheba Municipal Library Israel; 1998 Exposition d’art de HONORS 1997 Honorary Mention, Most Talented Artist Int’l Int’l Female Artist’s Art, Art Addiction Sweden; 1996, 1997 grands salons, Ville de la Madeleine France; 1998 1st Tone Prize, Art Addiction Sweden; 1997 Cerificate of Merit, The The Int’l Exhibition of Miniature Art, Art Addiction Sweden; Int’l Miniature Art Competition, Gallery Tone Bangladesh; 1st Myths of Israel, Art Addiction Gallery Sweden; 1998 1997 Myths of Israel, Art Addiction Sweden; 1997 The Most 1999 Love, IMAS, The Israeli Painters’ Association Gallery Tel Certificate of Merit, Masks in Venice 1, Palazzo Correr Venice Talented Artists, Art Addiction Sweden; 1997 The Bible’s Aviv Israel; 1999 The 1st Spring Annual in Venezia Palazzo Italy; 1998 Diploma of Excellence, The 1st Autumn Annual Artists, The Bible Museum Tel Aviv Israel; 1997 Israel Miniature Correr Venice Italy; 1999 The Bible, Int’l Miniature Art in Venice, Palazzo Correr Venice Italy; 1999 Diploma of Art Society (IMAS), The Modern Art Gallery Haifa Israel; 1997 Exhibition, IMAS, Engel Gallery Hutzut Hayotzer Jerusalem Excellence, The 1st Spring Annual in Venice, Palazzo Correr A Better World for Our Children, Femina project, Art Addiction Israel; 1999 IMAS, The Artist House Jerusalem Israel. 1993 Venice Italy. Sweden; 1998 Group Exhibition Palazzo Correr Venice Italy; 1994 1996 1997 1998 Mini Print Int’l de Cadaques, Taller MEMBERship 1999 2000 Art Addiction Int’l Art Association 1998 1999 The Int’l Exhibition of the Societe des Artistes en Galeria Fort Adogi, Girona Spain; 1993 1994 1996 1997 ADDRESS 10 Lipski st., 62195 Tel Aviv Israel, tel +972 3 Miniatures et Arts Precieux, Chateau de Bernicourt France; Wingfield Arts & Music Festiva, Wingfield England; 1993 1996 6053383 fax +972 3 5730497 e-mail: [email protected] 1998 Miniature, Galleri Sulegaarden Assens Denemark; 1998 Certamen Int’l d’Arquitectura de la Vila de Canet de Mar, Internet: www.artaddiction.se/erga.htm

artist talk

I teach gifted children creative After my painting is dry I touch dream my work and create it in thinking and arts. I also write the canvas to really feel the my dreams. Some days later I stories for children about Euro- painting. I feel fine with high make a first sketch. It is mostly pean Old Masters. quality duplicates as well slides, a one-dimensional sketch. When I never cease to learn new photos, reproductions or com- the detailed sketch is ready I things, to see important art- puter images. I enjoy the pos- start to paint. Sometimes I write works in the world, to try sibility of digitally changing my down the color plan with key new materials or to explore my own works. Creating digital numbers. limits. works is not the same for me as Both my parents are pivotal Usually I work on series, there “real” paintings; I must feel it in to my career. Often I heard should be a narrative; even when my hands, smell the colors and stories about my father’s Pari- I paint “a city life” I tell a story. touch the final texture. sian friends Picasso, Sartre and I am not always fully aware of My first and most prominent others from the 1950’s when all the narrative aspects of my master is my father, the painter he lived and created in Paris. work, but my basic conception Jacques Heller. Since my child- I remember spending hours on derives from a narrative think- hood I had loved to watch him looking at my father’s sketch- ing. drawing and painting, and some- book, focusing on sketches by If I draw a street I may use times I added “colors” to his Picasso and other artists. Even its design as the main theme in canvas with or without permis- today I keep visiting the French some pictures, or faded back- sion. I am fortunate to be an sculptor Gerard Koch. and Dan ground in others. If I design a artist who is an artist’s daughter. (Jean) Kryger, Israeli print vase it may appear in all my I try to understand art by look- maker; I became his student at paintings from that time on in ing and analyzing masterpieces. the prints workshop of Tel Aviv a remote corner of a room, as My primarily sketches are a Art Museum. My first break- a reflection in a half-opened matter of night and/or day- through was also due to his sup- window, or a still life for itself. dreaming. Most of the times I port.

lolita 1999 mixed media 10 x 7 cm / 4 x 2¾ in

80 WORLD of ART Special Issue 2000 ferus

21, avenue des ailantes, F-94100 saint-maur France

Brunhilde and Gunnar 1998 watercolor on canvas 46 x 32 cm, 18 x 12½ in

D v o r a Ag r a n o v 6 Degel Roven, Petach Tikva 49 402 Israel, Tel +972 3 9215161

diptych 1998 OIL ON CANVAS ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se Special Issue 2000 WORLD of ART 81 PALAZZO CORRER Venice The 2nd autumn annual in venice small form international exhibition

The 2nd Purpose of the exhibition The purpose of Autumn Germany; Duda Voivo, Germany; Edith Suchodrew, autumn Annual in Venice, small forms international exhibition Germany; Eduardo Pla, Argentine; Elena Lebaci, Germany; is to give the broadest possible picture about small- Elisabeth Maxwell Hill, Scotland; Fabio Ordigoni, Italy; annual scale works, to compare the expressive force and Frances Gerard, France; Iris Xilas Xanalatos, Greece; in venice role of the various means and techniques in artistic Ivan Batchvarov, Bulgary; Kawabe Isshu, Japan; Kawabe communication. Honorary Committee of Prizejury Mitsuhiro, Japan; Kumnam Baik, Korea; Lut D’Haene, small form Anne de Suède, Marta Dimitrescu, Åke Wallen, Ion Belgium; Lydia Douer, Israel; Maria Svetieva, Macedonia; Bulei and Petru Russu. Organizer Art Addiction. Marta Minardi, Italy; Massimo Scalinci, Italy; Mireille international Winners: GOLD MEDAL Jose Sacal, Mexico Silver Collet, Canada; Neta Dor, Israel; Odna Brain, Canada;

INTERNATIONAL EXHIBITION exhibition Medals Pignarre Guy and Marguerite Müller-Yao, Palmi Marzaroli, Switzerland; Slavko Grcko, Croatia; Germany. Certificate of Merit Aliki C. Dobry, USA; Starless Selena Breezetone, Denmark; Takis Alexiou, december 1999 Angelika Kaufmann, Austria; Chiharu Tsurumi, Japan; Greece; Ulla Tarp Danielsen, Denmark; Ursula Knight, Cynthia Lund Torroll. USA; Denissa Serban Maschek, Canada; Varda Carmeli, Israel; Yuko Hori, Japan.

DENISSA SERBAN MASCHEK • Face à face / N’écrivez pas ALIKI C. DOBRY DUDA VOIVO CHIHARU TSURUMI “Contre” les murs • Stern faces • On the road I • Let it be Mixed media Drawing Oil on parchment Wood cut

KUMNAM BAIK NETA DOR EDUARDO PLA • Work I • Untitled I • Las mil caras de Maria C G Etching Digital mosaic

ISSHU KAWABE IRIS XILAS XANALATOS • Natsu no umi no onna • Happy sailing I GUY PIGNARRE Silk Serigraphy LYDIA DOUER • Précon cyclopéen • Paysage Tel Aviv Acrylic Pastel

URSULA KNIGHT IVAN BATCHVAROV ELENA LEBACI • Hit the glass ceiling CYNTHIA LUND TORROLL • Instant I Afection Etching • Mon ange (A promise) Etching Oil on wood drawing /mixed media

82 WORLD of ART Special Issue 2000 PALAZZO CORRER Venice The 2nd autumn annual in venice small form international exhibition ALIKI C. DOBRY USA DUDA VOIVO Germany SCOTLAND Happy sailing II, Serigraphy Stern faces, Drawing On the road I, Oil on parchment Skydiver Lammas Fair ISSHU KAWABE JAPAN Subconciousness, Drawing On the road II, Oil on parchment Acrylic Natsu no umi no onna, Silk ANGELIKA KAUFMANN AUSTRIA On the road III, Oil on parchment On the Dodgems Lammas Fair, Yasumu onna, Silk Change in direction I, Relief print EDITH SUCHODREW GERMANY Acrylic IVAN BATCHVAROV BULGARIA Change in direction II, Relief print From series ”Russian Artists” I Roundabout Lammas Fair, Instant I, Etching Change in direction III, Relief print Lithography and Computer Acrylic Instant II, Etching CHIHARU TSURUMI JAPAN Graphic FABIO ORDIGONI ITALY JOSE SACAL MEXICO Let it be, Wood cut From series ”Russian Artists” II Nido, Instalation / Object Ecco, Bronze CYNTHIA LUND TORROLL USA Lithography and Computer FRANCES GERARD FRANCE Eva, Bronze Isabella’s flight, Graphite on Graphic Ombre, Ink and collage Concierto, Bronze original print, Mon ange (A prom- EDUARDO PLA ARGENTINA Auto portrait, Amada, Bronze ise), Graphite on original print Las mil caras de Maria Ink on paper and photo Torzo I, Bronze DENISSA SERBAN MASCHEK Digital mosaic GUY PIGNARRE FRANCE Torzo II, Bronze GERMANY ELENA LEBACI GERMANY Précon cyclopéen, Acrylic KUMNAM BAIK South KOREA Face à face / N’écrivez pas Afection, Oil on wood IRIS XILAS XANALATOS GREECE Work I, C G “Contre” les murs, Mixed media ELIZABETH MAXWELL HILL Happy sailing I, Serigraphy Work II, C G

MEMBRANDT • Membrandt is still busy SHONG JI-XIN Hand written TAKIS ALEXIOU SLAVKO GRCKO • Big bird IX post artwork • The swimmer • Recycle trash I Wood cut Mixed media Painted foil, acrylic on canvas and wood

JOSE SACAL JOSE SACAL VARDA CARMELI ELIZABETH MAXWELL HILL Bronze • Eva • Close to Earth Close to Heaven I • Skydiver Lammas Fair • Torzo III Bronze Mixed media Acrylic on paper

MITSUHITO KAWABE • The human drama II Silk FRANCES GERARD PALMI MARZAROLI ULLA TARP DANIELSEN • Ombre • Paysage avec lune I • I like you Ink and collage China ink Ullagraphy

MASSIMO SCALINCI • Untitled MIREILLE COLLET ODNA BRAIN FABIO ORDIGONI OBJECT / • Autumn on the • Mine Nido INSTALATION/ Jacques Cartier’s Bronze Instalation / Mixed media river, Pastel Object

Special Issue 2000 WORLD of ART 83 PALAZZO CORRER Venice The 2nd autumn annual in venice small form international exhibition LUT D’HAENE BELGIUM Colored pencils Untitled I, Etching TAKIS ALEXIOU Greece Ode to my friend II, Mixed media MASSIMO SCALINCI ITALY Untitled II, Etching The nude, Mixed media Ode to my friend II, Mixed media Untitled, Object / Instalation ODNA BRAIN CANADA The swimmer, Mixed media Ode to my friend II, Mixed media /Mixed media Mine, Bronze ULLA TARP DANIELSEN DENMARK LYDIA DOUER ISRAEL Selena Breezetone DENMARK PALMI MARZAROLI Capital solo, ”Yarngraphic” Paysage Tel Aviv, Pastel The wood, Acrylic on canvas SWITZERLAND I like you, ”Ullagraphy ” Pastel Tibériade, Pastel MEMBRANDT THE NETHERLANDS Paysage avec lune I, China ink URSULA KNIGHT CANADA Coucher de soleil, Pastel Membrandt is still busy, Hand Paysage avec lune II, China ink Trace, Etching MARGUERITE MÜLLER -YAO written post artwork SHONG JI-XIN CHINA Hit the glass ceiling, Etching GERMANY MIREILLE COLLET CANADA Big bird IX, Wood cut VARDA CARMELI ISRAEL Untitled I, Brush painting Autumn in Vermont, Pastel SLAVKO GRCKO CROATIA Close to Earth Close to Heaven I Untitled II, Brush painting Autumn on the Jacques Cartier’s Recycle trash I, Close to Earth Close to Heaven II MARIA SVETIEVA MACEDONIA river, Pastel Painted foil, acrylic on canvas Close to Earth Close to Heaven III Dance, Serigraph MITSUHIrO KAWABE JAPAN and wood Close to Earth Close to Heaven IV MARTA MINARDI ITALY The human drama I, Silk Recycle trash II, Mixed media La puttana, Mixed media The human drama II, Silk Foil, acrylic on paper of needles YUKO HORI JAPAN Incertezze sulla terra, NETA DOR ISRAEL and wood MITH, Drawing

Selena Breezetone • The wood Acrylic on canvas

ANGELIKA KAUFMANN LUT D’HAENE • Change in direction III • Ode to my friend II Relief print Mixed media

The 2nd Autumn Annual in Venice, International Small Forms exhibition is organized by EDITH SUCHODREW EDITH SUCHODREW • From series ”Russian Artists” I, • From series ”Russian Artists” II, ARt Addiction Lithography and Computer Graphic Lithography and Computer Graphic and hosted by PALAZZO CORRER Inst. Iorga campo santa fosca cannaregio 2214 it-30121 venice I t a l y

MARIA SVETIEVA MARGUERITE MÜLLER -YAO YUKO HORI • Dance • Untitled I • MITH Serigraph Brush painting Drawing

84 WORLD of ART Special Issue 2000 ContemporaryArt lexicon - - - - -

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lass ante oyama ilchuck rtist .S. E oyama rtist E A yurei, taly TCIGA . rt. xhibition, lass Studio oyama; G ontemporary ontemporary rt, I orks, Kyoto; nstitute of nst. graduate ichael Schemer lass A eigun T rtist E nst. undergradu omori Sculpture eaching A ssistant, T rt I ssistant, P ity I oyama; First I oyama; R rtSpace Kawamoto, eaching A rt I oyama; G WORLD of ART niv. metal engineer lass W A rt Space Kawamoto, ontemporary G agliapietra & D oyama ; C lass A rize lass A 12-1, © chromogenic12-1, print xhibition, Kanazawa A ino T P rt Space Kawamoto, rt; 1990 Staff, G eaching A oyama C EE eaching A eaching A oyama; 1998 C allery in Fuchu, T ohoku U nstitute of G ontemporary A rt E ; 1996 C ; 1996 APAN lass School, M ue 2000 oyama Japan. A okyo G J S rt G ity I el /Fax +81 764 695887, el /Fax +81 695887, 764 okyo G lass A xhibition, T , #6687 O omori; A lass A allery in Fuchu, T alleryin Fuchu, T allery in Fuchu, T mn I NG tami; 1993 TCIGA T a nstructor, T lass, Seto; 1997 A oyama; TCIGA 1994 T rtist E ilchuck G rt G rt G lass School, L O lizona U rt G kita Japan. oyama C Special Iss S 1999 TCIGA T keh oyama; 1992 TCIGA G rivate Show, T rt; 1993 1991 T rt in Satsuma, Satuma; A s i ow, T ow, nstitute of G HI H s F SS 45 Yasuda, Fuchu-machi N ITION arioni. B rtinSatsuma, Special lass A lass School. lass A ompetition, A ity I ilchuck G xhibition, I okyo P oyama; A eaching A oyama A oyama; A atosha Japan; T 1996 nternational G ing; 1993 P course; 89 T 1987 ate course; 1983 87 T P M G C T G G C lery N T bition in A A T national Biennial of C Kariazawa A 1995 T T Japanese G E I Space Kawamoto, T Japan939- 2751 T [email protected] T bition, T TOS nstructor, T HI I Born A 1964 EDUCATION 90 1989 T CAREER I 1994 EXHI ADDRE Smögen 35,5 x 28 cm /14 x 11 in 35,5 x 11 x 28 cm /14 - - - - - his - ward ar II - t was el +1 760 760 el +1 ailroad, erit A merican eserve. orld W xcellence, A T S nternational hicago and e won Special egree at the ook photogra acific R ther placements aval R ward, M usée I ho” in 1940. ward of E ivisionsinceandhas arkrooms were built D any of his works are in ilo Jerusalem 93758 ward. O ho’s W ho’s nstitute of C eaching the subject of imes, M A W S rt I , ceramic 20 x 25 cm /8¼ in x 10 ith retirement,ith theopportunity alifornia 92027 U erit A U W xtension anada. M e took additionale courses the in E ollege to fine tune skills and tech

N H wards, and A nnual ” hicago. T entions, Finalist A ew York T SO olotzky St., G e achieved a listing in the A quipment from professional days was UCLA G ash A amera clubs were joined to provide out arot Card S N scondido, C ontreal, C el +972 2 6766169 [email protected] +972 2 6766169 OD ertificate of M n-AT SS E SS 7\6 P odgson’s interest in photography started rt, M oo A onourable M niversity of C fter the war he continued working as a pho ’ wards, C eninsula and also independently with his own hotography A alomar Junior C srael, T HN H again arose to devote all his time and energies photography. to teaching profession with photography as an extra curricularsubject. lets and stimulate activity. fieldthe at attended various workshops and taken classes at P led to his teaching photography in adult education classes at the local junior college. H then for local newspapers on the San Francisco P studio doing public relations and general purpose commercial photography. Because of his love for the medium he continued his vocational interest by camera club activity and salon exhibition. T U mathematics made him aware of the significance of number bases, even binary, which led to an interest in computers and data processing. I to facilitate processing and the production of images. C also a field subject to logic rather than emotional reactions. E retained and augmented. D and C have been received in various juried exhibitions. D private collections. 746-6105. A niques,especially express to himself through what is termed ‘fine art photography’. body of work at juried art shows. H A as he was called to duty in the N P tographer, first for the Southern P expanded his activity by engaging in salon exhibi in childhood when his hobbyist father, with a bathroom darkroom, initiated him into the pro duction of photographic images. T phy courses at the A tion work. H the course of our’ lives from childhood to elders, particularlyunforgettable moments: the powerful, contrastingemotions of happiness and pain; the moment of birth - the creation of new life, which reminds me of artistic creation. I e completed work for a Bachelor’s D onsequentlybecome he activelymore theinvolved in hese endeavours were interrupted by W he m C H COLLECTION ADDRE Subsequently he has had accepted a considerable T John H JO t ADDRE ------lbin T al all S ad ag allery. srael; eo slo xhibi ouse fa, eridian nterna H srael, aris he Jar allery ouse rtists srael. P rt E viv I useum, G srael and A rts and ussia. sman G viv I el A nt’l ; 1986 M ; 1986 oday she ishkan L rtin allery, O I epartment; rtist H reative unicipal G A xhibition H esign Shi 1970. rizelaureate A srael; 1993 fa, R S C P okyo Japan; srael; 1997 A el A srael M ova O S 1996 BetS 1996 KS I try to create oney (children rt D pp G xhibition, M nionofthe former rael E U s allery, T arod, I ussian i ddiction entral A entral E ITION nternational rt and D taly; T H nternational A R I lbin U A allery, T allery, T Y B sland, U rtist ay of H I n my works I reflect nternational A TRATED THE BY ARTI in- raduated from the M K -96750 Jerusalem I rt A S uction- useum inU he C he C srael; 1990 M nstitut, A A S srael.Became 1992 member srael; 1995 M I cademy of Sciences. U RAEL rt E ong- frat G N and (children book); T VAS 120 x 90 120 cm.VAS / 47¼ x 35½ in S ndu G helyuskinsky” he 1st Shalom he1st orway; 1998 Jerusalem I rt M N is works can be found in I OUT HER WOR C T A srael and abroad. T ON EXHI srael. She is a graduate artist ouse Jerusalem I B ot L ; 1988 G ; 1988 S srael; I 1985 1977 ussia.Started 1985 painting R N C cademy of A R he” slo N offer Venice I S A srael; E srael; 1999 A EIN rrivedin allery, L ontemporary T SS ad, I A C eat P IC O fa, srael. srael. srael; 1997 srael. H edagogikal I rtist H ustard and a D I ITION T 1988 I ussia; A 1991 ussia; 1990 T ussia; Safrai 1991 G U useum of A viv I esterov A B ITION A 1988 PST RYL o M B MCA I ice France; 1993 I C T TELL orth G sraelibranch ofthe he A I allery, O S el A alazzo C ; 1991 1991 ; SS Stern st. #57/3, IL R ay of M rtists of today oscow R oscow R oscow R useum, M useumof orway. ssociation. 1996 otel N abriel, Jordan Valley, I pp G SS KS WRITTEN AND ILLU rafts Fair Jerusalem I ussia; 1990 rincess (poetry book). ATOLY BARATY ATOLY , 1999 A AVA E AVA N M M H C Jerusalem tional Y Stockholm, Sweden; 1998 I M lery, T tion P M France. N 1992 T U Jerusalem I R tel +972 2 6433786,tel 2 +972 6433786, 2 +972 www.antho.net@baratynsky A ofthe from Bezalel A U Becamemember ofthe Jerusalem Jerusalem has had about 30 person exhibitions in I abroad. G manut, M andparticipated manyin exhibitions throughout theformer U nitogorsk P M 1988 N 1988 1991 1988 Sumiku 1988 1991 A A D works mainly in the following media: etching, painting with ink, watercolor, pastel, acrylic, painted stones, ceramic sculptures etc. She com bines her works with her own writing: prose, poetry and script. a whole kingdom of images, legends and dreams for my symbolic figures. I the process of growth and changes that occur in book); T P and museums in I A N OO ELECTED ONE PER OLO EXHI IGN GROUP EXHI S ADDRE CH A Born in Jerusalem, I 1962 Born in 1962 B S THE ARTI She took part in many group exhibitions in galleries S ContemporaryArt lexicon JO JOY A G E ADDRE REPRE M 1999 Since 86 cm /20 x16 in /20 cm t s e he warr he xhibitions 1995 the 2nd Female A Female 2nd 1995 the xhibitions ward olden age of mankind, when man and nature were were nature and man when mankind, of age olden r A

M D Santo Biennial, C A 1st I 1st art. ancient the as culture in rich and monious, har peaceful, as afuture to lead and humanity of T beauty. of tion apprecia and knowledge through only that roof T created. were likelihood art ancient which city the in gravitated natural of A earth. on nature of life the with co-existence relation human illustrates by precedents ancient M strive. should kind man which toward goal and culture of essence T one. were art and work and, harmony, A I Venice I U A A NE ie #2, mi #2, ie taly. taly. uracao; ” uracao; utumn A utumn S rt A rt rt M rt ssociation AAIAA ssociation BARBARA CE agazine U agazine A T rtists of today of rtists WORLD of ART of WORLD S S L SS 900 W 900 SS nt’l A nt’l s A 2000 1999 1998 ENTED ddiction Stockholm Sweden; 1996 G Sweden; Stockholm ddiction useum. useum. 1998 C 1998 el +1 309 676 +1el 309 9302. i paper collage on po on collage paper or ll UCIN taly; 1998 D 1998 taly; 1998 mixed media media mixed 1998 ennium nnual E nnual nnual in Venice, P Venice, in nnual ember of A of ember A S ntillean A ntillean A ertificate of M ertificate . M DA ; 1998 T ; 1998 hat would advance the evolution evolution the advance would hat as’s #301, P #301, as’s xhibition in Venice, P Venice, in xhibition omingo; 1997P omingo; Special Iss Special U NETHERLAND . iploma of E of iploma S y work somewhat reflects of reflects somewhat y work rt” E rt” rt A rt A he1st I ddiction I ddiction mbassy, Venezuela; 3rd 3rd Venezuela; mbassy, erit, M erit, alazo C alazo eoria I eoria nternational E nternational he art under natural natural under art he rt A rt s xcellence, T xcellence, ue 2000 ue ter b ter rtist’s A rtist’s rizewinner, A rizewinner, ddiction I ddiction S ANTILLE asks in Venice Venice in asks llinois 61615llinois nternational A nternational orrer, Venice Venice orrer, oard 51 x 40,5 51 x40,5 oard alazo C alazo rt A rt his was was his allery 86, 86, allery he 1st 1st he nternet nternet xhibi nnual, nnual, S orrer, orrer, rtist rtist rt rt - - - - rt rt COLLECTOR ADDRE RETRO REPRE INTERNET ADDRE ADDRE WOR HAPPENING COLLECTION EXHI RO D M E 1969, 06 28 Born R R ducation M ducation och och r A e lery Saba, N Saba, lery M C tion ” tion C barbara.htm P I N Saba, Saba, N Bonaire, tity”, I 2000 1999 1998 http//www.barbarajoyce.com; conference room; 1999 I 1999 room; conference O Zone Free Kish of head the of vision T T A 1996 D I R Venous of sion tant designer of H of designer tant U C U A H rary potters of I of potters rary tion of fabric collage will be held in Kish. Kish. in held be will collage fabric of tion T P Korea, cards. O Seoul 24th to Koreahisfor the South called drawer’s talent into the somewhere recluded years, any since drawing to life his cate H topicality. of epicenter the ever than more in ‘ sign what the world, manifestations M around and tomessage hisshare himself peace express T paths. secret most his in him supports P pest H pest Beheshty U Beheshty 1997 E fabric collage & ceramic containers; 2000 E 2000 containers; &ceramic collage fabric 1995 E containers; &ceramic collage 1995 E containers; ceramic of A I N temporaneo A C rary C rary versity versity nt’l E nt’l nternet A nternet n his creative vision he presents ‘ presents he vision creative n his nterior design & supervision of Kish pavilion; 1995 pavilion; Kish of &supervision design nterior POL CH a unisia, U unisia, ehran, I ehran, ehran I ehran alazzo C alazzo orre Venice I Venice orre etit Format de P de Format etit arabbean T arabbean uba, G uba, orea; M orea; S abana C abana HM rts Kunsan; C Kunsan; rts rarto E rarto rt School of M of School rt rchives Salon de T de Salon rchives ssistant interior designer of industrial exhibition, exhibition, industrial of designer interior ssistant ational youth H youth ational B aarten, N aarten, K m f P A ITION I 1999 EXPERIENCE ING S oli,s higher education was gained in was gained the Fine education oli,s higher SS P SS SS SS 2, SS N SS ; PECTI a M M xhibition ” xhibition ollection of the Fiatal M Fiatal the of ollection OOD ungary; A ungary; b xhibition of fabric collage; 1996 E collage; fabric of xhibition esigner of computer advertisement; 1989 advertisement; computer of esigner G useo useo asks in Venice”, A in asks ric collage 11 x 20,5 cm /4¼ x 7¾ in x7¾ /4¼ 11 cm x20,5 collage ric ermany, France, H France, ermany, . nt’l T nt’l oland, P oland, ngineering C ngineering ran, T ran, o. 3, 33rd A 33rd o. 3, S 1999 T S 1999 O allery allery S in C S in S, EXHI S, useo de A de useo R S an, cause to meet him in many artistic artistic many in him meet to cause an, uba; Biblioteca C Biblioteca uba; S I S aster’s degree in architecture, Shahid Shahid architecture, in degree aster’s orrer Venice I Venice orrer rt M rt .Box 14, Saba, N 14, Saba, .Box I S V ue des ue des A etherlands A etherlands niversity, T niversity, E ” nternational Fine A Fine nternational I etherlands A etherlands , E el + 599 4 63209 Fax +1 599 4 63200 +1 Fax 463200 599 463209 +599 el lympiad O lympiad N I A rade Fair; 1990 A 1990 Fair; rade E nternacional Salvador-Bahia; Salvador-Bahia; nternacional S etherlands A etherlands taly; N taly; el +98 21 825 3165. 21 825 +98 el acional acional useum http://www.artaddiction.se/ useum anada, E anada, A x-Yugoslavia. R ollection Franklin Furnace N Furnace Franklin ollection N F R P ENTED ontpellier France, painting section. section. painting France, ontpellier afsanjan, I afsanjan, etherlands A etherlands ran; 1999 E 1999 ran; B M rchives Biennale de C de Biennale rchives rtist of the M the of rtist esearch esearch ortugal, R ortugal, ouses H ouses GE esidential C esidential he 6th exhibition of contempo of exhibition 6th he ITION apier C apier P asks in Venice”, A in asks afkan E afkan rte C rte echers F-66140echers AR okio Japan; M Japan; okio ve., Kia St., Shahrara St., St., Shahrara St., Kia ve., anette Beardon G Beardon anette P F onsultant; 1989 1990 A 1989 1990 onsultant; P yrenees in yrenees ehran, I ehran, Belgium, Brazil, Brazil, Belgium, ART MAIL S, fficial Sports and A and Sports fficial RANCE I ngland, U ngland, alacio alacio de Bellas taly. eter’s A eter’s BA ontemporaneo I ontemporaneo ntilles; ” ntilles; ouvin Belgium; C Belgium; ouvin iroshima Japan; M Japan; iroshima I nterior design &supervi design nterior ntilles. nstitute of nstitute rt A rt ngineering C ngineering omania, Spain, Sweden, Sweden, Spain, omania, ungary, I ungary, ran. omunale Ballao C Ballao omunale etherlands A etherlands nterior design &super design nterior ntilles. 1999 T 1999 ntilles. xhibition of pottery; pottery; of xhibition IRAN omplex in Kish; 1999 1999 Kish; in omplex ntilles; W ntilles; ddiction, P ddiction, onth”, Breadfruit G onth”, Breadfruit uveszek Klubja Buda Klubja uveszek ran 1996 ran ssistant designer of of designer ssistant xhibition of fabric fabric of xhibition rt C rt rt G rt W S R useo de A de useo T A oussillon. oussillon. taly, Japan, Japan, taly, enter, Seoul Soth Soth Seoul enter, omen’s I omen’s he M he C allery, Slovenia Slovenia allery, , and Belgium; , and rt A rt C anet-Village anet-Village abo-Frio; U abo-Frio; ontemporary ontemporary xhibition of of xhibition illard’s of of illard’s rganization rganization onsultant. allery, St. St. allery, A T ntilles, T ntilles, ddiction, ddiction, alazzo alazzo an’ and and an’ biza Spain; Spain; biza he wish to to wish he xhibition xhibition he rtes rtes he 2nd 2nd he ontempo rts P rts E usée du du usée ew York York ew rte C rte den M tajima tajima algari . algari e dedi xhibi T ssis he he an’ is ost - - on he he al - ni ------fi ADDRE MEM S INDI I in Born E o EXHI GROUP ELECTED r m D e, f e, A I tion of colored miniatures, A miniatures, colored of tion 1997E alem; 1996 T T G butz C Sharon, M anim A +972 9 9589553 Fax +972 99568840. +972 Fax 99589553 +972 . AAIAA France. E T A tures A P in Venice, P Venice, in G Koblenz, E M of A Female H T lery, T lery, H 1993 C 1993 G butz M 1988 G G 1983 M N nt’l E nt’l el A el el A el V he Bible M Bible he xhibition of G of xhibition xhibition of artists from P from artists of xhibition avillion, T avillion, viv; 1987 A viv; asharon. P asharon. ouse, H ouse, ssociation of P of ssociation shkelon; 1993 T 1993 shkelon; inistry of E of inistry useum, Bad H Bad useum, me h pad me a ni B ro EXHI IDUAL A TOP ER SS Yavniely st, #10, H st, Yavniely SS m t iniatures, T iniatures, viv; 1991 T viv; viv and C and viv srael. Studied art at the ” the at art Studied srael. xhibition of Female A Female of xhibition S el A el eachers as artists, Binyanei- artists, as eachers allery, P allery, allery, T allery, ulture H ulture allery 2000, T 2000, allery allery T allery A HIP he fi he rt Sweden; 1994 P Sweden; rt useum, P useum, aifa; 1998 T 1998 aifa; rtist’s A rtist’s ulture H ulture viv; 1997 Van L 1997Van viv; E el A el ermany; T ermany; v alazzo C alazzo useum, T useum, R lanned and designed projects for the the for projects designed and lanned rtists in P in rtists e ducation. ducation. ssociation for M for ssociation xhibition of M of xhibition i B ollege for A for ollege el A el el A el o viv; 1992 T 1992 viv; etach T etach raphic A raphic l ouse, A ouse, ITION he A he mixed media 21 x 29,7 cm /8 x12 21 x29,7 in /8 cm media mixed ung emen he Bible M Bible he ersfeld, G ersfeld, s ainters and Sculptors in I in Sculptors and ainters etach T etach he 1st I 1st he rael rt, Sweden; I Sweden; rt, ouse, Kfar Sova; 1989 T Sova; Kfar ouse, viv; 1984 R 1984 viv; viv; 1992 T 1992 viv; rtist’s A rtist’s orrer I orrer B el A el s ts he 2nd I 2nd he he 1st I 1st he S 1992 G S 1992 el A el ITION etach T etach ikva; 1990 A 1990 ikva; fulah; 1996 D fulah; rt, Sweden; 1995 T Sweden; rt, e viv; 1989 M viv; ikva; 1989 A ikva; nt’l E nt’l viv; 1994 T viv; eer I eer r he M he erzeliya 46387 I 46387 erzeliya rt T rt ermany. 1990 T 1990 ermany. ictures from the Bible, Bible, the from ictures ie useum, T useum, taly. iniatures. A iniatures. etach T etach S 1981 A rtist’s A rtist’s 1999 acr s 1999 ssociation, A ssociation, nt’l E nt’l zavta G zavta nt’l E nt’l arnat G arnat lon H lon eachers at R at eachers iniatures in I in iniatures nstitute, Jerusalem. nstitute, ikva; 1988 Yad L ikva; allery T allery xhibition of M of xhibition unicipal M unicipal nt’l A nt’l A vni” I vni” xhibition ” xhibition xhibition of of xhibition ouse, G ouse, ccad G ccad ikva, I ikva, H rt, Sweden; Sweden; rt, he 1st I 1st he el A el unicipal unicipal . S. D . S. rt E rt rtists in T in rtists y an M an allery, T allery, aumah, Jersu aumah, rtists of the the of rtists el A el lic on can on lic nstitute in in nstitute hha H hha xhibition xhibition viv; E viv; srael, in in srael, useum, useum, viv, Joffo; Joffo; viv, anon G anon lharisi- he Kib he useum; useum; he Kib he allery, allery, srael T srael srael; srael; srael; srael; amat amat ivataim; ivataim; he 1st 1st he nt’l nt’l inia M el A el ushi ushi xhibi el el asks asks eb v a - - - viv; viv; s el el al -

- - - ContemporaryArt lexicon ------87 - - - ar Y - ; rte

N A ; 1976 1976 ; A spo S ; 1988 1988 ; ourin; om A talian A S ’ll shorten idgefield, S U U ; Betty P Y Y A rti in T ew York York ew rt, R S N N , , esthetic cultural ew York U Y uropean C LI osta 8, int, 4, ew York York ew ilan was such a WORLD of ART N alazzo delle E e boasts e years35 Y , etc. H ITAL A E S allery, N niversity ITAL allery, idgeStreet, el /Fax 7768857 +39 11 U G R ittsfield, MA U ontemporary A ttore, via R ’ll paint flowers as big as trees O ue 2000 ”. TTOR N A taly, T , 106 , ofstra ew York U C A E H M romotrice delle Belle A verseas countries. A azzera’s case” against the official e, 1983 mixed media x 63 47 cm x 25 in / 18½ useum, P G itzenhoffer G IN ome and he and in took 1931 19135 part al RO orino I useum of C

e Special Iss uscany, during the throws war, into con his display caused such a stir that gave ella Savina E azzera and his classical view of nature. oft#2 ; 1979 1979 ; arthaJackson L allery, N raphicand Sculptor. azzera was invited at P lor A el + 1 212 12288247. el + 1 212 M G ’ll call them ”gigantic flowers” and I S ERA SS D SS a f U rtists of today i A T

l -10143 T -10143 azionale in Borne and attended many others dis e is knownis e asan artist who thinks that toissay azzera is said to be the founder of the neo-floral ldrichM imple W & S LLA SAV sizioni in R in the First and the Second Quadriennale d’ N IT ofartistically cultural and intellectual activity at social purposes made in the E munity and O searcher of experimental and design art, he per forms a picture of abstract geometrical surrealist, type full of esoteric, social and liberal concepts. H an intellectual who applies psychology to his tech niques and succeeds in expressing; in his elabo rationsthe magic sensations that encourage the human feelings working on the psychological and perceptivemechanisms ofdifferent subjectivities of the infinite ”the I painting: his success went on thanks to the qual ity of his painting that followed the great I tradition with his very topical language, showing a series of fairy-tales, portraits and precious ”still- inparticular life”, his famous ”plucked chickens”. made sole use of resinous ”oil and mixed paint”, getting a thinner, more shining and brighter stuff. up, a brand new invention in history of art. G paint. fusion G was squeezing as a caterpillar in the grass, a purple wild carnation standing just few centime plays of the P his one-manin 1941 show in M success that he gained performances all over the nation. T rise to the ” ters from my nose seamed to me enormous, gigantic,and people, running away in the distance, became as short as insects...” mankind to the size of insects.” and I Berkshire M sons G G CT U 1975 1975 A A uring an air-raid warning in Valdinievole, while I mig E AZZ f I survive, - he said - I is stay in T ainter, ainter, hat’s the way the famous ”gigantic flowers” sprang D I a n 1929 G f G D I P ” ADDRE Since he 1950 left the so-called ”emulsion paint” and T H ” ADDRE - - al - - aris ovt. rts ar P al rt xcel rt uman A ; 1974 1974 ; alerie A reek olumbia A ., ., G ndian C S A ndia; rdang G hitrakoot . llgemeines araskevi ndia G U ew York. C A nternational niversity ovt. Scholar, allery, C ; 1990 A rt, I U g. P elhi I A ite’ I ermany; 1971 S nstitute included alerie Konrad iploma of E ew School, P G useum ew D .; 1980 M ives in N 1968 1969 1969 1968 M raduateStudy, onors: the I umage and latex cole des Beaux orrer in Venice and ; 1978 1979 1979 1978 ; ictionary of G ducation and H M G ndia; 1990 A ew York York ew I -15343 A -15343 nternationaldes d. I S hemould G N ollege of A ch, f ITION U y nnovator of new medium ; 1986 N ; 1986 lass H B ew York U ite elhi A C D S isebaclen, alazzo C ndia; 1991 Bertha U ITION G 1969 W telier 17, Frenchtelier G 17, B EXHI aris Framce; Bertha 1976 .; E 1981

; 1993 C ew D A N ew York York ew alcutta L 1939. esign N el /Fax +3 1 6011904. alcutta. I ovt.Scholar, S d. 137 x 56s 137 cm / 54 x 22 each aris France; C 1969 N a G raduate Study, N a v alcutta I e, n, 1988 dipt merica Biographical I IDUAL A with 1st C taly. ew York U rt, C V niversity; 1976 F us rs allery,

U e exikon (1992), the D avé, P allery reece T G v elissaand the (1997) international is nameis mentionedis in: Saur . Janson; E 1970 1967 G ilan I INDI H EE W M

. Salaminos GR 39, str. ndia; 1994 1999 ndia;1999 1994 ew York U I niversite de P allery, C aut P s uni e mixed media x 93 101 cm /39¾ in x 36½ U ss d in’ u at. Scholar, G rts,French 2 rt G eritage iary M rdang niversity N ddiction in Stockholm in 1996, D olumbia ollege of A thens G epaint on can ights. ichter, Frankfurt ichter, & aris France; C 1967 1965 aris France; etc. NERJ s him in the five thousand personalities of the world for his contribution in E R A lence in 1999 at the P in 1997 the A D Künstler L artists C with H with an artistic, architectural, pedagogical and social content, translated into six languages so far. A A France; A 1969 1967 P C 19551960 D 19551960 N and technique ”faumage”. du H U de l’ U sons School of D A H lery N cutta P R Brooklyn 1983 1982 1978 1972 merican, born in C ddre e has e written numerous articles, studies and books ELECTED ELECTED GROUP EXHI hou darw BA The N H A EDUCATION E 1988 A S S - - - rt - rt - - he - A ap A - al T he ikva he 1st 1st he gypt. ouse rtist’s T T xhibi ed alazzo T bra ech ational H ddic A orrer srael; ddiction etah- all, part he srael. C all, srael; T A estaltung dna sychology xhibition rt A ain to H xhibition of nt’l E ivaataim rt A ssociation. G on an award P aifa I etach all, P taly;1999 sraeli artists, ibrary’s G I on an award P aris, France; xhibition of e has given ermany; 1998 emberatthe n his postgrad editations, heBible alazzo rt, A nt’l E apoalim, Bat- nternational nt’l E taly. 1999 G rts. 1994 I I T niversities and lon, G M P ddiction, P nnual I viv; 1999 Fantasy, viv; 1997 lexandria of E nt’l E roject, A ainters and Sculp oven, asks in Venice”, asksVenice”, in ouse, H obby; A 1996 A ainters A rchitecture,hewas rt A R srael. rtists Fellowship; migrated to I M A eart M iniatures exhibition, ikva; 1997 From red el A ermany at the T onceptive nnual I ddictionSweden; 1994 el- he 2ndI C T raphic A nderBreath one’s / A oetzet H viv I srael; W 1994 xhibition, P andscape, L U egel ochschulefür olocaust, Foyer H RAEL ushi H nnual I he 1st A orrerVenice ddiction, rt olocaust, Foyer H enter L istory of A S D H uropean U allery Sharet H ikva A C A alls, T A ational P etah T ikva; From 1995 P el A viv I ikvaartists, reece I VAS VAS ddictionSweden Bible 1994 ddictionSweden; 1994 rt orrerVenice, T he H resden (1964). I G S 1994 H S 1994 rt, xhibitionofthe Female N he Bible in art by I he H A A C A he 2nd A bba H eace E ermany (1971-1973). xhibition” he Femina P useum, E A A el A E rt rt etah T M S 1993 T nternational P iplomaand atthe alazzo he 2nd A edical C etah T A A taly. 1999 T etah- S N C viv; M 1995 viv; 1997 L el +972 3 9215161 srael; 1998 M ouse, T earnedH ouse, P P D ITION P . in G nt’l granov, 6 A A xhibitionKoblenz,in xhibition of G I B rt, rt, KI nnual A L O alazzo E nnual in Venice, A asks in Venice, int’l exhibition M I fghanistan.1937 E ouse A A el- el- allery, A P A ITION ssociation H H ddiction,Sweden; 1997 B abinM iniatures niversität D iniatures Fellowship;1998 W taly. nt’l E A srael, T allery, P ikva; 1997 T ikva; Jerusalem, Foyer gallery, Sharet hail, ikva; 1997 T ember of the N iniatures exhibition, Beer-Shevaa I iniatures exhibition, Beit A vora M nt’l U TA OV DVORAOV he 1st he1st T T T I srael; T 1994 ivataim I srael; T 1996 ssociation T rt ew G D olocaust, Foyer G T chanim H ddiction, nternational P O N A A asks in Venice”, asksVenice”, in ch O 1998 ind,which circulate all over the world. ONAL EXHI ember of the P ember of the I iniatures useum, T iniatures useum, T ffenbach / rt, e studied architecture in G rt reece and abroad. nnual I ddiction, orrer Venice, I ainters A etah- etah- etah- he H ikva I heBible he N he I opper; 1999 L M S RA sraeli M srael; 1998 EXI Song of the Birds / Voices without a Face / R W fromvarious recognitions in awardedFirst compositionpresenting: uatestudies thein field of hecompleted pioneering a dissertation linking architecture to psychology (1968). H lectures at numerous E professor wasv. atthe O G M 1995 M 1995 H nische U tors A 1992 Studied painting with thepainter E T atthe A I at the 1st M A M Foyer G to black and what comes in between, the N piness, R P ham Shapira H L Yad tionof T M T A M Sweden; T 1994 M Yam, I Yam, P T tion Sweden; T 1996 P P Bibleand art, M 1998 1998 lery, G A 1st Spring A 1998 M 1998 M I C ” T T Venice, I 49 40249 I as born and in 1942 grew up in A pty G e has held many private and group art exhibitions in ddress i H Since 1993 he has been active in the field of music W AL d A 1934 Born in A PER GROUP EXHI A ContemporaryArt lexicon ADDRE A Fr hui L P T / 31½ x31½ in ADDRE W if conscious, highly of product is work Friedeberg’s 88 ater on, in G in on, ater he work of P of work he edro Friedeberg was born in Florence, I Florence, in born was Friedeberg edro fterwards, they metaphysically take sometimes- take metaphysically they fterwards, hat is yet to be discovered or perhaps rediscovered rediscovered perhaps or discovered be to yet is hat A tz

T brooms”. and clouds ”lovers, ” cars”, ”epoch the places, unreal on laying medals” ”big the dummies”, ”military enigmatic the open”, the in ”fruits the periods: other out point can in G current, neo-floral to allel I do. represent they beings human as suffer and rejoice sensitivity, human of adimension live flowers where flowers” ”talking the of course I head. their of instead aflower is there T appearances. human future. for taste present throwing and flowers cosmic ing becom space, of dimension anew consideration T sky. blue the in hanging corollas enormous flowers”: ”flying into turned flowers” tic ately pushed the limits of functionalism. of limits the pushed ately deliber often has Friedeberg arts, applied the and A design. set and furniture sculpture, painting, everyday. stunning potentially the of experience the through existence own our transcend to us allows berg day. Friede our of morality tedious the surpass M real. than more thing some be times, all at not if sometimes, should life real that us reminds Friedeberg use, we gent deter of type the to down moralized, and cized I today. poignancy work his gives politics and theism H objects. gorgeous of presence the in being of experience the from comes that self-fulfillment and desire unabashed the is art Friedeberg’s to relation in things.” of But, things. of absurdity the into dreaming, profound T decorative. more ” replied, he asurrealist being W thought. self-conscious, not M to mother his with moved war. T the escape G to ie M orino I orino lthough his formal background is in architecture architecture in is background formal his lthough i lotzl d y C rtists of today of rtists WORLD of ART of WORLD SS P SS SS: erman-Jewish parents who left G left who parents erman-Jewish e think my work is also criticizing the absurdity absurdity the criticizing also is work my I think ôte d’ ôte b i s n a world where everything is highly politi highly is everything where n aworld taly T taly e iazza Vittorio Veneto, N Veneto, Vittorio iazza in popo in r is negation of analytical theory, mono theory, analytical of negation is azzera’s pictorial production the ”gigan the production pictorial azzera’s edro Friedeberg includes architecture, architecture, includes Friedeberg edro g Pe A el +39 011 +39 8122443. el zur” e in his last romantic period period romantic last his ein zur” c dr at Special Iss Special hree years after his birth, he he birth, his after years hree he surrealists were more into into more were surrealists he e p eo e tl heir body is human, but but human, is body heir oreover, that life should should life that oreover,

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- E - - - - - R S COLLECTION L SOO KIM PO LOR T P 1957 born in D in 1957 born O A S Sook- age 26: age H orenzo Sacne A Sacne orenzo EXHI ELECTED W TUDIO have been giving particular attention to to attention particular giving been Ihave ecently fter immigrating to the U the to immigrating fter riginally from C from riginally ROUGH painted, thereby thereby Ipainted, that submarine naval areal was actions artistic my of recipient Arecent nificance. sig cultural anew, with them imbuing by derelicts these reanimates were, it as that, a procedure shipwrecks, of painting the including actions, ing dry land). C land). dry and ocean the (e.g. environments active between boundaries the with contacted issues artistic the Portugal. I M M Kino G Kino T State Ships; ing 6D ria E G Vest and C Switzerland, France. L P U F.tion N of O in school art L U M art porary art, O art, video 1942. C video M en nacido espaniola, ascendencia guano, R I earned aB earned N Seoul W Seoul. in midwife and nurse aregistered became 5,Sook- age at painting began she ecciones privadas de U de privadas ecciones U en individuales y30 collectives R industrial. textil Venezuela, Venezuela, N U H the from art) for anatomy in emphasis espacio radical cultural. R cultural. radical espacio R I EEUU P collage. C ( sociales tema urbanos, paisajes eH Surrealismo, C N mundo: del culturales tros A Fine of emy A tevideo 11100 U tevideo galleries. art Smithsonian the at masterpieces copying by A of School C the at painting oil of study her continued I G Bulgaria, tional 1997E tional A an currently is She A ented A N nstallation in R in nstallation ncombank M ncombank ndia, N ndia, srael, E srael, uxemburg, Singapore, U Singapore, uxemburg, uxemburg; N uxemburg; spai 29, C spai rivate collection in R in collection rivate ussia; R ussia; eside A eside enter of C of enter entro y Sud A ySud entro ddiction I ddiction aichos, C aichos, niversitat Juan I Juan niversitat kraine; C kraine; niversity School of A of School niversity lemania, etc lemania, acional de Bellas A Bellas de acional useum, R useum, R useum hile studying anatomy and autopsy at the the at autopsy and anatomy studying hile O EN C M ha Kim was awarded the the awarded was Kim ha aval E aval . Sue cuadros forman parte de M de parte forman cuadros . Sue ryol R ryol ZO ALB , R ARYOV AL e Febrero, Valencia, Spain; 1996 R Spain; Valencia, e Febrero, allery, M allery, 1998 ACR 1998 ilson Ferreira A Ferreira ilson . W epal, T epal, ational U ational rtiste C rtiste stades U stades K CH sociation de P de sociation F M remiado varias veces eb´n U eb´n veces varias remiado S State T S State ngineers in O in ngineers ollection of the G the of ollection eisman, L eisman, uheinsburg, G uheinsburg, arnaval) en óleos sobra tela, fibra v/o v/o fibra tela, sobra óleos en arnaval) nternational P nternational and a M PA and allery, C allery, recia, T recia, astellon de la P la de astellon utgers U utgers ussia; A ussia; ontemporary A ontemporary rt. She also added to her experience experience her to added also She rt. niepropetrovsk, R niepropetrovsk, have been undertak been Ihave orrespondingly, I talia, talia, B oscow R oscow dited by Book A Book by dited inistry of culture, M culture, of inistry ursos: Fac. A Fac. ursos: oscow R oscow hoong-Joo in central Korea, where where Korea, central in hoong-Joo lbeto José, artista plastico, uru plastico, artista José, lbeto ITION rts, N rts, ational M ational hailandia, C hailandia, ryol, R ryol, Y A merica. I merica. oscow R oscow E ompetition in Stockholm, Sweden. Sweden. Stockholm, in ompetition ussian P ussian CAN ON LIC ruguay, T ruguay, iperrealismo, su pintura destaca destaca pintura su iperrealismo, niversity School of M of School niversity nites, A nites, RTO RTO U retyakov G retyakov , C ealizó más de 130 exposiciones exposiciones 130 de más ealizó C EX urquia, I urquia, retyakov G retyakov openhagen, D openhagen, uba, uba, S 1990 H S 1990 rtistic C rtistic ew York. D York. ew niversity, N niversity, astellon de la P la de astellon S os A os rtes, U rtes, rtist in the N the in rtist ussia; 1979 finished C 1979 finished ussia; ussia; M ussia; A A ussia, G ussia, F rt. ussia; C ussia; ldunate 1295 ap. 801, 1295 M ap. ldunate URUGUA N lasticos / lasticos A dessa R dessa .S. ruguay, A ruguay, useum Singapore; Founda Singapore; useum ussia; 1998 A 1998 ussia; nclinado al R al nclinado L 98 EXPO avilion E rgentina, Brazil, C Brazil, rgentina, ngeles U ngeles ermany; Zimmerli art art Zimmerli ermany; DR E DR rize (1997) at the M the at (1997) rize . in oil painting (with (with painting oil . in el +1el 9004661 59 82 S spana, spana, A ecore principales cen principales ecore V hina, Japon, C Japon, hina, alma, Spain; 1993 G 1993 Spain; alma, srael, A srael, rquitectura, E rquitectura, A rt M rt A ruguay; N ruguay; ulture C ulture . in 1973,. in Sook- rand D rand allery, M allery, ermitage G ermitage , P S 20 X16S 20 CM rt P rt orte A orte G allery, M allery, ussia; 1973 finished 1973 finished ussia; useum of Fine Fine of useum ermany, Spain, I Spain, ermany, V entre of C of entre isenador estampado estampado isenador oland, D oland, old old oscow; 1991 O oscow; ussia. ew Brunswick U Brunswick ew GENIE ress. A oscow R oscow Y EEUU rgentina, Brasil, Brasil, rgentina, enmark; G enmark; ew A ew S ruguay, E ruguay, M S frica, Seychelles, Seychelles, frica, M uchess of of uchess A C PU merica, R merica, lana, Spain; Spain; lana, entre Kiev, Kiev, entre arginados, arginados, ha Kim Kim ha ; Jüdisches ; Jüdisches edal- oscow R oscow ealismo, ealismo, ational A ational rt P rt ) y dirige ) ydirige edicine, she she edicine, oscow oscow , ruguay y ruguay rt I rt useos ycol useos V enmark, enmark, allery, allery, P . /8X6¼ IN aribe, aribe, ontem IC scuola scuola orig- eru, eru, roject and and roject esurrect nterna ussia; ussia; isbon, isbon, A uba, etc. etc. uba, spaña, spaña, C rt rt ollege ollege orcoran orcoran aleria aleria ost T ost onte ha Kim Kim ha SS RU ussia, ussia, - I I ussia; ussia; srael, srael, k taly, taly, st st cad ale on - S - - A al - IA - - - - . - - - ; - - P H S T M 1972-1974Studies M R ADDRE 1954.05.01 born in A in born 1954.05.01 PR P media, O ADDRE prep the with concerned also Iam Furthermore, he C he G ELECTED ublications 1999 2000 N 2000 1999 ublications epresented 1999 2000 A 2000 1999 epresented bj onors D onors ember of A of ember Sweden, Sweden, exhibitions: group international and national in 9290293. chester WA chester Venice I Venice T P etc. style, drip in works large posters, Billboard of back the on paints painting, texture, rock give drawing, wood, on cement filla 1998. 1998. A A d’ A Flash B GREAT G Belgium, in collection ownership private in and museum the in are works A ter. 1978 /1979 Beaux York) W York) M I the A the in was (that craft the in times several I submerged A resonance. artistic its increasing while function military its diminishing 9172669 M P L the in (e.g. meaning utilitarian no have may that apparatuses underwater including objects, artistic concrete of interconnections the explore that installations of implementation end aration ec IE nternational A nternational he 1st Spring A Spring 1st he avilion 1998). avilion nnual in Venice, in Venice, nnual nnual in Venice, P Venice, in nnual A useum www.artaddiction.se/aaiaa_priest.htm oscow R oscow reative work is devoted to oil on canvas, poly poly canvas, on oil to devoted is work reative t ST rtistes, Barcelona Spain; 1998 T 1998 Spain; Barcelona rtistes, -Ac SS 17 Stamford P 17SS Stamford SS P SS ainted na ainted rctic O rctic NE iploma of E of iploma t rt M rt , Nort ho’s W taly. taly. okrovskij blvd. #18/15 st 2 ap 29 A 29 #18/15 2ap st blvd. okrovskij RITAIN roup E roup I R MI taly, Spain, Spain, taly, A AAIAA 1999 ssociations ussia, tel +7 95 9172669, tel +7 95 fax ussia, 15 9 useum, I useum, cean). he v ho in A in ho al s al rt A rt . xhibitions Since 1979 participated 1979 participated Since xhibitions L G EH nnual in Venice, P Venice, in nnual r E n T anchester P anchester xcellence, T xcellence, ltrincham, M ltrincham, P S ST u ssociation alazzo alazzo alazzo C alazzo b Salo I Salo 1997II taly; ra reat Britain T Britain reat marine, the arctic O arctic the marine, G ark R ark rt, the 28th edition. 28th the rt, ew A ew reat Britain, Britain, reat ce o ce rt A rt ermany, Sweden, and U and Sweden, ermany, s an associate of the crew crew the of associate s an E rts, P rts, V C d., A d., ddiction I ddiction f Le orrer, Venice E rt I rt orrer, Venice I Venice orrer, he 1st A 1st he olytechnic, M olytechnic, aris France. aris B GREAT anchester. nternational ( nternational o ltrincham, M ltrincham, urchases of art of urchases n el +44 161 +44 el ardo alazzo C alazzo he 1st A 1st he U nternet A nternet rt A rt S nternational nternational A utumn utumn 1997 mixed mixed , 1997 etc. 1998 etc. ddiction ddiction RITAIN cean I taly; 1999 taly; taly taly orrer, orrer, , utumn utumn anches an N isbon isbon - ew ew rt rt - - S A , - special promotion

ARIAN SORRAYA face as well as the shape of the eyebrow and lips Born on 1952 in Tehran. by using Tattoo techniques. I began my work with Art University in Tehran, graduate in painting 1975, . bride make up when I was almost 13 years old. Work experience: 20th years in design, graphic, paint- My activities at present time consist of make up ing and interior design in Tehran. For the last four and beautifying the peoples’ faces. I also have years working in own private art gallery. some other artistic activities such as dressmaking, ADDRESS 26 Kazmist., Pasdaran av., Tehran Iran, tel designing and arranging table in official and high- /fax +98 21 2541776 class parties”. ADDRESS Mirdamad st., Nassa st. #38 ap 2, 19667 Contemporary Tehran Iran, tel +98 21 2046363,+98 21 2225587, fax +98 21 2058292 P a in t ing o ing n c opp +98 61 1229476 61 +98 tel ran, e r t c ESMAEILLOU BITA hwaz I hwaz ta Nature 1999 watercolor 50 x 35 cm / 19½ x 13¾ in Born in 1971. Graduated in painting from visual arts

n college; BA in painting, Alzahra University Tehran; presently student of the MA courses in painting at o BASTANI FIROUZEH the Said University Tehran Bita experienced different styles along with various Born in 1968 in Iran. Visual Artist, Actress and Poet. instruments and methods. To express personal e c “When I was a child I was strongly interested in paint- ideas and feelings she use imaginary and abstract ing and singing. On 1994, I succeeded to discover terms, gray colored tonalities also the white and my artistic talents particularly in the field of acting black contrasts on large painting canvas. as besides of that I worked on painting and other ART RESEARCH scientific researches and paintings e handicrafts. on the ancient myths of Iran, India, Africa and I have had some activities in connection with acting others Islamic religion; the conception of Christi-

pl and began my work from playing in the street the- anity and the ancient Greek; the subject of cre- ater, after which I started working in the theater ation of woman in the ancient myths. halls under supervision of the famous Iranian direc- n EXHIBITIONS 1994-1995 four Private exhibitions; 1994 tors Rokneddin Khosravi and Kamelleddin Shafiei. Individual exhibitions at Jamshidieh Gallery in rt lexi A rt o I have also worked in radio drama in which I suc- Jjamshidieh Park Tehran Iran; 1995 the 2nd Art i ceeded to gain some achievements. Exhibition of the Iranian Students Works held at At present time I play the role of mother in a drama the Museum of Contemporary Arts, Tehran Iran

at entitled ”who is the mother?” by Hans Christian (awarded with an appreciation tablet). Anderson”. ADDRESS #272, 11th floor, 8th entrance. Block B2, m ADDRESS Abouzar alley, near Gas Station, Tehran Ave. Ekbatan Apartament Housing, 13948 Tehran Iran, #296, 31589 Karaj Iran, tel +98 261 220853 tel +98 21 4646580, +98 21 4640521 or ontemporary rtists ontemporary i n f A C TR or E SS FI SS c f RO U Z BASTA EH untitled 1999 oil on canvas 18 x 80 cm / 7 x 31½ in c I NI RA N on A n Khosravi Kouche #157, 61957 A 61957 #157, Kouche Khosravi AN NASRIN

H BASTANI MOJDEH Born on 1964. Graduate in various handicrafts from a state Institute. Works on make up, tattoo works and other artistic activities. “I loved painting when I was a child and my hobby was drawing pictures with color pencils on the walls. In my young age I spent many hours on making up with color pencils ARAFS the peoples’ faces and also became the base of

Z motivations for make up. Later on I gained a great deal of skill in this profession at such extent that . I could actually conceal the face scars with using

rs make up techniques, moreover I have a good expe- irani rience in cosmetic works including dying different

M hair; by using special techniques and fantasy pro-

cesses I can change the geometric forms of the »

Special Issue 2000 WORLD of ART 89 special promotion

FAKHIMI HOSSEIN 1st Sculpture Triennial Exhibition, Contemporary ing one of the most important national statues of Museum of Arts Tehran Iran 1994; Barg Art Gallery Iran: Hafez 54, Abhar city Iran. Twelve years art schooling; 1992; Sanati Museum of Arts Kerman Iran 1982; ADDRESS Unit 2 3rd floor, Tower 3, Duma residential selected as a guest student at San Fernando Ornamental Arts College Tehran Iran 1977; Orna- complex, Duma alley, Guita st., Golestan st., art university in Spain; graduated as art teacher; mental Arts College Tehran Iran 1976. Jordan ave., 19666 Tehran Iran, tel +98 21 204 painting, drawing, and handicrafts; making stat- SOLO EXHIBITION Barg Art Gallery Iran 1998 1622, +98 21 8865861, fax +98 21 8718401 ues and symbols for Iran anthropology museum AWARDS won first prize in Figurative section and and advisory for the art; designer for clothes received the Golden Image Award, and five and badges for air force army; several works for Golden Coins in The 1st Sculpture Triennial Exhibition Kamalalmolk Academy; the author of the several Tehran Iran monuments and statues in Tehran; expert for art INSTALLATIONS Statue of Mother and Child in Vali-Asr incarnation; designer and writer of the art book Recreational Complex Tehran Iran 1996; Statue of for schools; co-founders of science and industry Mother in Gol-Mohammodi Park Tehran Iran 1995; on research organization. Entitled membership of Statue of Amir Kabir in lsfahan Iran 1995. sculptors association of Iran. ADDRESS #12-1 Daman Afshar st., Vally Ast st., ADDRESS #52 Shahrak Ershad 2nd St., 14647 Kooye 19697 Tehran Iran, tel +98 21 8880482,fax +98 21 c pause Farhangian shaikh - Fazlollah Bld. Tehran 8785332, [email protected] Iran tel +98 21 8258092, fax +98 21 8250054

HADAVAND SUSAN t i un Born January 8th 1971 in Tehran Education: High School Graduation in Experimental tl e d

Science , Starting art activities and art learning after high drawing school graduation. Learning painting art earnestly at specialty level as of 1991 under the art masters and attending the one-year course of designing and painting through completing the course and KHOSROWJERDI SAHAR IRAN getting certificate with excellent grade. As of 1996 engaging in professional job in the field of Born on 1982; graduated the Graphic section from repair of ancient Iranian miniature works of Safa- Fine Art School Tehran Iran. A present activity vid and Qajar eras including repair of coverlets, includes Poetry, Writing and Painting. Participated penholders, mirror frames, and illumination works. in Fine Art Student Group Exhibitions in Tehran. Art Activities Record: Attending the Second, Third, Teaching for primary school children. In present and Fourth Biennial Exhibitions of Iranian Minia- A rt lexi she preparing works for the first individual exposi- ture, the Second and Third Iranian Women Artists tion ”Portraits”. Exhibition, and a few group miniature exhibitions. ADDRESS Unit 2 3rd floor, Tower 3, Duma residential ADDRESS #25, Shah-Mohammadi Alley 10th Farvardin complex, Duma alley, Guita st., Golestan st., St., Pirouzi Ave., Tehran 17659 Iran Tel +743 44 95 Jordan ave., 19666 Tehran Iran, tel +98 21 204 1622, +98 21 8865861, fax +98 21 8718401

Door Kmocker, acrylic on canvas 120 x 80 cm / 72¼ x 31½ in KHOSROWJERDI HOSSEIN

Born on 1958 Tehran Iran. Graduated of Fine Art School-Tehran and of Fine Art Faculty-Tehran Iran. Founder Board member of Iran Painting Commit- tee INTERNATIONAL REFEREE The 3rd Caricature Biennial Tehran; The 1st Painting Biennial Tehran; The 1st Graphic Biennial of Iran International Festival of Child & Adolescent Movie (Movie section) Isfahan; The International Caricature Festival about Addic- tion; The 3rd Throughout Festival of Incarnation Arts Shiraz Urmieh Tehran Iran; The 1st Painting Biennial Tehran Iran; The 6th International Fair untitled, mixed media 29 x 24 cm / 11½ x 9½ in Movie Festival for film poster designing; The 5th Assembly of Art & Culture of Holy Defense Tehran Iran. Participated in 57 Group Expositions and two Indi- vidual Exhibition. SELECTED GROUP EXPOSITION The Universal decade of Woman Copenhagen Denmark; The Interna- tional Exposition of Peace Moscow Russia /Honor waiting for..., mixed media 80 x 60 cm /31½ x 23½ in Diploma, The Group Exhibition Baku Uzbekistan; The Group Exhibition of Islamabad Pakistan; The MAHMOUDJ ROXANA Group Exhibition of H. Khosrowjerdi of Iranian Painter Women, The Group Exhibition in Shenche- Born August 21, 1972 in Tehran Iran. fco Kiev Ukraine, Two Group Exhibition in Iran Education: Diploma of Technical School; Fine Art Uni- House Paris France; The International Triennial of versity in Okrain Iran New Delhi India. WORK EXPERIENCES four years in the schools and

Contemporary Contemporary EMPLOYMENTS Secretary of the 1st Biennial of Car- some years as private teacher; Working in Art Gal- icature and the Protecting Woman & Children lery (Tehran Municipality Urban Development); Exposition for Bosnia-Herzegovina. Director & As Art teacher; Management of Gallery and its rel- designer of the 1st Olympic of Islamic Countries evant proof. Women. INDIVIDUAL AND GROUP EXHIBITIONS 1993 Paintings, Designer of Fair Theater International Festival and of Group exhibitions Moscow Russia (cash award); HOJABR EBRAHIMI SHOLEH IRAN Soureh Video & Movie International Festival. 1994 Paintings, Group exhibitions Kiev Ukraine; Designer of more than 37 logos of estimated cultural 1995 Individual exhibitions Barg Gallery Tehran Currently expert evaluator of sculptural designs; centers & assemblies: Hamshahry Newspaper; the Iran; 1996 ”100 works by 100 Iranian Artist” Group Beautification Organization of city of Tehran; Islamic Republic of Iran logo; Martyrdom of Islamic exhibitions Golestan Gallery Tehran Iran; 1997 Inspector of the Iranian Sculptures Association; Over Revolution Victory logo; Azad Islamic University The 6th Painting Art Biennial, Contemporary Arts 20 years of experience in Arts. logo; the 5th TV Channel logo. Elected painter for GROUP EXHIBITION Neel Art Gallery Iran 1998; Exhibi- accompanying eight Iranian painters to make the Museum Tehran Iran (a work printed in catalogue); tion in support of Tehran’s Mayor Iran 1997; The fresco of Hafezie Parlour Shiraz. Actually sculptur- 1997 The 1st Exhibition of Iranian Contemporary

90 WORLD of ART Special Issue 2000 special promotion

Designing, Barg Gallery Tehran Iran; 1998 The 5th SHAJARI NASRIN Gallery 1997; Exhibition of Women Paintings ( Sense Manifest), Photography Exhibition 1998, Aria Gallery in Tehran Contemporary Art Museum (a work printed in cat- Born in 10 06 1965 Garmsar Iran. BA in Graphic 1999. alogue); 1998 Paintings, Group exhibitions Kama- Design from Tehran University. More than15 years Aside from painting, Ms. Tabanfar’s current interests lolmolk Museum Tehran Iran; 1998 The 2nd Exhibi- in different fields of art. Several group exhibitions lie in wood sculpture and ceramics. tion of Iranian Contemporary Designing, Barg Gal- in well-known galleries from Iran. ADDRESS Kuye Elahiye, Mahroo st., Magnolia Lane, lery Tehran Iran; 1998 Group Exhibition of Tehran ADDRESS Shariati st., 41 Hedye ave., 15468 Tehran Golnaz Tower, 1915919115 Tehran Iran, tel +98 Municipality Women, Tehran Municipality Dist. 1 Iran, tel + 98 2858008, +98 2274294 21 2058626, fax +98 21 8052233, Gallery (Appreciation Letter); 1999 Individual exhi- [email protected] Contemporary

bitions Private Gallery Tehran Iran; 1999 The wat 2nd Exhibition of Iranian Contemporary Designing, t i un e r

Barg Gallery Tehran Iran; 1999 The 2nd Biennial tl f all e

Exhibition of Designing, Contemporary Arts d

1999 oil mixed media on wood 41 x 30 cm /16 41 cm x 12 x 30 in wood on media mixed oil 1999 Museum Tehran Iran. can on oil 1999 ADDRESS No.64, 9th Boustan, Pasdaran St. Tehran 16667 Iran, Tel 2546753,2560487, Mobile 091 12157383 v a 150 x 150 cm /59 x 59 in /59 s 150 x 150 cm MOHARRAMI PEELEHROUD ABDOLLAH

Born in Tehran in 1967. EDUCATION High school diploma. WORKING EXPERIENCE Started the artistic activity in 1982. Acquired full mastery in Iranian miniature and gilding. Won the first prize in three teachers’ painting contests. Participated in several painting biennials, Participated in several miniature exhibitions; Timaji Mogaddam Mojgan Participated in several youth’s festivals in Semnan, Iran. ADDRESS #21 2nd. Floor Simarg st., after Seyed Also participated in the collective exhibition of Ira- SHAMSOL KOTABY ANAHITA Khandan Bridge, Shariati st., 15418 Tehran Iran, tel nian handicrafts held in Greece. +98 21 2859411 Published different kinds of posters and miniature Born 1974 in Iran. She attended the art school and books. graduated the painting section (BA). ADDRESS flat 1 #166, alley 8, st. South Villa, 15986 Participated in several annual and biennale exhibi- Tehran Iran, tel +98 21 8801659 tions in Iran Shi has gained recognition by researching the origin

of Tattooing in Iran and in the world. a nge Paternal family have been Miniaturists, the father was one of the good gliders of Iran. can on oil l 1999 ADDRESS #4 Mohsen Noroozy alley, Vally Asr.str., Taleghany st., Shahriar Iran, tel +98 264223461, fax +98 31214142 rt lexi A rt v a 110 x 95 cm /43¼ x 23¼ in x 23¼ s 110 /43¼ x 95 cm t i un tl e d

1999 photograph 1999

The Great Poet, ink on paper 72 x 30 cm /28¼ x 12 in ZARAFSHAN NASRIN

Was born in 1959. She graduated from the artTehran

RAHMANIAN FARZANEH y

© University, painting section 1993. Also learned ceramic works. Born 1968 in Abadan Iran. WORKS AND INVOLVEMENTS She teaches designation Education: BA degree in painting. at Shahed University; work as the deputy manager Painting and drawing teacher at Sureh University for industrial designation group at free university; Participated in several collective and individual exhi- c TABANFAR SHAHIN (PARSA) manager of painting and sculpture department in bition. Designed stage decorations for theater and Iran; researches and published on related subjects music festivals.

to art and the role of musical instruments in Ira- on ADDRESS Nejatoalahy st., second alley #14 flat 3, nian paintings; art fairs and exhibitions in Iran and After graduating from the Faculty of Fine Arts at South Villa st., Tehran Iran, tel +98 21 881644 Sweden. Tehran University, Ms. Tabanfar went to the Unites ADDRESS Khosravi Kouche #157, 61957 Ahwaz Iran, States and studied painting, art history and textile tel +98 611229476 design at New York University, New School for Social Research, Pratt Institute and Fashion Insti- tute of Technology. Studied watercolor at Vin- cennes University in Paris, France. Before return- ing to Iran, she worked as the art designer for the Matisse Art Institute for several years. Exhibitions: Golestan Art Gallery 1992; International Exhibition of Flowers and Plants 1993; Niavaran Cultural Institute 1994; Golestan Art Gallery 1994; Biennial Ceramic Exhibi- tion of Contemporary Artists, Museum of Contem- porary Art 1995; Golestan Art Gallery, Group Exhi- bition 1995; Charity sale to benefit invalid children, Barg Art Gallery, 1995; Sarve Art Gallery, 1 Charity Painting on copper sale to benefit children’s rights 1997; Golestan Art Clay pottery 1999

Special Issue 2000 WORLD of ART 91 ContemporaryArt lexicon spe D 92 EXHI M E 1969, 06 28 Born R r ducation M ducation e A

rary potters of I of potters rary 1997 E fabric collage & ceramic containers; 2000 E 2000 containers; &ceramic collage fabric 1995 E containers; &ceramic collage 1995 E containers; ceramic of U Beheshty a HM B m f ITION WORLD of ART of WORLD a c OOD b xhibition of fabric collage; 1996 E collage; fabric of xhibition EMILIA ric collage 11 x 20,5 cm /4¼ x 7¾ in x7¾ /4¼ 11 cm x20,5 collage ric S 1999 T S 1999 ial promotion A aster’s degree in architecture, Shahid Shahid architecture, in degree aster’s niversity, T niversity, I A E N F afsanjan, I afsanjan, ran; 1999 E 1999 ran; mi he 6th exhibition of contempo of exhibition 6th he Special Iss Special AR rtist from mexi l ehran, I ehran, I BA i a c ran. xhibition of pottery; pottery; of xhibition IRAN ran 1996 ran xhibition of fabric fabric of xhibition ue 2000 ue atta xhibition of of xhibition xhibition xhibition n, 255 A xhibi For information please contact please For information - - ADDRE T in Born TAJBA ADDRE WOR t C school. high art the in painting of grade second the in N child-hood. conference room; 1999 I 1999 room; conference O Zone Free Kish of head the of vision T T A 1996 D I R Venous of sion tant designer of H of designer tant U tion of fabric collage will be held in Kish. Kish. in held be will collage fabric of tion nterior design & supervision of Kish pavilion; 1995 pavilion; Kish of &supervision design nterior ehran, I ehran, ehran I ehran 2, 14658 T 14658 2, rarto E rarto ssistant interior designer of industrial exhibition, exhibition, industrial of designer interior ssistant K e M 1999 I 1999 EXPERIENCE ING SS G SS SS N SS K l +52 52515193 ehran 1984. She loved painting, since her her since painting, loved She 1984. ehran ST S esigner of computer advertisement; 1989 advertisement; computer of esigner nt’l T nt’l ngineering C ngineering olestan st. Shahrak G Shahrak st. olestan H NIU ran, T ran, o. 3, 33rd A 33rd o. 3, E ehran I ehran rade Fair; 1990 A 1990 Fair; rade ow she is 15 years old and studding studding and old 15 is years she ow RDA el +98 21 825 3165. 21 825 +98 el S esidential C esidential H afkan E afkan ran, tel +98 21 8096930 +98 tel ran, C A ve., Kia St., Shahrara St., St., Shahrara St., Kia ve., onsultant; 1989 1990 A 1989 1990 onsultant; IRAN M ST. MEXIC nterior design &supervi design nterior ngineering C ngineering nterior design &super design nterior omplex in Kish; 1999 1999 Kish; in omplex hoods #1008 block block #1008 hoods ssistant designer of of designer ssistant rganization rganization onsultant. ATTAN ssis - O D. - - ti un F tl . 06100 MEXIC e d

1999 drawing 19 x 21 cm /7½ x 8¼ in x8¼ 19 /7½ x21 cm drawing 1999 23½ x15¾23½ in cm x40 60 O 1998 a E S I c L o CULT n c c URA y a i l n ic A ic o vas O N D ContemporaryArt lexicon 93

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-11911 -11911 -41519 -41519 olland, 19 rsula E B’ D EE U -4480 ran, tel 33981, 33981, aribbean, itrovica , tel + 1 L NW ascal, A odz P M oscow NO P ouse, 46 nit 2 3rd 2 nit S olestanst., ickmush rd., , tel /fax +1 /faxtel +1 , uitast., ladyslawa , tel +1 602 +1 tel , ainis blvd. oss #307, he C M akigahara U ill,6318 Zeno Y 10034, G alta, fax A

N G A ovembar st. am.1 maja 9, maja 9, am.1 nit 2 3rd floor, W , tel +1 309 +1 tel , olland, tel/fax S ehran I S arszawa P . 7th st. #1007, lexander A U U U , N ondon aleczowska . Karelov st.. S A illier H L L 179 179 msterdam H N . Box Saba 14, U

harlotteF uma residential -94039L 6 Vancouver B obbelmannweg. #5, WORLD of ART 133 M 133 unterspad A O C H ntilles T . ovech Bulgaria, tel uitast., -123459 -123459 D 900 W M 4 aksie A 22312, U G Hossein, 3030 N orway, tel +47 38 +47 tel orway, A -2410836 Yokohama Yokohama -2410836 ew York N ort ellusgatan#34, S K aris France, tel /faxtel +33France, aris aris France, tel /faxtel +33France, aris RU rzysztof, uma alley, alley, uma -02922 W uma residential complex, P Z 85014, Z T N ijmegen H P P P Y 12028, 12028, Y ha, 6540 Braddoch rd., D A 42, 38220 Kos. 38220Kos. 42, 61606, 61606, stonia, [email protected] stonia, N ran, tel +98 21 2041622, 2041622, 21 +98 tel ran, II I hristian,rue40 IL E -5502 L T N 4 4 G aky, ue 2000 ieczyslaw, D , tel +1 941 4741194 941 , tel +1 , tel +1 212 2423900, fax +1 516 516 2423900, fax+1 212 +1 tel , A A aas’, 1001KBaas’, A etherlands A sahi-ku,J lexandria V uma alley, alley, uma olestan st., Jordan ave., 19666 olestan19666 Jordanst., ave., öteborg Sweden, tel +46 31 S anada rive N 1h, reat Britain, tel /fax +44 171 Britain,reat /faxtel +44 171 amdenSquare, S eoria ussia, tel 9498403 95 +7 hoenix -75019 R-75019 -75013 R-75013 ehran allinn allinn tel +599 4 63209, fax +599 4 63200, www.barbarajoyce.com 6769302 N P A Kanagawa45Japan, +81 tel 3642602, fax +81 45 3642645, [email protected] T U F 1 42 456639 floor, tower 3, D complex G T +98 21 8865861, fax +98 21 8718401 8718401 21 fax+98 8865861, 21 +98 tower 3, D D +31 24 3541534 6531 K G [email protected] 466803, 518 7534795 518 st., Circle Kvinesdal Jordan ave., 19666 T 703 3545715 st.,#821, V6 BratislavaSK-81106 Slovakia Buskirk C 354713 +98 2041622, 21 +98 8865861, 21 fax +98 8718401 21 A #62/55, PL R #16-2-196, #16-2-196, 2637560 C G 4855803 6327261 tel +48 6 864397 Krola #47/43, PL P M 6426559, 20 /faxtel +31 [email protected] #11,B D U +359 68 40964 F 1 43361873 st. #205, 06 Valleta M +356 236984, [email protected], www.kemmunet.net.mt/jakobervu #29 Serbia, tel +381 23 739 unter Alexis, H 13 urkmans Rini, P rycek Jan K hosrowjerdi hosrowjerdi hosrowjerdi Sahar, hosrowjerdi im Sook C nibestól Leiv, Knibestól, nut M amiyama Akira, amiyama eerendBornhohe Avo, #30, ern Pascal, blvd. 167 Sérurier, vanov Alexander, vanov K Joyce Barbara, P Jones Lucinda, Lucinda, Jones K K K K Jasim H Jayce Sallgum, 289 John Leslie, Blueberry H K Jergusova-Vidarena, N Patricia, Johanson K K Lebedev Rostislav, Jan R H H H Jason, Hugger I Jaccard C Jakober Ben Vu Yannick, St. Jaksic Lenka- Jaksic Janssen Servie, Janssen Special Iss - - , ew - - t A ir S M alabry U oham oland, M Q Scot M -62195 -62195 hurch st.,hurch bbots Ford iverside rangers, , tel +1 -14569 -14569 IL , tel +1 603, tel +1 C ran, tel +98 +98 tel ran, taly, tel +39tel taly, arsz.Focha onnufelli I I A ew Zealand, llende orth Street, A ustralia, tel S N oyama M jörvasund olland, tel +31 S 92027, 92027,

T rand ave. Clarendon 26 26 N , tel +1 212 212 , tel +1 dansk P

. 36th. st.3a, 36th. . undlest. Kent celand, tel /fax celand, tel +354 hatenay- CA A R ecreo #48, W 1793 R 1793 orino C S ehran Vossiusstraat #27, 181 avenue 181 Jean T T iguel A R zzaVittorio Veneto uke st., A #25 Shah- ustralia eigun P ran, tel +98 21 21 +98 tel ran, I . Bockstaellan #100, N .Box 6, 6, .Box reece venue des O O Y 10018, U ice France, tel +33 4 +33tel4 France, ice ice France, tel /faxtel +33France, ice . -80156 G 36 L ipsky st. #10, ipskyst.#10, Krzysztof, eykjavik I P eykjavik I N N -92290 -92290 L ristian Jon,

-10123 -10123 msterdam H R scondido fshar st., Vallyast st., ichael, 2/27 Viewrd, R srael, tel + 9726053383, 3 IT delaide 5067 A , PL E larisa, uckland 1003 N A ehran harles, 231 Bowery st., N ustralia ttiki G Y 10002, U T itoshi, Yasuda #45, brahimi Sholeh,#12-1 rga, viv I AG ndrews Fife KY 9 A 16 oela, S-111 -37700 Sn. M N -1020 Brussels Belgium, /faxtel -1020 lizabeth Anne, 50 N exico, tel +52 415 20885, fax20885,+52 415 +52 tel exico, ewport NH 03773, U ew York N nixi A aman A E den, A R-06000 R-06000 own, A el A tel +354 551 8797, fax +354 551 fax+354 551 8797, +354tel551 [email protected] 0202, #16 bis, #16 11 8122443, www.whoswho.art.ch,11 www.sermadiras.com.di.unito.it/ ~gazzera MX M 23191 415 A st. #29 I tel +48 58 306.2914 +61 8 83626354, fax +61 8 83626354, 8 fax +61 +61 [email protected], 83620890, www.adelaide.net.au/~gag/ #1, I #1, F 93802114, fax +33 4 93925976 8639919 T +3545575240 9392751 Japan, tel /fax +81 764 Japan, /fax764 tel +81 9392751 695887,[email protected] N F 4 93868420, [email protected] E tel +1 760 7466105, 7466105, 760 tel +1 [email protected] D 19697 8880482,fax +98 8785332, 21 mor [email protected] Fuchu-machi madi alley, 10th Farvardin st., P 17659 ave., ouzi 7434495 tel +64 9 6231445 #32, 104 R fax588 +354 7576, 872 1472, [email protected],www.mhi.is/ ~hauksd T fax + 972 3 5730497, sheffer@eng.tau.ac.il 1071 212 5942479, fax +1 212 5942482, fax 212 +1 5942479, 212 [email protected] St. A 2541276, fax +1 212 3581368 fax 212 +1 2541276, Jaurès, F Jaurès, fax+33 41139730, +33tel1 France, [email protected], 41137496, 1 services.wordnet.net/hirakawa Victoria 3067 A 5157, A 5157, B +32 2 4283260 99, unit 20 6769383, fax20 6769383, 20 + 31 6759173 land, tel +334 477208 York N N adavandSusan, arrison M ausdottir Valgerdur, ausdottir owardena Pindell, owardena ojabr E ongo H eller E Jeroen, enneman oenraet Luc, E ogson e. G John, 1811 ill E irakawa Shigeko, irakawa ighstein Jene, 525 inman C arcin Olivier, 5 bis rue Villermont, Ludmila, ayvoronsky azzera C udnason K unji 2 A Yoko, reenaway Paul, 39 ülöp Tibor, Fleming#6, GR riedeberg Pedro, riedeberg F liszczynski Gliszczynski F G G G G G G H H H H H H H H H H jort Larissa,Hjort Hjort H H H H - - A S ilo zadi Y - , tel N ran, parta A rshad , tel , -1636 -1636 reu havez S celand, E eka hessa A I ark dt. S R omania, P uarar , tel +1 U alvernVic. taly, tel /fax A 94110, U 94110, osta#8 int ercerst., ehran I , G aulo Brasil,aulo M S R ancu #4, esar C , Konst , P M oussave A ran, tel +98 21 21 +98 tel ran, ew York York ew olland I ran, tel +98 21 kbatan A eu de C ed st. #4, N entillyFrance, örbylund 9tr, 19, , T -54635 T olotzky st., G taly, tel /faxtel +38 taly, eykjavik P I srael, tel +972 2 +972 srael,tel entotrecento entotrecento Y 11215, U Y 11215, G 29 29 W olanen str. #2B, olanenstr. I olland, tel +31 30 olland, +31 tel R roatia, +385tel52 rahova R lland, tel /fax + 31 31 /faxlland,tel + olland, tel+31 43 C P , M vram I H C 52 Shahrak 52 erengracht 4924 #7, H .Box 5088,Santa .Box ehran , 21 rue du ruedu 21 , atsiani , 3435 C asrin ehran I #272-11th floor, 8th #272-11th O , A T aitainen #2c11, .Box 189, 189, .Box 7/6 P 7/6 . K , H K. Kranjca #31, 52220 orino . J., ttore,via P ostbus #2915, 6201 6201 ostbus#2915, Y 10013, U elgi Thorgils, elgi anderyd Stockholm O , tel 3349049 /fax 212 +1 T S-107 S-107 . 90409-5088, , L rand st., I 471 5th ave., P ., 471 P urku Finland H annah, aja S.,trgZabica #2, A P otterdam H Marta G S-46001telSpain, Valencia -94250 R-94250 trecht S taly, tel +39 217810 10 , , H ay, roatia, geocities.com/soho/ roatia, CA E rederick, ossein, -40126 BolognaI U rvatska reece, tel +30 31 208969, 208969, reece,+30tel 31 ousing, T 13948 tienne hava, Miek

ustralia, tel 3 95095943, +61 F C armine C R H H G C aastricht H H rimmelen van ., 74 74 ., -10143 -10143 il Pedro,ap.2a, Bolivia #1 D -2180 Sinaia-2180 P

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32540677 2tel +33 32543071, 2 +33 fax tel tel +7 95 1577956 RU #5-371, WI G [email protected]., www. www. [email protected]., 96944187, +358 5061792,40 fax tel +33 142838958 +33 tel F tes, 45484515, fax +33 142222283 +33 fax 45484515, F 493867955 +33 tel A des wepco.com 2214541, cynthia.torroll@ +1 414 2214540, +1fax 414 deo U deo A 5275704 H C 7610721, [email protected] port 66805939 IT F w.133.1.160.127/junko w w [email protected], N York 21 2560487 +98 PL www.laurette.com [email protected], 661741627, +33 fax 48030675, www.robertmcclain.com [email protected], +17135209955, fax 7135209988, C 3816338 95 4579540 rd. chaisri #59/230, [email protected] 22567755, +39 F T 494295124 H 6899003 21 8253165 +98 tel T 14449 st., Shahrara st., P H +61 27453987 RU 662 4483715 10170Bangkok M CH [email protected] 914 9676447, +1 914 fax 9216882, [email protected] 5 5897782, MX I C 18 M Arthur, ntyre akarazuka H akarazuka R-75007 I R-75019 asdaran, 16667T asdaran, lery, F lery, roydon N roydon reenlawn T reenlawn 3 arrison N arrison 77098, U 77098, TX ouston ldunate #1295/8, 11100 #1295/8, M ldunate -20149 lain Robert, -00180 -00180 ilano I ilano -20734 53151, L -125565 ARTISTS -1854 -52783 WORLD of ART of WORLD 1 M A PA 212 E rank, R-94100 - Saint nglais, F nglais, ruguay, tel +59 82 9004661 82 +59 tel ruguay, 3 Y 10016, U Y 10016, aria, Martha, I Somerville #216, #216, Somerville ario, C 18088, R gor, taly, tel + 39 335 681667, 335 +39 tel fax taly, M 4601 A 4601 -27700 L -27700 M hantal, L H U L P P ontreal ontreal eysin Switzerland, tel +41 Switzerland, eysin .S. ublin ublin M Y 10528, U Y 10528, T ilano ilano elsinki Finland, tel +358 Finland, tel +358 elsinki -125252 M S aris aris France, 1 tel +33 aris aris France, 1 tel +33 M via P via Festivalnaja #13-3-282, Festivalnaja F 3030 South South 3030 ynthia, A allberginkatu #1F 12, allberginkatu errace, N errace, exico exico W ariba, oscow oscow yogo 660-0807 Japan, Japan, 660-0807 yogo , tel +1 262 7898426, R 2818 Kirby st., st., 2818 Kirby C . 2132 A

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Bosian 64 Special Iss Special A ehran I ehran A M inkloa -N inkloa #3 33rd ave., Kia Kia ave., 33rd #3 anada, tel +1anada, 514 , tel /fax ,+1 tel /fax 610 T , tel +1, tel 212 R alvern ave., ave., alvern exico, tel +52 M S haweewattana haweewattana oscow R oscow P S e H ndelys France, France, ndelys ussia, tel +7ussia, ew Berlin Berlin ew lferez #82, #82, lferez A aur aur France, romenade romenade A ustralia, tel tel ustralia, , tel + 1 +1 , tel N , tel +1 , tel ice France, France, ice ehran I ehran allier - - allier R E ran, tel tel ran, agaodai, agaodai, ebeval, ebeval, st # st idge idge rd., alnut ontevi akhon E -20127, ussia, ussia, ilan A , N ran, ran, 25, 25, ue 2000 ue - ew ew - - - Peraza Avila Sergio Patella Luca M Luca Patella Perman Bo Peeters Peeters Sef Peelehroud H 604 John, Okulick Poynder Preede N Preede Jawad Poujan PorfidiaAlessadra Pop- E Pla Podorean- WalterPfeiffer O’Shea H O’Shea N N Parashkevova Parashkevova Pagnes Andrea, G Ozory Ordrupgaard, H Omann Square O. Olivier, Olivier N Ponomarev Alexandr Olivari Julie, Olivari awar Ahmed, akamura avarro avarro 07724, U 07724, C #14, col. xs4all.nl/~akinci [email protected], 76 5204372, R [email protected] M 4813 8801659 15986 T Villa, flat 1 #166, alley 8,South st. 4814387,+39 648904573 #66, P meng, G T [email protected] 143264763, +33 F [email protected] 68682250, +39 fax 685352870, +39 IT #50, Spirito 1 2105871 +40 fax 3204792, 1 +40 16508604, +40 tel nia, 9172669 R #7, S 2118031 1 CH www.eduardopla.com.ar [email protected], 11 48018453, +54 tel AR Sweden Södertälje L Buenos A Buenos Venice 3821591 96 +34 S #22, [email protected] T ochiai, J kolumbus.fi/studiomezzo/maki.htm 5222272 mobil +39 033 85724374 033 +39 mobil 5222272 IT 711 +49 556019 /fax DE gen D 152370, [email protected] 33 152470, tel +45 mark, 33 +45 fax D #143/2, 143354787 33 F #6, 13611848 +54 /fax E #2-10, RO #18/15 st 2 ap 29 86438128 +46 [email protected] 310 3926949, +1 310 fax 3923092, ehran I ehran okyo Japan, tel +81 Japan, 3 599968138,okyo adbrokegrove adbrokegrove R gypt, tel /fax +20 23488279 +20 /fax tel gypt, ousse Bulgaria ousse ussia, tel +7 95 9172669, tel +7 95 fax ussia, oyoacan, MX oyoacan, reat Britain, [email protected] [email protected] Britain, reat K-2920 -30125 Venice N exico, tel /fax +52 55 542344, 542344, 55 +52 /fax tel exico, J. 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S othersgade othersgade ran, tel +98 21 21 +98 tel ran, D erro Blanco Blanco erro M I P A taly, tel +39 6 ermany, tel tel ermany, ihailov R ihailov P . des C . des E okrovskij blvd. oscow oscow , tel +1 ome I ome anisperna anisperna , , atontow atontow D olo #559, olo W exico exico L P rgentina, tel tel rgentina, rgentina, rgentina, C elambre elambre otsgatan otsgatan lantelor lantelor 10 6 E openha M -15147 rive, rive, G taly, tel tel taly, aria aria hamps, hamps, oma -7002 -7002 ou N airo airo J H en N - , op, op, , , - - J - - Schwarz Robert Schwarz Shohini Debgupta Shajari N Shajari M Schwarz Schumann Sarah Jose Sacal artaddiction.se www.artaddiction.se Romero Rachael Slezovic M Slezovic Shuji Russu Petru Russu artaddiction.se www.artaddiction.se Russ Rupoli F Rupoli Rogge C Rogge Shimada Shamsol K Shamsol André Russu Ruskokivi Sisko Linnea Rochet Roch Poli Serge Poli Roch Ramos M Ramos Robinson Rahmanian H José Quero Pyro F Pyro Priestner Stephen www.eigenartverlag.ch [email protected], tel +41 +412422608, fax 2422635, CH U # st. gianshimadacyahoo.com [email protected], 21 6211776, +55 fax 21 7192204, +55 tel Brasil, Janeiro S F 3417233 30 DE www.josesacal.com [email protected], 5 512047,fax 55401722, +52 MX info@ 8857264 +46 /fax tel Sweden W 3652868 +31 #7,straat 6964 +381 20 313225 20 +381 N #11,36300 293997 811-4312 +81 tel 93 /fax Japan, [email protected] [email protected] 224030 224030 S st., 41 H st., info@ 8857264 +46 /fax tel Sweden 9445224 +358 tel #6 L Balham [email protected] +1 46796433, 91 France, tel +33 546009480 +33 tel France, O 264223461, fax +98 31214142 +98 fax 264223461, N I radia.html 3733847,242 www.artnet.com/ tel +1 44921Bahamas, , Freeport ain, tel +44 181 6750941 +44 tel ain, F Zealand any st., Shahriar any st., Shahriar Vincent, F Vincent, M CA land 21 881644 +98 flatVillast., 3, South N tel +34 91 4330826 91 +34 tel #24-7- 212557 DE 9290293 9 rd., ran, tel + 98 2858008, +98 2274294 +98 2858008, +98 tel ran, R R E E G EH S oroozy alley, Vally A Vally alley, oroozy nga- ejatoalahy st., second alley #14 alley second st., ejatoalahy oodstock N oodstock eadowbank, A eadowbank, -182 D 30 -182 D 30 -75020 P -75020 -66140 C A M A -10585 Berlin -50674 Köln H -8402 W -8402 -06000 -06000 ranz Wilhelm ranz A 39, F , tel +1 7303753, 303 C aruno aloletneva aloletneva M ltrincham ltrincham rancesco ornelius -310, E reat Britain, tel +44 161 +44 tel Britain, reat M P asrin ( asrin el G arie- 5, E K -94618, U , Fco. I , Fco. achi N edye ave., 15468 T 15468 ave., edye otaby Anahita otaby ehmed ian I , 5941 O artin en ondon S ondon -00100 -00100 iteroi Sta. iteroi K , M R , M , M ernandez oshkaky oshkaky aris France aris S-28014 M S-28014 interthur Switzerland, Switzerland, interthur anet-Village France anet-Village - 17000 L - 17000 , 31 Francourt st., st., , 31 Francourt , rua M , rua anderyd Stockholm Stockholm anderyd anderyd Stockholm Stockholm anderyd O H ovi P ovi 80110, CO nglewood O exico exico örbylund 19, 9tr, örbylund M Y 12498, U aza- , rue des P des , rue örbylund 19, 9tr, örbylund élène , , 14 rue de C de , 14 rue nga- . M , 43 Broadview rd., rd., Broadview , 43 , Voorstondense H CC G , Fritschstr.#29, P , 54 C , 54 M andara) , M , 5116 S. . G uckland 1005 N 1005 uckland ermany, tel +49 221 , 17 Stamford P , 17 Stamford N I ceanview dr., O ceanview H O S azar Serbia, tel tel Serbia, azar ran, tel +98 W anchester anchester adero #55, #55, adero A ermany, tel +49 , M A elsinki Finland, Finland, elsinki , P adia .Box 159, iracema, B iracema, Gun Fukuoka M etohiska st., st., etohiska sagi #1023-6, #1023-6, sagi 12 G 8JJ all H all R , 25 rue a R exico, tel +52 F ozartstr. #29, ozartstr. T heetnut G heetnut osa, osa, , R , O sr.str., T adrid Spain, Spain, adrid ehran ehran arzaneh , #4 ochelle ochelle eina C eina , Shariati olland, tel tel olland, S ksasenkatu ksasenkatu echers #2, #2, echers D A . O R elaware elaware ehran ehran , tel , tel los, los, reat Brit reat io de .Box .Box M P WA I ran, tel ran, tel hilippe hilippe R ohsen ohsen alegh ristina ristina - - , rove, rove, - 15 ark ark ew ew ak - - - Szirmay M Szirmay Suwankusolsong Titapol Stein Su-Tao Szydlowski Stephenson Strathdee Barbara Strathdee Stanko-Bojanov Stanislav Suchodrew E Suchodrew Smith John N John Smith Spacal Lojze Luigi Lojze Spacal Thelma Zarafshan N Zarafshan F Verdi Zanatta Andrea Zanatta Yamamoto F Viceng Tabanfar Shahin (Parsa) Varney E Varney U Tschaikner Peter Paul Trobisch H Trobisch Topper Tchonkanov Stoyan Thaothong Preecha Tajbaksh Timaji M Timaji ematsu K ematsu 3855253 3855253 T Smutprakan 10540 Bangplee-Yai, Bangplee, P [email protected] yutzi- 27346532, +32 fax 7346532, B M 10013, U 10013, #63, #63, +49 241+49 54779 [email protected] 9 6255042, tel land, +64 [email protected] [email protected] #49, L B #20, [email protected] + tel /fax 64 4 9346210, Vogeltown I este A Berlin 611229476 Bangkok D 2668289, [email protected] C Vancouver #157, 61957 I Venice tellago [email protected] 417000, +81 fax 776 417001, 776 +81 tel Japan, 919-0316 Fukui 8487097,93 [email protected] E 591468 IT /fax +61 893648350 /fax York G +81 727 226033 727 +81 J [email protected] 512 +43 tel tria, /fax 378283, AT #40, 78712506 30 +49 9589553, fax +972 99568840 +972 fax 9589553, zeliya T st., 15418dan Bridge, Shariati Khan Seyed after st., Simarg Floor T [email protected] 48937529, +359 tel #9, B Sabranie rak 8052233, [email protected] I G M hiye, 9660710 DE ran, tel +98 21 2058626, fax +98 21 21 +98 fax 21 2058626, +98 tel ran, P ehran I ehran ehran I ehran S-08338 Barcelona Spain, tel +34 +34 tel Spain, Barcelona S-08338 ornswang- E allery, R allery, rdross 6153rdross olnaz T olnaz usit, R usit, -37122 Verona I -37122 Verona t. R t. -5620044 M -5620044 , 450 Broome st., , 450 Broome -1200 tel +32 2 Belgium, Brussels -10829 Berlin G , 386 ranco DE E N oskill A oskill hoods #1008 block hoods M taly, tel +39 40 304668 40 +39 tel taly, ondon S ondon ogaddam M ogaddam rancis IL G Germany dwin dna Y 10012, Niusha ahroo st., M st., ahroo -6080 IGL -6080 athias -52066 -52066 atchasim rd. D rd. atchasim -46387 -46387 -2500 Kustendil Bulgaria Kustendil -2500 ran, tel +98 21 2859411 +98 tel ran, ran, tel +98 21 8096930 +98 tel ran, arté eike ower, 1915919115 T eiji S T K ajabhat I ajabhat A Henryk A asrin hailand , Yavniely st. #10, H st. , Yavniely I , P eigo venue venue dith an oel W , fax +1 212, fax 4317530 , Box 3655, V6B 3Y8 , 1-10-9 H N A uckland 4N uckland , 693 R , 693 , St. A , St. anada, tel /fax +1 604 +1 604 /fax tel anada, , iazza Simoni #10, Simoni iazza ellington ellington W ivesna hwaz hwaz P , , via Berna #36, M #36, Berna , via hailand, tel +66 2 2 +66 tel hailand, C inoh Japan, tel /fax /fax tel Japan, inoh , 90 G , 90 G , Klixstr.#3, , Klixstr.#3, , G erth erth E A U taly , 24-10 O I , , Khosravi Kouche Kouche , Khosravi 10 9 heruskerstr. heruskerstr. #7, srael, tel srael, +972 9 -1000 Sofia Bulgaria, Bulgaria, Sofia -1000 , P lm G O S achen achen S I , 35 taly, tel +39 45 45 +39 tel taly, olestan st. Shah st. olestan G , 9 Bombard st., st., , 9Bombard ermany, tel /fax A nstitute Suan Suan nstitute , Suan , pl. N , pl. .zza Venezia, T Venezia, .zza ppenhoffallee ppenhoffallee ntoni #22, #22, ntoni ojgan eorges eorges P nnsbruck A nnsbruck agnolia L agnolia ichardson rd., rd., ichardson , tel +1 212 I PA G A reene st., N st., reene ran, tel +98 N , I ark T M ustralia, tel tel ustralia, anjo, anjo, ew York hepharak rd., glerstrasse glerstrasse usin, 10300 10300 usin, N , Kuye E , Kuye ana ana st., G , 118/2 arodno arodno omura-cho, omura-cho, G ew Zealand, ew Zealand, ew Zea ew , M reat Britain reat C D , #21 2nd. 2nd. , #21 ermany, tel ardens 2, 14658 DE usit usit H esta st. st. esta ehran ehran enri, enri, ane, ane, -10823 er N A us la - ew ew - ar Y rt rt - ri - - - - - ContemporaryArt lexicon - , 95 A S - , 35 , est ishi

aguna ew , tel +1 , tel +1 de ashing W L ajabhat inza, A orreus R ermany, S ermany , , ntario s own South -104 Japan-104 rive, inza N , 386 , avenue , 800 , est W etersburg epublic, tel P ermany, tel D , Fasanenstr. Fasanenstr. , , tel +1 949 949 tel , +1 P nternational nternational eilwingstrasse , 476 Broome 476 , c I A nstitutsky pr. , tel +1 212 212 tel , +1 örbylund 19, ., 1038., A allery liff H partat C S A ape T , I , 5-5-15 G , 5-5-15 -1200 Brussels -1200 , , -104, Japan,-104, tel C U nc S allery ünster G E , M I ondon O , Seifertova #36, amburg G P , A okyo J , 619 W , 619 usit, zech R iami Beach U anderyd Stockholm G Y 10013, U WORLD of ART , 1-3-3 G ast th 78 st., N allery IATIONS , Josefstr. , #45, alleter #21-11a, G ort allery remmendorferweg. alerie F anada, tel +1 519 anada,519 tel +1 , P okio J G C G Milan enri,B hailand allery orth, L merging Art -194018 St. -194018 92651, 92651, C -08080 Barcelona Spain , , E , 16 katerina orristown U 19401, PA T H G E alleries alleries rague C 9 9 -20249 H -20249 -48167 M -48167 huo-ku T -10719 Berlin G -10719 rben rben laudia RU CA Y 10021, 10021, Y G -182 30 D -182 E M C ew York N E N aleria aleria ue 2000 unro G odern Art odern ischer-Reinhardt G allery criti allery West allery -8005 Zürich Switzerland, tel F M 5Y2 eorges frica. tel fax +27 4247436, 21 +27 G venue #737, M venue #737, hurch st., 8001 C huo-ku, T ussia, tel +7 812 3522624, fax ussia,+7 812 tel +7 S-46008 Valencia Spain, tel /fax , , AA-Art Addiction nstitute Suan D I I 4946531, [email protected] E +9 6 3852544 Beach 13000 P +420 2 90006961 CH +41 1 2521096, fax +41 1 2521057, [email protected] R [email protected] 3144153, 812 G Belgium, tel +32 2 7346532, fax +32 2 6494156 A #64, DE tel +49 40 484552, fax +49 40 472550 #4-65, Art Association A [email protected], 4232637, 21 www.ava.co.za #32, DE 9tr, S 9tr, Sweden, tel /fax +46 8 857264 [email protected], www.artaddiction.se C +81 3 35711312, fax +81 3 35711312, +81 3 [email protected], jp #29, DE#29, +49 30 8824057 N C 7944444, 7944289 fax 212 +1 laide st. N 4347681, fax +1 519 4348814, fax 519 4347681, +1 www.thielsengalleries.com ton st., N 2928565 610 tel +1 I Bangkok, 212 9665283, fax +1 212 9410752, 9665283,212 9410752, fax 212 +1 www.thomaserben.com York #9319, S #9319, st., N bldg., C ASSO lpiano Rosa lpiano bu G enter for E reuzzinger reuzzinger INSTITUTIONS U Spinelli Spinelli Stallings Tyler,307 Andreeva E K C Yu- AA Remy Petre Association for Visual Arts AVA Thea Thea Thielsen Thielsen Taller Taller Vera M The Yoseido Yoseido The Thomas The Pagus Pagus The The Suan Dusit Art G U The The Special Iss - , - - - A al - ain S . ich , A A - reat . omstr. olum .Box G ain er ilano

ermany, O heshire . NM usova -14563 -14563 agoya P ast 1-7 orth M , 1075 1075 , H epublic, almerston XX indhoven , , N , Saborna , allery, Bel , , P GR avid st., frica,tel +27 , 2525 M , 2525 1 8 1 ompany ermany, tel ane, South A , 398 M E , Baaigemstraat , srael, tel +972 RG E , 101-465 Vic arstallstrasse , 25 N , 25 lbrecht, D reland, allery zech R -06570 Saint - M , Jetty E ustria,tel +43 alleries ark #2044, rnststr. #88, G R , , reece, tel /faxl lovdivBulgaria, tel öppingen G avere Belgium inatoku A allery ine Arts .Box 953, C P allery , tel + 1 203 5279688 , E , F G M allery anada,250 tel +1 O nne’s L allen Switzerland, allery allery . aroncelli M #7, aywards G onica CA 90404, U A C , 19 King, 19 D ondonS -94101 I -94101 othar A S allery , tel +1 505 fax9824631, tel , +1 , A L , P eralta,Santafe ublin 2 I 9 9 L alerie , H - A P A , Schmiedgasse #15, allery in Brno -4025 G thens G -9890 G S -60311 Frankfurt G G -73033 G 2 E U , via M , Spartis , st. #16, atteucci G C orreia Correia allery atherine ine Art , B , rivate Bag 11-055, allery of F Karlheinz alerie G C P A -9000 St. G -76131 Karlsruhe G -76131 2, Santa M -1060 Vienna -1060 -455-0033 Japan, tel +81 52 inatomachi, orth, tel /fax +64 6 3588849, nne st., D olland, tel fax +31 40 2128271, E aul France, tel +33 4 93329692, aseode P taly, tel +39 2 653747, fax +39 2 taly,tel +39 653747, 2 1 5875052, fax1 +43 5875966, 1 www.kunstnet.at/ [email protected], knoll sterweg #301, 5044 H [email protected]+31 40 2129379, I 653872 P fax +33 4 93327813, www.stpaul.com /issert 7253130/80/81, 11 fax 11 +27 [email protected] 7206000, toria st., Kamloops, British C biaV2 AT Kifissia A +30 8012773 23561, Jowbert23561, P JohannesburgSouth 8283543, fax 250 8280662, +1 [email protected], www.galleries.bc.ca/kamloops st., Kent CT CT 06410, U A [email protected],www.kerlin.ie M 6545106, fax +81 52 6545107, [email protected] J +1 505 9840199+1 #6/2, DE tel fax +49 288687, +49 69 69 280912 P 87501, #253, B igan ave., Bergamot Station L # 310 fax +1 2641760, 310 tel+1 [email protected],2641762, www.coreiagallery.com Jerusalem IL CH 2226252, fax 71 +41 tel71 +41 2226224 st., N [email protected],www.mag.org.nz DE fax +49 721 612111, +49721 [email protected], #18, 66226#18, Brno C tel +420 5 42215753, fax +420 [email protected], 42215758, 5 www.moravska-galerie.cz 2 6254885, fax +972 2 6240387, [email protected], /safrai www.israelartguide.co.il vedere rd., [email protected], #14 +359 32 263790 #55, DE 650777/775,many, tel +49 7161 stadtgalerie- 27672, fax +49 7161 [email protected], www.goeppingen.de/ galerie/index.htm anawatu Art G eyer eyer oravian G oving Space G Milione edra M ans Theunissen Art C amloops Art G anevsky Art G erlin erlin ohji Ogura G l l H I Issert Jill Yakas K K Johannesburg Art Johannesburg K K L. A. G Patricia Patricia Lock Wilma N Safrai F M M M M Sarah Briggs State G Städtische - , - - - - - , 8 , - ille ue er ew aris ables aris P olland, N üssel P G undle , M rinsengr. ermany, ustria, tel K-1123 K-1123 R immat -40213 ipplinger aris amburg delaide olland P H A , 28 rue 28 , ent Belgium, , L , D oral Utudijan , Karlavägen , , W indenstr. #19, indenstr. #19, , Zuidstation , alkestr. #6, oudon, , 39 , C dmiralitätstr. ristophstrasse ermany,tel +49 -75003 , tel +1 212 212 tel , +1 -75006 , L ppendorfer C aag H R G , 20 rue20 , des R , 3306/3310 -40213D A ent Deux M , W , A rest France, tel oussaintkade , , , Korte P E 5067 S T -8005 Zürich Swit enmark,tel +54 33 -75013 -75013 -20249 -20249 amburg G A , , U allery R -9000 G D msterdam H en H , tel +1 305, tel +1 4420256, E DE , 42 rue duBac, iedler ilchmann ermany, tel +49 211 ermany,tel +49 211 A euf C F , 19 rue, 19 H . de Buck S G ologne arisFrance, tel +33 1 ine Art arisFrance, tel +33 1 eonblvd., -70180 Stuttgart-70180 G laude,F -1010 Vienna-1010 A , 575 Broadway, 575 , sterhazygasse #29, , Südstr. DE #9, . C L P ownS P I C -26400 C eiss,F T , E R -20459 H aeght ille N -11431 Stockholm-11431 Sweden, W laus Braun Y 10012, 10012, Y önig Lettner & ermany, tel 327436, +49 211 hristian Larsen E alerie lrich Ulrich N noll ader F -8035 Zürich Switzerland, tel +41 -50674 -50674 -75007 -75007 -75018 -75018 lpes, F ermany, tel +49 40 453292, fax üsseldorf ustralia,83 626354,8 tel +61 fax openhagen K oncede R L 33134, U R andstr.#44, ouise str. #29, AT #29, str. +43 1 5335201, fax +43 1 5320792 many, tel +49 711 6405989, fax 6405989, +49 tel +49many, 711 [email protected] 6074236, 711 #40-42, DE #44, GT A 1013 A tel /fax +31 20 6236337 France, tel +33 1 43258420, fax +33 46347452, 1 [email protected], /1900-2000 www.orbital.fr 8 rue 8 Bonaparte, F +33 75254633, 4 [email protected] P strasse #270, CH rueSaint zerland,440393, tel1 +41 fax 1 +41 [email protected], F 45484515, fax +33 1 42222283 fax 305 +1 4439285, [email protected], www.garynader.com 9415588, fax +1 212 9410223 fax 212 9415588, +1 #71, DE #71, straat #25B, B tel /fax +32 9 2251081 F A 8 83620890+61 st.,Kent L CH fax2521097, 1 2521096, +41 1 [email protected] hlenstrasse DE #1, DE 221 9230800, fax +48 24961, 211 galerie-fiedler@netcologne France, fax tel +33 +33 1 42722127, [email protected] 42760629, L CL D 2513 #70, dorf G fax 322259 +49 211 fax +49 40 tel +49 40 37519940, [email protected], F G +49 40 442996, [email protected], /von-loep www.galerie.de York York France, tel /fax +33 1 45862010, [email protected] C 155244, fax +4533 155944 42622429 D tel +46 8 6110031 #15, S #15, 134982, fax 133400, +49 211 [email protected], www.galerienetz.de /voss amis G ans K alerie Langenberg alerie alerie K alerie K alerie Lydie Rekow alerie Peter K alerie M alerie Polaris-Bernard alerie alerie M ary N alerie Sfeir-Semler alerie alerie Von Loeper Loeper Von alerie alerie Walcheturm alerie alerie Praz-Delavallade alerie alerie Remmert und Barth alerie S. & H alerie alerie Voss alerie Ramakers alerie allery B.A. alleri Susanne Ottesen Susanne alleri alleri C reenaway Art G G G G G G G G G G G G H G G G G G G G G G H G G - - 1 - - - N - - er , ower, ower, - -0153 ber ntwer , er ustra eneraal ermany, el A lizabeth ermany, anyon S ermany, lsässer oststr. , G reece, tel allery unich G olland, tel eary st. S-08012 P 94108, 94108, ostdamer E , E uénégaud, , , exico . Sussex B P -2000 A , , CA unich G , 840 E E , 526 C ang rd., A eyser reece, tel /fax hina , 49 G , 49 otelde Ville, , Zocherstraat , oracio#20, , Buttermelcher , , Kronprinzenstr. Kronprinzenstr. , rizaba H ortmund G G 18/F T Yan’s -81667 M -81667 aris France, tel +33 aarlem H üsseldorf G elenikou #34, oma, M srael,tel 3 +972 allery nternationale des des nternationale allery huk H , O I , Sophokleous #23, aria Sels I , 27 rue G exico, tel +52 5115150 ahum T st. #11, , 28 bis blvd. Sébasto hessaloniki G thens G alerie ine Art arisFrance, tel +33 1 arisFrance, tel +33 1 -80469 M , Kogensgt. NO #9, -10785 Berlin-10785 G unsten DG H ité ité P P , Verdi #152, Verdi#152, , , N useum & Art G C , Flat F- riedrich ong C -44135 D agari,c/ ong Kong, C -75004 P 2O lara M orway, tel +47 22 424924, faxorway, 424924, tel22+47 night G -40213 D -63503 aterloo Sydney 2017 A R reatBritain, tel +44 1273 N , Konst. M IL ross F , 18 rue de l’ 18 H , eller G ine Art G , tel +1 415 7881050, fax +1 fax 7881050, +1 415 tel , +1 G allery

-10552 A -10552 -54635 T A -75006 -75004 E slo S hurch st., Brighton, E viv .F.06700 M .F.06700 S-08022 Barcelona Spain, tel /fax R R 4 st., W 290900, fax +44 292871 1273 I GR 505 505 9825328, faxtel +1 +1 [email protected],9824762, www.collectorsguide.com/cline DE #11, str. many, tel fax +49 +49 89 226132, 89 295508 96995353, 2 2 faxlia, tel +61 +61 96995254 415 7881059, [email protected], 7881059, 415 www.artnet.com/briangros.html C rd., Santa Fe NM U 87501, +30 1 3210448, [email protected] #1-d, 2011 +31 23 5258073,+3123 fax +3123 5254958 GR +30 fax 208969, 31 +30 324713, 31 [email protected] www.magnet.gr/views/allipoli 25-27 W deen H U #509, San#509, Francisco A st. #93, DE tel+49 30 2624284, fax +49 30 2651652 pol, F 46330466,fax +33 46332540, 1 [email protected], www.parissimo.com/pages/ arnoux.htm F 6043003, fax +972 3 5444893, dvir- [email protected] pen Belgium, tel +32 3 2319056 #98, DE #3, DE Arts F 4278717 Belliardstraat B #19, fax1 42780191, +33 1 42760069, www.ad- [email protected], arts.com/bellint 328020, fax tel+49 211 +49211 328026, [email protected] #101-101,col. R #101-101,col. tel +49 231 7212176, fax +49 231 tel7212176, +49 231 galeriefriederich@t- 7212178, online.de many, tel +49 89 481590, fax tel +49+49 many, 481590, 89 4471494,[email protected], 89 www.artspace.de strasse #32, DE +47 22 [email protected], O E +34 93 4188810 D BarcelonaSpain, tel /fax +34 93 [email protected], galleries alerie Bellint alerie alerie Barbara Weiss alerie Arnoux alerie alerie j. F alerie C de alerie alerie Annette de K aleria H alerie Andreas Bastian Andreas alerie aleria M amhi Rebecca line F dificio Balmori dificio otogalleriet C Dany K Darren K De Schone K Brighton M C Dvir G Brian G Art Beatus Alli Poli Alli G G E G G G G G G G F G ContemporaryArt lexicon Brighton M Brighton Janco-dada Janco-dada J. H M Art Denver M H Reykjvik Art M Art Reykjvik M M M M M 96 Fondazione il Pellicano I Stiftung für E für Stiftung T. Sasitharan derPräsidialdepartement Stadt Zürich F Le C Le nstitut I nstitut undacion Yannick and Ben Jakober Ben and Yannick undacion F ong K ong ara M ara useum H useum iami Art M Art iami useo Vostell M Vostell useo usée d’art contemporain Lyon contemporain d’art usée obile M obile almö . Willumsens M . Willumsens

Frederikssund www.usd.gov.hk/hkma 27237666, [email protected], C [email protected] 6407567,6407711, +1 303 fax P 1273 292871 +44 fax 290900, I C Spain, tel +34 927 276492 927 +34 tel Spain, - H #9, 6131 rd., bury www.haramuseum.or.jp [email protected], 240449, 279 +81 fax 279 +81 246585, tel Japan, bukawashi E 45 13460, fax +31 45 29111 45 +31 fax 13460, 45 U W www.konsthall.malmo.se [email protected], 301507, 40 +46 fax M 49843152 +972 fax 9842350, mel L 72691700, [email protected] 472691717, +33 tel 4 +33 fax 375725 de G de 81 www.mobilemuseumofart.com [email protected], 3432680, +13432667, 334 fax AL M F F U C WWW 310 www.arrakis.es /~fuybjako [email protected], M Blanka, Basa Sa 1 3922397 +41 13913710, +41 fax tel zerland, CH #86, dr. www.substation.org [email protected], 72729, +6533 fax 77535, 33 +65 tel Singapore, Singapore 179936 12121404+41 +41 tel 1 2163111,Switzerland, fax #17, CH Stadthausquai D fax +39 722 4140 722 +39 fax fax +1 305 3659448 +1 305 fax porain, 37 rue de L de rue 37 porain, 4 M avadero, ctra.de L ctra.de avadero, L L S-10910 ky, hina, tel +852 27342167, +852 tel hina, +852 fax E Brighton, st., hurch risto R risto S ijon France ijon rbino rbino onsortium, C onsortium, E almö Sweden, tel +46 40 341293, 40 +46 tel Sweden, almö useum dr.,useum est Flagler st., M st., Flagler est allorca Spain, fax +34 97 897163, 897163, 97 +34 fax Spain, allorca -33139, U 33149, U 36689-0426, 36689-0426, A od A od

C H WORLD of ART of WORLD G G , tel +1 305 3751796, +1 +1, tel 305 305 fax IL ité internationale, quai quai internationale, ité aulle, F aulle, ong M ong ans Koenig, Zollikerstrasse Zollikerstrasse Koenig, ans D useum AR useum K reat Britain, tel +44 1273 +44 tel Britain, reat nternational d’Arts Plastiques d’Arts nternational lenridge lenridge -30890 -30890 U .alaskanstar.com/cea enver enver onsthall useum of Art of useum I rtist Village, D Village, rtist taly, tel +39 722 32020240, 722 32020240, +39 tel taly, e, IT -8702 Zollikon Zürich Swit Zürich Zollikon -8702 Sittard H Sittard ER er Domein er useum & Art G &Art useum T M Museum SE simshatsu simshatsu useum-Suzy Truyie useum-Suzy S , isenplastic G useum of Art of useum S useum alpartida de de alpartida R -61020 T A A CO A useum 377-0027 unmaken -69463 L -69463 P I , tel +1 305 3650661, 3650661, +1, tel 305 rmenian st. #45, #45, st. rmenian srael, tel +972 4 tel srael, . , tel +1 305 5382803, 5382803, +1, tel 305 R O D alpartida , St. Johannesg. #7, Johannesg. , St. 80204, 80204, entre d’art contem d’art entre C oad, Key Biscayne Key Biscayne oad, useum .Box 8426, 8426, .Box U E enmark , 2944 Shi , 2944 S-07400 S-07400 UMS Special Iss Special S iami F iami ongvic, F ongvic, , 14th100w. ave. A os Barruecos, Barruecos, os , , Kapittelstraat olland, tel+ 31 tel+ olland, , Flokagata, , Flokagata, rasanni di di rasanni P , tel +1, tel 334 H , 4850 , 4850 . yon France, France, yon . , N O ong Kong Kong ong . Sussex B . Sussex -8022 Zürich Zürich -8022 P , Sammlung , Sammlung , U . H .Box 29,.Box C iazzale iazzale D 33130, L 33130, , E allery S , 10 Salis aceres aceres K-3600 K-3600 A of H of A - l l M C , tel +1, tel R lcudia lcudia harles harles -21000 -21000 obile obile acar , , 101 , ue 2000 ue in Ein N - 1 1 , - - - , , H F K G Drennon C Drennon Deats Deats E K Duret C La Boulbenne X Boulbenne La C C L MF Association des galeries d’art con d’art galeries des Association Baraz Baraz Yahsi Art Dealers Association of America Berthoud Berthoud Anne Scharf F Scharf M M M Arnhold Werner K Duff Schellman Ass Dealers Art Professional Private Art Dealers Ass Dealers Art Private Tamerin Barbara J. F J. Barbara Tamerin Thompson M Thompson Sarjah Art M Art Sarjah Rooseum The Speed Art M Art Speed The reeman Peter bers Lonti bers olczynska Paulina olczynska line F line DEALERS ART obra F obra arpenter Laura ardozo runwald F runwald aim itchell Brown F Brown itchell oeller Achim F Achim oeller artino artino way #11B,way N T Brooklyn N Brooklyn T 87501 U 87501 NM Fe dr., Santa crest U 87501 NM Fe 309, Santa Resources H 102, N N land CH tamines, 87501, st., N st., E M South, T N [email protected] 212 4624111, +1 212 fax 6457656, L W temporain U 10022 575 M Kurtulus I Kurtulus C Francisco Spadina ave. #307, Spadina N C 2J3 drisio Switzerland drisio P via ects, 73rd st., N st., 73rd 98000 M 98000 N US 872, E L US U Sharjah fax +46 40 304561 40 +46 fax M www.reykjavik.is /listasafn www.reykjavik.is [email protected], 5526131, 5626191, +354 fax T www.speedmuseum.org 6362899, [email protected], +1 fax +1 tel 502 6342700, 502 I S-105 oronto oronto oronto M oronto 8705 U 8705 NM Fe Santa rd., etilla ondon W ondon 87505, NM Fe Santa ejo, hird st., L st., hird . ast 81st ast st., anada 94558, U 94558, CA apa ew York N York ew ew York N York ew Y 10021 U Y 10021 Y10013 U almö Sweden, tel +46 40 121716, 40 +46 tel Sweden, almö est #521, est P ine Art ine A A C en C alace ave., Santa Fe ave., Santa alace M red and C and red hanin Dominique L atherine ew York N York ew ine Art ine anada ine Ar ine enox enox argaret adison ave., N ave., adison M , 3618 22 77007, TX U ouston C U R , eykjavik eykjavik hristopher S P , 50 G , 50 S assimo M ynthia F ynthia onte C onte 55408 U 55408 MN inneapolis , 110 Bloor st. W st. , 110 Bloor . A ela , Kurtulus C , Kurtulus A stambul TR stambul nited A nited O 11 2 , 16 E 6 5S 2 5S raella #15, CH raella CA ew York N York ew ouisville KY 40208, U 40208, KY ouisville useum S . Buck Y 11201 U , 223 , 223 , 372 Ste. C Ste. , 372 . Box 4097, S H C S M Y 10018 U Y 10018 Y 10021 U Y 10021 A ew York N York ew -1206 G t, 211t, , 180W , 2916 Victoria C , 2916 Victoria , 25 C ill Sta., ill Sta., A 2 94114-3347 N , 4 ontreal ontreal avier , 719, L reene st., N st., reene , 1 rue des G des , 1rue N T , 11 rue de C , 11 de rue W ine Art ine , Kelly James, 531 531 James, , Kelly ompany ew ew York useum ND ine Art I Art ine 3 arlo M arlo ast 71 st., N 71 st., ast Y 10011, U B G Stanley C A Stanley , Fine A Fine , 7 C I N rab E rab C celand, tel +354 +354 tel celand, ine Arts Arts ine , 640 C , 640 40th st., st., W40th , 400 , S . S . ranberry st., st., ranberry E anada anada ine Art ine , 504 , 504 reat Britain reat P T ,2601 I ,2601 A G ast 70th st., st., 70th ast eneva Switzer eneva anada ychwood ave., ave., ychwood N . ew York N York ew oronto oronto everkuhn, suite suite everkuhn, Y 10021 U Y 10021 T O -80240 T -80240 S uadalupe suite suite uadalupe addesi #191, addesi H ew ew York . L onaco S mirates S , 167 ., ., A . Box 19989, , 2035 South South , 2035 Y 10012U atherine st. st. atherine 3B 1 3B , 625 Broad , 625 A A , 1000 H , 1000 rts and P and rts N P oft #4, San San #4, oft E nc -6850 M -6850 NM W amino amino . Y 10028 Y 10028 -20312 est #1208, #1208, est U .Box O.Box ew York York ew S U rving ave. ave. rving S S est 22 22 est s, s, 120 ., 8 enets, enets, S on A A S A rescent, rescent, ew York York ew E A M ., 80 A A ast ast 2 , tel +1, tel ourt, ourt, urkey 5V 5V - N Y Y S S S S ill A Y A A S en roj S A - A A - - , , - - - , Bjorklund G Bjorklund Belpedio Anna Belpedio Behm Robert Beck K Beck Batley N Batley Barnes M Bargiotti Blair Patricia Bausch Studio Bausch Allen Rick Allen Adams Barefield M Barefield Baldassarre Angelo Anzalone Blossom JE Blossom Blum Joyce Blum Boyle K Boyle Browne Berkeley Butler GH Butler Bumpass Ron Bumpass Bullock Benbow Buckalew Bush Roxana Bush C C C C C C C Delos Santos M Santos Delos Delafuente Alex C C Daddazio C Coudray Llaume C Dao Daykin J. Daykin hristian C hristian N hong hurak Jim hurak ooper H ooper ourtney Don Paul Don ourtney atania M atania arter Patricia Judith and Stephen arbine adnum M adnum allahan Sheila wik Larry wik C 69361-4427 U 69361-4427 NE bluff 63028-1723 U 63028-1723 MO Festus 91773-4101 U C A 99203-2425 U WA 99203-2425 kane WA 98117-5013Seatle U IT W L Saint 200, ste. ave. 7912 Bonhomme 95062-2718 U CA C M R A eron P eron 50441-2634- CA ton W D 72703-2833 U 72703-2833 AR Fayetteville U 94590-8122 CA Vallejo C ave., 54212-0220 U 54212-0220 O Sparta N Sparta I G US P A 143, F A P ave., C ave., 06901-3100 U 06901-3100 CT Stamford 171 2650164 +44 tel Britain, 97228-5912 U 97228-5912 U 02906-1501 P side, st. 47 Barnes ping ping N F gogne San R San 95136-2711 CA dr., Jose U San 46221-2210 U 46221-2210 IN ndianapolis L 33637 80104-0429 U 80104-0429 CO ock K anama 60657-5644 U 60657-5644 IL hicago oon R oon 30308-1524 U 30308-1524 GA tlanta anville V anville 30201-7505 U 30201-7505 GA lpharetta rove st., st., rove medeo #144, IT #144, medeo range P range Y 10014-4129 U -40126 Bologna I Bologna -40126 K 30830-1515 U GA aynesboro onte Vis, San San Vis, onte 60517-7703 IL U oodridge W A OLLE atherine atie Y, L , 1237 G C Michael 94901 U CA afael ane, ane, orman ilda 94706-1005 U 94706-1005 CA lbany 95682-8218 U 95682-8218 CA ark C M andace 63105-3512 U 63105-3512 MO ouis 28203-5120 U 28203-5120 NC harlotte 90745-1338 CA U arson , 31 C eath A eath 55448-2078 U 55448-2078 MN apids F , 1313 ave.,7th Santa , P 60614-1014 IL hicago U atthew 75007 P R 75007 G , 390 G , 390 , ., 9L ichael P J 07871-3509 U J 07871-3509 , 7457 hris rank , 721 4th ave. se., H se., ave. , 721 4th U aria ark F ark ichae ary N ary , 3179 Sudbury rd., C rd., , 3179 Sudbury effery P 05828-9623 U T 05828-9623 anama . , R S , 2970 NL , 2970 O . L , 5072 H , 5072 29th st., Scotts st., , 817 W29th A O utland V utland , 2241 G A ondon ondon .Box 220, Fish C Fish 220, .Box , 414 E26 , 4568 Joseph Speciale Speciale Joseph , 4568 ornelia st., N st., ornelia , 1310 118th ave. nw., , 3137 SM poo 6-423 6-423 poo .Box 5912,.Box , 811 P , 6702 5th ave nw., ave , 6702 5th olf View dr., View olf , via G , via owder H owder , 935 WM , 935 , 1970 S S S yrna S , A L 32073-7851 U , Qintar I , Qintar , 12 Sandy Beach rd., rd., Beach , 12 Sandy , 127 G , , 19 rue de Bour de , 19 rue A A C A A , 555 P , 555 l, 616l, st., W4th , 449 W , 449 unston H unston ils C D P , 44 , 44 , 604 , 604 nzalone & Fischer, &Fischer, nzalone . -70122 I entral cir,entral imas imas S S , 30 A , 30 O , 1945 avenida aris France aris , via , via taly A A TORS , 21116 M .Box 429,.Box E arvey G arvey . P enn ave. ne., ne., ave. enn reen A reen T U G 1 9 W rovidence RI rovidence ake Shore dr., Shore ake 05701-2907 reyrock pl., pl., reyrock S raphic blvd., blvd., raphic E ouse, W ouse, A TH etroni #38, #38, etroni ierce st. apt. apt. st. ierce

S CA P A D S illson rd., rd., illson nternational, nternational, Kingston Kingston island dr., island S c R S A ain st., st., ain ldorado, Eldorado, P S rincipe rincipe A S iversey iversey L A A all cir,all S J taly S S A ortland ortland S ure st., st., ure ew York York ew A S A G A A cres rd., rd., cres A V rant rd., rd., rant A S T , 212 S reat reat S E ampa ampa A arbella arbella reek WI reek A C amp S A S ., Spo S S S S C ap A S astle astle S - A S A am A A A S S ruz ruz A A A A - A S

OR - - A - -

E E E F F G G H Harris Rosalee H G G F F F F H G Dolmatch Stephen Dougherty Rebecca Dougherty Alfred Dobrusin Dersh Jerome F F F F G G Gornspe Arturo G G H G G G Gerrman Dimitry H H H H H H arland Osborne MC Osborne arland rench John Pree John rench C rench lorence K leming H ikes H ikes okken ogel Daniel ogel Bart eringa dwards Bernard unjung Jo vans Austin vans ood Dale ood omez reenfield Louise reenfield utierrez utierez old Linda old E ilworth unther E unther aj Paul eorge David eorge oessler F oessler allo Thomas afner Dianna aarz William ild Oliver ild afftka M afftka eisler Victoria eisler azan ernandez HA ernandez elgesen Jack och Judge Rand Judge och oungblood 87110-5814 87110-5814 Bellmah ave. Bellmah Flushing N Flushing 91910-7525 CA U Vista C US 4092 4092 21501-1300 MD U land 30034-5233 U 30034-5233 U 55072-0888 MN stone U 5507-2532 MN polis P 90245-4135 U 90245-4135 CA Segundo US lyn N lyn 56172-1412 MN Slayton U G N ave., 44017-1956OH U R A #S-2008, #S-2008, U 44106-1508 OH land F delphia PA 19147-4203 U delphia L M 07731-1527 U H H 21209-4006 U 21209-4006 MD timore U 28655-4311 NC ton 77705 U 77705 TX Beaumont 588035, W US ter. #2310, 94122-3227 CA U Francisco Brooklyn N Brooklyn 95826-2136 U 95826-2136 CA Sacramento N U 70469-5158 LA O 0483 C 60613-1039 IL U cago 32118-5538 U 32118-5538 ave.#1904, Satellite Bea F Bea Satellite 0104-3016 MA ynn R ittsburgh PA 15217-1820 U ittsburgh 94801-2470 CA U ichmond 91910-7525 CA U Vista hula 21044-4902 U 21044-4902 MD olumbia rosse P rosse 35801-1961 AL U untsville AL untsville U 92801-6333 CA naheim ew York N York ew ew York N York ew 19540-9609 U PA 19540-9609 ohnton eatherford O eatherford -75003 P -75003 A A A I , 824 EG , 824 arold arold saak Y 11231-2904 U C K W , 42 hris olorado Spri Spri olorado G yle G slo N slo intersweet dr., intersweet eith G dgar ichael , 4349 NW , 4349 , 1635 E93 , 1635 reddie regory Buffalo dr. NBuffalo , 1830 veret , 3714 P regory 48236-3625 U 48236-3625 MI ointe regory L C 90th st apt 27 E 27 apt st E90th , 200 , 3625 , 6634 , 6634 , 2778 WL , 2778 , 219 Knollridge cir se., se., cir , 219 Knollridge se, cir , 219 Knollridge Y 11354-5821 U Y 11354-5821 as Vegas Vegas as , 101 Seminary st., Berea Berea st., , 101 Seminary H , P Y 11201-3814 U C herry herry aris France aris D , 8905 T , 8905 , 370 Jay st. rm. 407 ce, ce, 407 rm. st. Jay , 370 , 110 Stephens rd., rd., , 110 Stephens , 107 C Y 10013-2809 U Y 10013-2809 Y 10128-3528 U Y 10128-3528 , P U orway , N ilde , 17 St. rue , 2908 L , 2908 , 936 S 2nd st., P st., S2nd , 936 hicago hicago aytona Beach F Beach aytona rand ave. apt. 2, E 2, apt. ave. rand 35801-1961 U , P . NE S S , 7009 G , 7009 S , 1567 27th ave., San San , 1567ave., 27th O S , 207 , 332 W , 332 . , 32 T , 32 32937-3809 U L 32937-3809 O A A K 73096-4838 U K 73096-4838 A , 2916 T orlandsgatan #6, NO #6, orlandsgatan , A .Box 1300, C 1300, .Box , 563 Kiley rd., C rd., Kiley , 563 . , 2555 SA , 2555 ,1627 L , P , , 1360 O , .Box 1488, 1488, .Box , 563 Kiley rd., Kiley , 563 arsons blvd apt 7 apt blvd arsons , 403 A , 403 RR P E S D S , 100 H , 100 T A .Box 5158, Slidell 5158,.Box Slidell . ark ave., ark dwards dwards A ree cir.,ree , 718 NH A O arlington rd., arlington edar st., M st., edar olcott ave., C ave., olcott lbuquerque lbuquerque S RD 4 Box 1500 4 Box 1500 win Falls dr., Falls win CO W iffany pl., Brook pl., iffany , Jan’s H , Jan’s IL .Box 888, Sand 888, .Box N inden ave., ave., inden incoln ave., ave., incoln S S S

60610-2043 60610-2043 estern ave., ave., estern V 89128-2779 S A arden W arden M S A S incoln ave., ave., incoln 80903-2841 80903-2841 N A aney rd., Bal rd., aney S D A ruba ct., ct., ruba A T A G A ain st., st., ain Sandburg Sandburg udson st., st., udson S ecatur ecatur ., C S S illes, illes, S tlantic tlantic A A S A H A S A S S S S S M ancoch ancoch A S S S S rt, 5816 rt, A owell owell A S leve umber ands, ands, A S A A A L A A A A S A innea innea hila A organ S S A alk, alk, S S A NM l l A GA hula hula S hi - A A - A , , H N - - - , , - J - -

ContemporaryArt lexicon rt - -

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orth Fitzroy, uvr apt., esse Berlin, -75008 E usstellungs -14055 Berlin-14055 hicago R oints F ent Belgium armel ave apt 8 .Box 18561, .Box18561, A C stambul T , M ontemporary ouma blvd. A alaisV O enter, 52 52 enter, , , . A ier, 230 ier, , Zurich- aria L ew York ranada Spain C P , via , della Fiera , 1930 E P C P S nlage 1, nlage1, P A gnacioesq. , , taly leveland , , ollins ave., M I orreos #476, -1020 Brussels-1020 Bel ontemporary rgentina WORLD of ART ubano de bienes Germany A esseplatz P #1, C E Z 85041-4122 U Z 85041-4122 C olland eysel Belgium , 3725 S 3725 , ongrescentrum, H W , 3941 orum , 320 C reat Britain esse& H avy A -9000 G taly nternational nternational ancy esse Frankfurt, Frankfurt, Messe ilos adrid Spain adrid Spain stambul Biennale Istambul I -75003 France , M ermany - , 17th 17th , S E M esign ustralia -80070 I actory N 79917-7423 U aso TX 79917-7423 , 2221 H oma I , , eadows L dr., ontemporary Art F R EiffelBranly, quai Branly, abana Vieja, H .Box 1251, N .Box 1251, nternational G , , M fagraaptdo de ingottoFiere, via , , ai C ires A D nternacionalde nternacional de A I I rhard iromesnil,F I L O addese, L 146 TR l P ranga Ricardo ranga , , L U . xpo H E , 1775 C , 1775 ologne ologne arcus , , , Studio 5, via Belisario #8, S-18080 G alleSan urin I , R ondon M ent U etairie LA 70001-1307 U , apdo. C -40128 Bologne I , Joaquin M , Box 210760, DE, Box 210760, C L C , P akblvd., , Viamonte , #1485, M hoenix A H ondon G ue 2000 F arque Ferial Juan C , 53 M O space iera Bologna rt fairs iami A he A A A ologne hicago E airBasel rankfurt , Feria , , Feria I , P arina CA 93933-3263U essedamm #22, DE ilwaukee WI 53211-3662 U uralla, H nternational N T -00187 R ld msterdam msterdam uronst. suite 3 mb ermany alle Bogota 10-21. 70 C ult., IC 3068 A hiladelphia U 19129-0561 PA xpositions, B , , S-28067 M S-28015 M S-4680 Valencia Spain L 33462-4925 U udwig stiklal C , , 17423, E 17423, M P 216, M 216, M P dr., L E Fairs,, E F US suite Sewall’s 201, P G 50532 4021 Basel Switzerland US H US Frankfurt Frankfurt Beach F O Business st., L #958, E Buenos A #20, IT IT AC E #294, T Sévigne, F V M G 62 rue 62 France Cuba Beyoglu, C santa, Fondo C C M I E gium E A Switzerland centrum, B A u Yan-Zhou unst Rai unst, ABB F stampa uropean Art F oire d’Art Actuel nternational nternational nterarte Vosquez Vosquez Arco Vujasinovic Vujasinovic X Wroblewski N Yoshiyuki Sako Yoshiyuki Zona E Zillioux Zillioux Art C Art Brrussels Art Art Palm Beach Art Art F Art F Art C Art M Art I Arte & Sur Arte BA Arte F Arteroma Artissima Artistbook Australian C E E Fiac Fiart F Fiart K I I K Lineart G Special Iss - - Z A

A - A A S OH A WA n., - A S len adre S ran S S OR A rts, S A incin A P G A A A S A A S S S hite S S S A nc., oodville S emsen A ew York A A n, scon S , 6020 , roduc W S S S larksburg W alles n., C ochise A uburn ross dr., A ainesville o Schools, indsor, U ovington A A anville KY D A esign, NE S G S A almway, almway, useum, A olumbus A PA D A S P S st., N S C ew Bern NC he S elaware pl A T ilsonave.unit nion ave se, .Box 1000, rand ave., G 21313, .B 21313, OX ddisonst. apt RD ilbur rd.sw., S , , A ighgate rd., A O amelbackrd.#B W A A O A A .Box 114 .Box114 .

raven C 3 , 3416 Barlyn, 3416 L S Z 85251-2128 U Z 85251-2128 rchield L .

S W W S .Box 106, R S C ee ave., C S O

taly rtand happell .Box3325,So . W rand ave., E , P , via Seminario #35, O W ame Juliana I , 131 Bal, 131 C , 27935 W A , P A A , 830 , S E A A A , Venezia Fine A , C . A P A e 1st st., 1st e C O 1 Box 1957, 1957, Box 1 , 4 H spen D dr., ity CA 94587 U . S S S L 32720-4928 U S verhart M S S , 8241 256th st.,256th 8241 , üllerstr.#13 quinnah MA 02535 arkspur MT Studio, , , S .Box 1093, C onstruction P .Box2073, L 33460-5034 U N P , 3416 Barlyn, 3416 L i MI 48302-11402 U i MI 48302-1402U , D ustria , P , 1585 State 1585 , rt. apt23 U , 1851 U , 1851 , 211 E D , 211 O J 07405-1306 U J 07405-1306 O RR , 303 S 11th st., 303 #500, S 11th , , M , 2208 G , E , L . . Y 11230-7720, , 210 E , C , , , 2281 2281 , , , ecco I P , 335 L , 4 4 , ary ary Lou ranco , 34 Zinnia C dr., hristy , 4284 O , P , , , 2223 , , 112 Bleecher st., Jersey 112 , 60611-1745 U hicago IL 60611-1745 , 2838 , , 7625 7625 , Y 10605-0114 U F U eer 17887-1000 PA nion C orth F Y 11004-1417 U Y 11004-1417 , 140 A , 140 d , Smith , ighway30 M ighland ave., N shst., Scranton her randview ave., arol J 07307-3406 U H A artin arbour F hicago U IL 60618-4619 C G ity IL 62040-4742 U erardo en Elaine hicago IL 60625-2107 U eter Zaron G A , C elly, 405 W G hite D oshup trl, A inerva MN 44657-8914 U ission Viejo CA 92692-3056 U -23900 L Y 13438-0106 U aks N Y 10009-7437 U lbuquerque NM 87105-3698 U olumbus OH 43221-0313 U ity N hiladelphia 19107-6033 PA U lains N L 32601-5341 U R ake W s TX 78597-3325 U nnsbruck A 40422-2201 U M US ite C P 1 O C #1608, C P Bal H N W WN 26301-3741 TXU 75979-9713 98071-2073 98071-2073 L I I M 18510-1367 U 18510-1367 nati OH 45236-3127 U Butler14, N tions, U A 1319 LA 70433-9112 U dido CA 92025-2607 U 1207 H 1207 Bloomfield H 28562-5831 N 5778 5778 IT F C Brooklyn N 94707-1141 U Kensington CA 94707-1141 M 85606-1093 U Bloomfield H 97058-9528 U 18310 rd, #16, rd,#16, 18310 69129-6813 U 43212-3457 U 1261 1261 B, C 113, Scottsdale113, A A Vinton Susan Varvel Robert Weinrebe Lee West K Whitcombe Alex Vincenzo Paolo Wittekind Don Wittekind Vinion Ron Tususian RichardTususian US Anal Wahgeese Van M Weisman C Turner Aaaron Turner Trusler Trusler Tschudin Sandra TuckerLloyd Trubac Will Trubac Trillo Trillo Tirala Lothar Tiney Tammie Terry M Taube John Tawfik Joseph Tereba C Jason Thorne Tatman T Sneeder Rhonda Sneeder Stefanoni Syl K Smithers M Staver Janice Stritzel K E Stubina Rod Shelley Danielle Shelley Shenfield Robert Shenfield Smithers M Smith Brad Smith T E Steele Vollmar E Wojcik Lisa - - - - A es ar ew S - A

A A A A A S S

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C O S , P ain Station M dr., S . , 4606 COLONEL N A A A alle P A , 106 G , 38 , .Box 1866, M S S lenn , , S pper H C itter I , 517 517 , , rr P 10 , 4700 G , 2009 P oral , 299 P , 1901 A , 1901 allas dr., allasdr., Gina esign O ox Betsy akota , 1376 Broadway,, 1376 San . Y 10022-2467 U , apt 4 ison France C , 5600 M , 1339 D , 5231 S J st., J S 5231 , D , 2910 N C , 1622 W 13th, 1622 st., Brook , R , 18 rue, 18 de M , 17351 47th ave., Flush, 17351 D Y 18014-1829 U Y 18014-1829

, 2807 S M ew York York ew hicago Z 85014-2326 U , 409 N M 95829-6025, U , P K 73501 U , , , 1287 , , 930 W ancy Jacobsohn C N 1120, 999TEP 1120, va ina P , 418 Valejo st.,, 418 San Fran tlanta U GA 30316-1912 , 3535 M hitneyst. apt. 101, arren MI U 48091-1732 hris , 1259 1259 , ew York N Y 10038-1847 U enry ike , 7727 Fisher dr., Falls Falls Fisher 7727 , dr., urt Robert rleans MA 02653-4500 U atthew harleston W orwalk CT 06855-2825 U W Y 11358-3804 U Y 11223-1019 U Y 11223-1019 H ampton Michael ail hristopher ppolito I .Box280, Sparta C A A A -81000 D oines IA 50312-2099U O Y 10454-4434 U ewcastle ave., aks CA 91360-5931 U ew York N yldenprisun Bergen N 27, eneva IL yattsville MD 20782-2736 U roup, S hicago IL 60616-3229 U hoenix A oplar Bluff MO 63901-9231 U A 22043-1233 U R homson GA 30824-1931 U awton O n., O eonblvd., ebanon 17046-4935 PA U . eal eal P N 94133-4113 U cisco CA 94133-4113 G ave., N 94109-2612 U Francisco CA 94109-2612 #150, A #150, rd., N G ing N Flushing N G L L T lyn N C se., C US fenwick pl., U P 20772-5943 U ietta GA 30060-6052 U York N Souheastern U 19399-1293 PA O US Ste300, US 33134-3047 U MN 55082-0010 U ave., W Barbara CA 93101-4906 U N U 92007-1824 ave #10, ave#10, newick 99336-8102WA U M N V H L KS 66505-022 U 1424 HI 96822-4867 U F P 98408-3642WA U L N yers Beatrice ovak K orthup Rita euman K eagle David Shay Laurence Sapp Quinn Scott Deidre Bruckner 59 blvd., Bronx Seba Tony Seba Shaw M Sandi Sandi Sandig Schmera Jeanne- Sammartino C Puzzuoli G Ryand K Sabet B K Safadi-Psyllos Safadi-Psyllos Salamon E Perea Robel, Perea Quin James Rabun Sara Jane RainsfordVirginia Pride La Von Ryan Russ and N Persitz ZacharyPersitz Petraschuk Roman Pine G Porcaro Joan 543 Ramirez, Parker Sabrina Parker Palmer Smith G Parett M Pagano C Orr Leonard O’ Oberlander Sam Oberlander Orlov Darlene N N Olfus H N uller Pierre Muller M N - - -

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S hillips ave., Berke mandsberglaan mandsberglaan hillipsBerkley ave., 23727 23727 S S 14067, N 14067, .Box 112 P ewman ave ste n, S P , 22221 , Bowmont P O ostende, Belgium A , , O A W rins A . A lume . , 37 E iego .Box 10602, C , , , 2 Shepard pl., M 33713-822 U ruz , 37 E S Y 11357-3706 U Y 11357-3706 S , 15461 22nd ave.,, 15461 , 84 R P ills CA 90210 U , 814 17th st. 17th , 814 apt D , 1202 ½ NW L onte L , 2240 S Kachina dr., D O , P C , P , 971 40th, 971 st., Brooklyn , P . , 11126 H , 11126 , 20540 , Y 10021-1911 U Y 10021-1911 , 2813 W 17 , 2813 , 4309 Bragg pl, P , 239 E 79th st, N a a irview P dr., , 7314 E , 7314 , 1316 L , 1316 M L , 176 E 77th st. , 176 apt 9F, ollywo , 1545 W , P , 461Kennedy ave., G J 07960-6978 U , 1016 C , 1016 , 6839 L ark , 3653 P , 3653 , Z 85282-2809 U , 6280 NW 42nd Boca way, H , 2 Johnny M 6715 102nd st., 6715 Forest H ichele L 33496-4035 U ddie -8400 O arol , 425 E 52nd st., N , 4220 , Burlington Saint ave., ermantown MD 20874-2832 Y 10016-0001 U Y 11211-5106 U Y 11211-5106 ric E E ancy L 34234-8322 U ureka IL 62040-4742 U M Micheline, eorge ichael eorge 724 A lena Michael mery,301 hristopher, orth E onnel Rob ew York 10001-1198 usa ew York 10001-1198 A A A A A -2950 Kapellen Belgium C N hitestone N onnell Rob onnell Y 11375-2453 U Y 11375-2453 ew York N Y 11219-1036 U Y 11219-1036 Y 10022-6444 U ecatur GA 30031-2465, rystal MN 56055-0092U E umford RI U 02916-1939 aton F etersburg F empe A C way, G way, US R 94941-2787 U Valley CA 94941-2787 7, 7, N US 67601-3843 U Skokie IL 60077-3422 U #34, B Venice CA 90291-4021 U J, N N US aptSanta 5, York N 94941-2787 U Valley CA 94941-2787 W 53156-9204 U #913, Savanah GA ley MI 48072-3424 U Jackson TN 38305-4109 N D Sunnyvale CA 94087-5024U MI 48072-3424 U B N York N 124684,San US US Box1044, dr., Beverlydr., H Sacramento CA 95814-2024 U R P Junction U CO 81501-7556 ristown N C sota F Joliet IL 60434-0112 U T IL 60610-0602 U bad CA 92009-7820 U TX 75024-5441 U ave, E oss M azure azure oore Arthur, 9 N enasche aster E artz G uller uller eis E arks Betty arkey arkey alloy William alloy accaro James cQueen Lisa ac C oward K utter N ouseholter ralik G atznelson David aplan Jed ar Peter ane Daniel anders Jeanne anders agermeyer Jordan agermeyer uhl uhl eystone Taitran eystone err Pamela err osach Sharon ooney Tanaka Robinson Tanaka ooney M M M M M M M Sam McBride Mc M M M M M M M Lobacz. Lien Jason Lien Liang Suzanne Lieder Rick Levy Stephanie Levy Le Jeune M K K K Leaf Wray Rich Leider K K K K K K K K Jimenez Jimenez K Jones Jones Jacobson Jerry Jacobson H ughes Abe Hughes H H ContemporaryArt lexicon artists index artists 98 A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A - AAI L A de A A A A A A A NIC N San F San Saga Riparte Tresors Zagreb Art F Art Zagreb M M The Armony Show Armony The F Art Stockholm S I cha Jorge L Jorge cha ceves N ceves R cerboni O ccorsi cciari Sabrina, I Sabrina, cciari ccardi C ccardi cquarone costa G costa chterholt chando Susana, brams Joyce, U Joyce, brams M bramovic G bramischvili breu D breu braham L braham bramsen P bramsen bish C bish berhart L berhart beyta R beyta E bershaus bilio, P bilio, bdell D bdell M bdel berastury berastury H bend Bangladesh Sobahan, bdul bbot P bbot N bbe bbott Jon, U Jon, bbott bbozzo E bbozzo bbadessa M bbadessa arts Ko, H arts T alto av, France ballí I ballí baroa E baroa bat T bat bate A bate alto Setälä alto Setälä alto Finland Setälä, H Steven, alders balakova N balakova M bakanowicz Spain Victor, bad bad Sol M Sol bad apoli Arte C Arte apoli S Salone iart oscow I oscow

grotta I grotta T p-le ton ave., N ave., ton A R RU komm.406, A E P IT 105-0011, M 1Fl., 4-4-13 Shibakoen, C av. D jam, Singapore Fair for antiques R 69th C M IT #6, Brera the First G First the Sweden M M tura, Viale G Viale tura, A aris France aris ussia xopsition roatia hicago IL hicago utonomo ssociates I ssociates -00153 R -00153 A arksa d. 7 hotel d. 7 hotel arksa ässan, M ässan, C di arina , F rancisco I rancisco , Quartiere Fiera, M Fiera, , Quartiere ans (de Vichy), France Vichy), (de ans WORLD of ART of WORLD remps Jordi, Spain Jordi, remps ssociation of A of ssociation E , gnasi, Spain gnasi, imo, Finland imo, T ozal, Spain ozal, ecile, U ecile, space space , via O , via osy, I lberto, I lberto, ortugal okyo okyo ionísio Souto, P Souto, ionísio , T ohsen A ohsen ouglas, Spain ouglas, ecchio 52, IT 52, ecchio arry, Venezuela arry, utiérrez L utiérrez duardo, M duardo, ay, U avarro G avarro egiment A egiment scar, I scar, arla, I arla, taly nternational Art F Art nternational he I he dgardo, I dgardo, aurence, N aurence, ucki, I ucki, oberta, I oberta, U olland arcela, A arcela, I E G nternationale della Scul er, H atalja, R atalja, ugen, I ugen, uis, A uis, M do, lena Victoria, T ubrovnik#2, 10000 Zagreb Zagreb 10000 ubrovnik#2, taly abriela, arina, H arina, 60610, U S air ramercy I ramercy oma I oma T aria, I aria, okyo Japan okyo ew York N York ew S almvägen #2, Stockholm Stockholm #2, almvägen rti di T di rti nternational Fine art and and art Fine nternational iffel Branly, quai Branly, Branly, quai Branly, Eiffel M -20121 M arrara I arrara ika, Finland , T ontemporanea ower Bowling Bowling ower A S A taly nc., 230 west H west 230 nc., alileo #133, IT alileo taly ia, R ia, taly agdalena, P agdalena, , Zagrebacki Velesa , Zagrebacki A ostra d’ G nternational Art Art nternational S bdel W bdel taly srael olland homas Blackman Blackman homas air olland -103012 M A ilbert, M ilbert, ermany P rgentina uis, M uis, taly taly ortugal srael exico taly taly , AP ussia rmory, 68 L 68 rmory, A rgentina , Sollentuna , Sollentuna rastevere #1, rastevere ussia Special Iss Special -80125 Fuori -80125 M olland rtists in I in rtists A sia, Bradbury Bradbury sia, ew Zealand ew taly S rgentina oskva oskva nternational, nternational, A ahab, E ahab, ortugal ilano I ilano O Y U roject of of roject exico ilano, via via ilano, ltremare, exico A S oland rgentina inato-ku, inato-ku, oscow oscow A C - 54036 - 54036 taly air reland enter enter , uron , , uron gipt exing E , prt. , prt. nte nte - ue 2000 ue - - - A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A eppli E eppli M eberli R eberhard dzak R dzak drover Sara L Sara drover fricano N fricano L drover A driani XR drian fuhs E fuhs drian P drian drian U Jonathan, dolphe France do, dilon G dilon I Yael, dereth O delantado dela, Spain ddas A ddas cquaticci Sandro, I Sandro, cquaticci lbanese G lbanese L dams C Kim, dams D dams dams M dams dami Valerio, I Valerio, dami dami Valerio, lberghini lberghini R lbelda G lbano M lbanese A lbacete U Shepard, Janet and lan C labau A jò iznberg Valerij, G Firth, Sharon ivaliotis itor, I itor, Venezuela D itken irò M irò G illaud laa E laa Switzerland l Fadhil, G dami lbert Jean M Jean lbert M Jean lberola France Stefano, lberici lari C lari U Steele, lan R lan ila M iha R idan, M ida i X dami C dami R dam dalsteinsdottr Sólveig, I Sólveig, dalsteinsdottr L dabi dam Fabiola, P Fabiola, dam kiko, U kiko, kyildiz M kyildiz E kyavas A kopy kermann Janusz, G kasegawa kkerman P kkerman H Ben, kkerman Japan Satoshi, kita hn Sung-keum, South Korea South Sung-keum, hn P hn N hmad gut P gut gústsson H gústsson guirre P guirre A Juan guirre Spain Sergi, guilar guilar José R José guilar guilar C guilar guiar M guiar M guiar G guerre guero C guero R Semeon, groskin M gros, D granov E geli-Florou Yaacov, France gam ga- uan, C uan, A R nna, I nna, ntila, Finland il-yeun, South Korea South il-yeun, ossi L ossi ddin A ddin abinowitz, U abinowitz, taly ario, I ario, arlo, I arlo, ep, Spain ep, artti, Finland artti, akoto, Japan akoto, M oreen, C oreen, va, A va, ex, U ex, oy, France va, France va, S ussia rthur, France rthur, hmad, Barhain hmad, eorges, France eorges, ic, Spain ic, laudio, I laudio, iorgio G iorgio oug, U oug, isa, U isa, illes, France illes, ristina, Spain ristina, exico ennis, U ennis, arina, South A South arina, P José, aria artin, iacomo, I iacomo, astañeda L astañeda lessandro, I lessandro, ilar, I akhjavani, I akhjavani, ecilia, A ecilia, A aga, Spain aga, ac, U ac, atthias, Switzerland atthias, aura Valeria, A Valeria, aura rol, T rol, ustavo, Sweden ustavo, hina evlut, T evlut, obert, A obert, vora, I vora, icolas, U icolas, P taly lfonso, Spain lfonso, iovanni, I iovanni, aura, I aura, arisa, I arisa, acini hilip, H hilip, taly taly ustria ené, Switzerland ené, hmad, I hmad, ordur, I ordur, S enpei, Japan enpei, lga, Spain lga, ax, France ax, oberto, Brazil oberto, S taly lpida, G lpida, anada A S S ntonio, Spain ntonio, opez, A opez, srael S G urkey M A A taly A olombia ichel, France ichel, A araguay aetano, I aetano, taly ermany srael R onaco S rgentina olland M urkey taly ussia taly A taly ustria P S olland S arina, celand taly taly A uis, M uis, oland ussia ortugal A taly ran S taly reece A rgentina frica rgentina reat Britain reat taly I celand taly exico S A A A A A A A A A A A A A A A A A A A A Àlvarez N Àlvarez A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A C A A A A iudad de Florencio Varela, A Varela, Florencio de iudad mato M mato Spain Frederic, mat Brazil Zulmira, maral A maral Spain mando, madori lzamora A lzamora L Vidas, lvikas madori C madori I mado llen Florence, U Florence, llen N llegri U John, lexander U Belozersky, lex I Sabrina, lessandroni lvarez Flaco D Flaco lvarez E lvarez C lvarez E ltes T Ösdemir, ltan France lquin, U Bill, lpert L lonso-Fernandez Spain Fernán, lonso Spain Bonifacio, lonso A lonso G loi C loe M locco R lmeida M lmeida D llsop C Jocelyne, lloucherie M llon A llegri D llard A llaire G llain A ll T Bilge, lkor lviani L lviani G lviani P Justino, lves I lvaro, llen R llen D lithinos R lima A lghadrar I Stefano, lfieri A lfaro A lfano T lexiou H lexia A lexey N lexeev A lexeev (V Vladimir lexandrov A lexandrov lexandroni C Shelagh, lexander lemanno lmeida D lmeida E lleyn C Sheena llen R llen O lkara madio A madio mado M madio leksiun Jan, P Jan, leksiun R leksandar G lejnikov madei R madei M leem lecos Fassianos, France P lechinsky C Josip, lebic A ldrovandi I Zvi, ldoubi A lcain G lbrecht I Fabrizio, lborno P Jean lbinet lbertossymcha lbertossymcha M lbertini lbertin Jean- lbertin R Jurij, lbert rtists, Japan rtists, iuseppe A iuseppe arlo, Switzerland arlo, rnest, Spain rnest, oberta, U oberta, ichard, G ichard, ita, I ita, ax, I ax, erald, France erald, C ominique, France ominique, dmund, C dmund, ndreu, Spain ndreu, taly adjistephanou, C adjistephanou, ouglas, G ouglas, lfredo, Spain lfredo, nês, G nês, ino, I ino, nne D nne lberto, I lberto, vadia, I vadia, ottari L ottari ngel, U ngel, ntonov, U ntonov, etulio, I etulio, H aria, E aria, lvaro, Spain lvaro, akis, G akis, G aria A aria arlos, dgar, C ntonio H ntonio arcel, France arcel, accamo Berta, Spain Berta, accamo oberto, I oberto, azaré, P azaré, ndrea, I ndrea, lexandre, R lexandre, ikita, R ikita, osa, P osa, arina, I arina, avid de, P de, avid elena, arlo, I arlo, abriele, retchen, N retchen, anuela, P anuela, P imitris, G imitris, arco, I arco, leb, R leb, lfonso, Spain lfonso, srael srael . Jabbar, Bahrein . Jabbar, atrizia, S D ierre, France ierre, urkey lessandro, I lessandro, srael taly asulic, N asulic, ussia lek, Bulgaria lek, A C aul, France aul, afna, eborah, G eborah, roatia reat Britain reat oland gata, I gata, lare, G lare, gipt P laude, Switzerland laude, ithuania S omingo, Venezuela omingo, ortugal srael uigi, I uigi, reece taly reat Britain reat loiym, I loiym, taly taly ortugal taly olombia S urkey ortugal ussia A ussia P D taly S taly taly reat Britain reat A ortugal anada enrique, Brazil enrique, taly S taly A ortugal S S aniel I taly A I A I A reece ortugal ortugal taly uis, Spain uis, srael taly ew Zealand ew taly ussia anada reat Britain reat orway taly taly A anada reat Britain reat taly V yprus A ), R ), rgentina ussia A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A A ntezzo M ntezzo ntanasijevic L ntanasijevic W nt M nsoldi G nselmo M nnamari G Bassen, Von nna nschutz Justin, South A South Justin, nschutz nn-Kristin Fleischhauer,nn-Kristin nnilie H nnilie G Kunow, nnette I Stahl, nne nn M nn X nleo R nisa nke de Vries, G Vries, de nke niwar, C niwar, L nita H nita H Kristina, nisics R nguiano M nguelakis U Snyder, ngie ngermann ngelucci Zeffi, I Zeffi, ngelucci D ngelica ngela Beurath, G Beurath, ngela ndronico Filippo, I Filippo, ndronico ndrikò M ndrikò ndriessen C ndriessen ndriesse Jan, H Jan, ndriesse E ndrianou ndreas T ndreas C ndre France Yannis, ndonyadis ndrew H ndrew M ndreu G ndrésson D ndreev nderson ndlovic M ndlovic H ndino R ndi M ndersson Sweden Barbro, ndersson nderson Stanley, Japan nderson L nderson Sweden Kjell, nderson ndersen nderson R nderson ndersen M ndersen H ndersen nderle Jiri, C Jiri, nderle D ndelkovic R ndeev E ndaluz P nchise, M ncarani natole, Belgium Bulgaria Sasho, nastassov nastasova nastasiades W nastasi G Sara, nahory W my G Fechner, mrei E mpudia mpe M mpe moroso N moroso R morós mor Vera (V Vera mor modeo A modeo I Judith, moday I mnon G misano M mirsoleimani R mft A metista A mer D mburn P mbrosio mill C mill mbrosino Ferdinando, I Ferdinando, mbrosino A mbrosini M mbro G mbassador mbadas, N mbadas, mato N mato mato M mato lery / Bob C /Bob lery uorinen A uorinen usu, U usu, arie Bordner, U Bordner, arie obert, U obert, ermet, G ermet, eber, U eber, arles, Spain arles, ühn, G ühn, omero, U omero, liamer H liamer oan, Spain oan, arl, U arl, sraeli, I sraeli, .B. uccia, I uccia, illmer, G illmer, éctor R éctor ariolina, I ariolina, orosi, I orosi, oberto, Bulgaria oberto, hina osa, Spain osa, argarita, Spain argarita, duardo, Spain duardo, epworth, G epworth, ony &I ony arina, I arina, ale, U ale, arie-Josée, France arie-Josée, M C ana, H ana, icchi, I icchi, ntonio, I ntonio, omenico, Switzerland omenico, atthew, U atthew, ugenio, Spain ugenio, iovanni, I iovanni, uidetti Bibiana, I Bibiana, uidetti A arko, Slovenia arko, rnaldi R rnaldi illiam, U illiam, icolás, M icolás, aul, M aul, aurie, U aurie, arco, I arco, aolo, I aolo, andall, C andall, raig, raig, enrik B, D B, enrik fi, C fi, ikkola, U ikkola, arita, N arita, ogens, orway P M ldo, I ldo, reland . S unnar, I unnar, ejan, Serbia ejan, AMA D S aya, France aya, ees, H ees, ichael, G ichael, eter, zech R zech ermany A A S arianzela, Bulgaria A hapman, U hapman, ominique, H ominique, raphics &W raphics S idija, G idija, A srael ristides, ermany S S nna-Kaisa, Finland nna-Kaisa, taly alla, E alla, taly yprus reat Britain reat A ubén, A ubén, ermany taly olland srael S U taly sik A sik olland taly A inou, I inou, A ermany taly ermany exico taly taly A olland ermany ), G ), ermany S taly G taly osa, I osa, S S taly A D orway olland taly ermany ermany exico anada celand A epublic S A S enmark reat Britain reat enmark S ermany ndreas, H ndreas, A reat Britain reat gipt, U gipt, A reece A taly taly rgentina C taly frica S yprus G olland ildlife G ildlife A taly ermany S A olland al - g r e e n a W AY ART GALLERY A d e l e Ro w l a n d ADELAIDE AUSTRALIA p h o t o g ra p h ar t i s t Changing exhibitions of Australian contemporary art

Artists represented include: Juan Davila Rosalie Gascoigne Aldo Iacobelli Annette Bezor Peter Atkins Paul Hoban Suzanne Treister

Member of the Australian Commercial Galleries Association. TOO FAST, TOO FAST, THESE CHARMED DAYS Art Fairs: Australian Art Fair ARCO Madrid 1995 ©PHOTO 34 x 50 cm / 31 X 20 in

39 Rundle Street, Kent Town SA 5067 ADELAIDE AUSTRALIA Dominican College tel +61 8 8362 6354 fax +61 8 8362 0890 e-mail: [email protected] 50 Acacia Ave, San Rafael, CA 94901-2236 USA website http://www.adelaide. net.au/~gagl tel +1 415 457 8373 fax +1 415 453 8367

RITA SAPIRA Piata Amzei, Nr. 10-22, ApT 4, Bucuresti Romania h awa oil on wood 51 X 41 wood on CM oil #2, ii . / 20 X 16. / 20 IN

Lorna Robertson P.O.Box 32 Kinsale, Co. Cork Ireland APPLAUSE, 1996 BRONZE 16 X 7 X 9 CM. / 6¼ X 2¾ X 3½ IN. tel +353 21 778 355 fax +353 21 778 365

Special Issue 2000 WORLD of ART 99 index of Advertisers

First Cover ANDREA ZANATTA WORLD of Art Artist 1 FRANCO VERDI Topic 4-5 The nature of beautiful and Best in the the nature of art by ANDREA PAGNES Artist portfolio 6-10 FRANCO VERDI Artist 11 AHMED NAWAR Artist JULIE OLIVARI Artist portfolio 12-14 BÉLA CZITROM WORLD of Art Art with attitude 15 KEIGO YAMAMOTO Artist portfolio 16-18 EDUARDO PLA Artist portfolio 19-22 LIGIA PODOREAN EKSTRÖM The Lights of the North by MIRCEA DEAC Venice 23 AI SCALZI Artist portfolio 24-26 Petru Russu Artist portfolio 27-29 EDITH SUCHODREW Artist portfolio 30-31 ANNE DE SUÈDE Artist portfolio 32-35 HENRYK SZYDLOWSKI Artist portfolio 36-37 PATRIZIA JEMMA COBUCCI Artist portfolio 38-39 RAUL MORA Artist portfolio 40-41 ELIZABETH ANNE MAXWELL HILL Artist portfolio 42-43 CHANG SANG-EUI Emerging Artists 44-45 CYNTHIA LUND-TORROLL Artist portfolio 46-47 MARTE SZIRMAY Venice 48 LA CANTINA Artist portfolio 49 PALMI MARZAROLI Artist portfolio 50-51 VASILE POP-NEGRESTEANU XXI Century 51-53 Longing for the other Worlds - Melancholy Versus Anguish by ILEANA BENGA Emerging Artists 54-55 ANDREA ZANATTA Artist portfolio 56-57 Noela Hjorth enter your Artist portfolio 58-60 JOSE SACAL Artist 61 VASILE CORLÃTAN Living the Art 62-63 ANDREA PAGNES Curriculum vitae Artist 64 KRISTIAN JON GUDNASON Artist KIM SOOK CHA Artist BIRGITTA LUNDBERG Artist portfolio 65 SUBASTAS ODALYS Venice NOTTI D’ORIENTE Exhibition Review 66-67 Cows Parading in Chicago by ADRIAN-SILVAN IONESCU Gallery portfolio Emerging Artists 68-69 JUNKO MATSUMOTO Artist portfolio 70-71 Marta dimitrescu Artist portfolio 72-73 BARBARA STRATHDEE Solo or Group Gallery portfolio 74 Art addiction Internet Museum 75 the 6th int’l female artists’s art exhibition Most talented Artists 76-77 KEY ERIKSON Exhibition Venice 78-79 COLOMBINA Emerging Artists 80 ERGA HELLER Artist 81 ferus Artist dvora agranov Classified Gallery portfolio 82-84 The 2nd Autumn Annual in Venice Art of today 85 contemporary art lexicon Special Promotion 89 19 contemporary IRANIAN Artists Advertisement Artist 92 Emilia cattan Gallery 99 GREENAWAY ART GALLERY Artist LORNA ROBERTSON or just enter Artist ADELE ROWLAND Artist RITA SAPIRA Digital Art 103 KATO KEI your DREI /André russu Art with Attitude 104 ken robinson Subscription. Inside Covers Petru russu

1 year, 4 issues, US$ 24 WORLD TRADE CENTER First Street Bolognia, Italy Openings Tel. 432-0900 Michelle Liebler ILARIO ROSSI New York World Views New Century Artists SPAZIO POLIVALENTE MONK-GALLERY Jeroen Nelemans Florence, Italy Tel. 718-782-5188 Phoenix Gallery La Casina Della Mail-Art The Architectural League of Sandra Meisel’s Moore Chirinos S.GIOVANNI B. New York ANDRE ZARRE GALLERY Ward-Nasse Gallery Pistoia, Italy Ten Shades of Green Dee Shapiro Spring Art Feast Aprilart Locus Media AMOS ENO GALLERY Heller Gallery SMAK MUSEUM OF Susan Mastrangejo Sharon Watts Sean Mercer CONTEMPORARY ART GHENT The Galerie St. Etienne AMERICAN PRIMITIVE GALLERY Andrew Kreps Ghent, Belgium From Facade to Psych Robert Sholties Robert Melee Over the Edges Nexus Gallery D’AMELIO TERRAS Barbara Ann Levy Gallery LA Salara Juxtapositions & Photography 2000 Karin Sander Bonnie Lucas Bolognia, Italy School of Visual Arts RAREART PROPERTIES, INC. Stefan Stux Gallery Il Regno-EXIT Spring 2000 Exhibition, Re-evolution New Drawings Margi Geerlinks GRAFIO Claudia Carr Gallery THE SPACE AND MEDIA TRIANGLE Gallery 49 Prato, Italy Jenny Okun In Name Only In Transit Forme del Narrare Sherry French DEITCH Uma Gallery NUTI PUGLIANO Sheila Gardner Ingrid Calame Anna Fabris Firenze, Italy Cynthia Broan Gallery RONALD FELDMAN FINE ARTS The Robert Linea d’ombra Clarina Bezzola, ”Skin” Carl Fudge Miller Gallery CASTLE MUSEUM Dillon Gallery STEPHEN GANG GALLERY Pat Hearn Nottingham UK Makoto Fujimura Sukran Aziz Renee Green DIARY OF A VICTORIAN DANDY Margrett LOMBARDFREID FINE ARTS Stephen Gang Gallery Yinka Shonibare Ion Birch Michael Stevenson Margot Lovejoy & Miles Dudgeon LA GALLERIA CIVICA Neuhoff Gallery MONIQUE GOLDSTROM GALLERY Tribes D’ARTE MODERNA E CONTEMPORANEA Gestural Works on Paper Black and White Jeri Coppola Torino, Italy Brenda Taylor SOHO20 Gallery Onetwentyeight HANS HARTUNG Younhee Paik Fish Out of Water Group Show ADDISON GALLERY Jay Grimm MONK GALLERY Graphic Eye Gallery Andover, MA USA Jess von der Ahe Sandra Meisel Kingsley/Pierce Robert Mangold Weight As Real CENTER GALLERY Momenta Art GALERÍA EDURNE Recent Painting and Installation Installation Exhibition James Dawson-Hollis, James Mills Madrid, Spain Washburn ARTISTS SPACE Manuel Moldes Leon Polk Smith Deterritorialization of Process WALKER ART CENTER First Street BRUCE R. LEWIN GALLERY Openings Minneapolis USA Hank Feeley Jeniffer Lewis-Takahashi The Photographs of Man Ray Painting Center TALLI ROSNER-KOZUCH WORLD Royal Academy Mark O’Grady MICHAEL HAFT London, UK Sherry French Gallery WILLOUGHBY SHARP GALLERY 1900: Art at the PITTI IMMAGINE Sheila Gardner John Torreano Crossroad Main Galleries Florence, Italy La MaMa. La Galleria GEN ART SILVIA CINI Susan Cianciolo Spring 2000 Group Show Tel. 290-0312 Bologna, Italy TRIENNALE Pacifico Fine Art International Design Competition Microclimi Microcosmi Milano, Italy Obsessing Presented by NOKIA BONOMO FAITA Stefano Boeri e Fabrizio Gallanti Grant Gallery VISUAL ARTS GALLERY Trieste, Italy THE BARRY JOULE ARCHIVE Koulakov, J. MacDonald, I Shevel Tel. 598 0221 Collettiva Dublin, Ireland Hunter College MFA fine arts special Projects LIA RUMMA Francis Bacon Leubsdorf Gallery AIGA NATIONAL DESIGN CENTER Milano, Italy MONIKA SZEMBERG Travel Sketches Reputedly Illiterate Shirin Neshat Torino, Italy Artists’s Space Galería Edurne PORTA S. AGOSTINO Philip Kwame APAGYA Deterritorialization of Process Manuel Moldes Bergamo, Italy UNISA ART GALLERY Bruce R. Lewin Galery LANCE FUNG GALLERY Convegni Pretoria, South Africa Jennifer Lewise-Tkahashi Lars Chellberg SALLE O. MESSIAEN Thabang Noto Matseke Adam Baumgold Fine Art WILLIAMSBURG ART Paris, France GLENN MARCUS Jessica Gandolf Russian Art ”64” Vancouver, Canada Bill Maynes Gallery SOHO PHOTO GALLERIA NEON Aim For Arts Sonja Brass Vortex of Light Bologna. Italy BOLOGNA FIERE NYU, Einstein Auditorium 55 MERCER STREET GALLERY Massimo Uberti Bolognia, Italy Fred Tomaselli William Giersbach WHITE CHAPEL GALLERY Futurshow NEW MUSEUM ANSONIA WINDOW London, UK CICV Picturing the Modern Amazon Tel. 222 6593 Live in Your Head Belfort, France The Society for Arts Chicago KEITH LONG GALLERIA BLU Interferences Rebecca Alston Wall Sculpture Como, Italy PALAZZINA LIBERTY P.P.O.W. GALERIA RAMIS BARQUET Max Ernst Milano, Italy Kate Belton Craigie Aitchison MONICA DE CARDENAS Kind of Blue Friedrich Petzel Gallery TATISTCHEFF Milan, Italy GIORGIA BRIANZOLI Charline Von Heyl, Dana Hoey Joan Brady Martino Coppes Milano, Italy Greene Naftali Gallery UNIVERSITY CENTER GALLERY GALLERIA ALESSANDRA BONOMO Kind of Blue The Jonathan Horowitz Show Geoffrey Grogan Roma, Italy GALLERIA SALVATORE e CAROLINE ALA George Billis Gallery JOHN JAY GALLERY Martino Coppes Milano, Italy Nick Terry Richard K. Miller SERPENTINE GALLERY Filippo la Vaccara Folin / Riva The Metropolitan Museum of Art London, UK Luigi Franco Wojciech Lazarczyk Painters in Paris: 1895-1950 The Greenhouse Effect Torino, Italy E-FLUX Tatistcheff and Co. Inc. GALLERIA MASSIMO CARASI Nicola Pellegrini Translation/Seduction/Displacement Douglas Osa Mantova, Italy J V STOLZ-PITZALIS Artists from Southern Africa Silverstein Gallery Greta Frau Barcelona, Spain ROULETTE Angelina Nasso NSA Robert Mirek The Cathedral Band Walter Wickiser Gallery Inc Durban, South Africa IRENE AMORE GUGGENHEIM MUSEUM Jia-Rhon Chen & Juri Morioka Nuno Da Cruz London UK World Beat Jazz Julie Saul Gallery EMI FONTANA Katharina Heilein Tel. 423-3840 Orit Raff Milan, Italy MUSEO CIVICO THE NEW INTERNET MUSEUM Talli Fine Art Gallery Cosima von Bonin Padova, Italy www.alternativemuseum.prg Marie Luise Stangl PALAZZO DELLE ESSPOSIZIONI Camillo Boito Quantum Leap Into The 21st Century J. Cacciola Galleries Roma, Italy ARTE E ARTE 24 Hours 7 Days New Art From Oklahoma Magnum

Special Issue 2000 WORLD of ART 101 GALLERY EXHIBITIONS NETA DOR websites 13 April 2000 – 10May 2000 GALERIE MAEGHT Galerie D’art Zero Galleria Comunale d’arte Moderna 42, RUE DU BAC C/Canvis nous 1, Bologna Italy F-75007 PARIS FRANCE E-08003 Barcelona Spain www.galleriadartemoderna.bo.it tel +33 1 454845 15 fax 42222283 Frans Ouwerkerk, Kunstschilder, Hoolddorf Holland www.kunstkontakt.nl/fransouwerkerk GALERIE the 2nd spring ANNETTE DE KEYSER annual in venice Art Addicrion International Gallery GEN. BELLIARDSTRAAT 19 small forms international exhibition Stockholm Sweden B-2000 ANTWERPEN Belgium www.artaddiction.se l e ege ora tel/fax +32 3 231 9056 Malmö Konsthall Sweden BTW BE 450.807.993 HRA 299.828 www.konsthall.malmo.se

Opening September 1993 r - dr e

y Galerie Monika Beck Germany

EXHIBITIONS fu www.mathbeck.de 1993 ss Narcisse Tordoir p , ©2000 Maurizio Colantuoni Press Release Light, Italy www.undo.net

1994 h Oliviero Rainaldi 25 March - 16 April oto

g AMDPress ArtNews, Spain

Danny Devos rap www.artnewsdigital.com ManfreDu Schu BO PERMAN h Wouter Deruytter Drawings and Paintings Galería Edurne, Spain Jean-Marie Bijtebier Soltskog gård 20 April - 30 April 2000 www.w3art.es Berend Strik SE-151 47 SÖDERTÄLJE Sweden 1995 palazzo correr Arjanne Vander Spek Sam Francis a snata fosca exhibition Jan Carlier Paintings 1947 - 1990 cannaregio 2214 Eddy de Vos it-30121 venice italy Competition Nils Erik Gjerdevic Peter Rodgiers Jean-Marie Bijtebier Small forms 20 x 20 cm / 7½ x 7½ in 1996 the 3rd The 2nd Spring Annual in Venice Guy Van Bossche 20 April - 30 April Frank Mandersloot MASKS in venice small forms Deadline 12 April Eddy de Vos international exhibition Wouter Deruytter l Masks in Venice 3 e Danny Devos ege ora 22 May - 31 may 1997 Deadline 15 May Guy Van Bossche r - Shelaghi Keeley dr The 3rd Autumn Annual in Venice e

Jean-Marie Bijtebier y 6 October - 16 October fu

Bjarne Melgaard 29 January - 1May 2000 ss Deadline 27 September

Vincent Geyskens MALMÖ KONSTHALL Sweden p , ©2000 1998 The 2nd Small Graphic Art in Wouter Deruytter KOHJI OGURA GALLERY Venice h

oto 7 November - 17 November Oliviero Rainaldi DIRECTOR Kohji Ogura Deadline 25 October Five Years Together Jetty East 1-7 Minatomachi g rap Guy Van Bossche Minatoku Nagoya PC 455-0033

h Piccola Galleria Correr /Palazzo Correr Vincent Geyskens jAPAN a Santa Fosca, Cannaregio 2214 1999 tel +81 52 654-5106 Venezia Italy Bettina Bach fax +81 52 654 5107 20 May - 31 May 2000 Ralph Groenen [email protected] An Exhibition of Drawing palazzo correr HISTORY Having opened a gal- Wouter Deruytter a snata fosca Information about lery in 1986, we moved to the cannaregio 2214 Classified Guy Van Bossche present address and opened it-30121 venice italy All classified advertisements are The Museum of Contemporary accepted and are at the discre- 27 January - 25 March Art, Nagoya and Kohji Ogura tion of the publisher. Classified FRANCESCO RUSSO Gallery in 1995. rate are US$ 1,5 per word, with Our wide variety of exhibits Opportunities a $50 minimum. No advance 30 March - 13 May are contemporary art paintings, proofs or sample copies are DANNY DEVOS drawings, sculptures, photo- given. Payment must accom- If You Have Something Worth pany classified order. Send the graphs, etc. Showing The International classified order, payment and Major recent exhibitions include: 18 May - 1 July Art Community Contact copy to: NILS ERIK GJERDEVIK Fiona Rae, Tomio Seike, in 1999 WORLD of ART Now! respectively, Kazuo Okazaki, letter: WoA, Mörbylund 19, 9tr World of Art September - October Toeko Tatsuno, Simon Patterson SE-182 30 Danderyd Stockholm Mörbylund 19, 9tr in 1998 respectively, Jason GUY VAN BOSSCHE Sweden SE-182 30 Danderyd Martin in 1997. Stockholm Mark Francis and Simon November - December For advertising rate or further infor- Sweden Patterson are two of those who mation, contact World of Art at Tel 46 8 85 72 64 BETTINA BACH are slated for our future one- tel +46 8 85 72 64 fax +46 8 85 72 64 Fax +46 8 85 72 64 man shows. e-mail: [email protected] E-mail: [email protected]

102 WORLD of ART Special Issue 2000 Digital soundscape To hear the music Digital artscape To enjoy the art

KATO KEI 2-4-5 Yobitsugi-cyou, Minami-ku, Nagoya-city, Aichi-ken 457 Japan André Russu t he hum he a n abstra c 2000 digital art 120 x 90 cm. / 47¼ x 35½ in x 35½ / 47¼ cm. 120 x 90 art digital t 2000

Kato, K Postcard, 1999 object 19 X 10 X 1,5 CM. / 7½ X 4 X ½ IN.

DREIcomputer DREIwired origin Special Issue 2000 WORLD of ART 103 Ken Robinson New Zealand

artist talk

The work I am doing at the moment is one cannot think, but you have to decide work allowing accidents to happen rather a long continuum of work done earlier. however, at what point those accidents than just to pre plan every thing. All my work is in a continual process. are beginning to go beyond the nature of When I returned after a long time over- Each exhibition evolves out of the previous enhancing the original work. seas, to New Zealand I came back at a time exhibition taking some of those earlier works For me the act of painting and the deci- when N.Z. was like Australia looking for to another level so any change for me is a sions made when in front of the work while a national identity. Like all new cultures gradual change not a sudden one. the process is going on, are all part of the trying to find its own identity without the I am a purely abstract artist who tries to work. The process of all these decisions in a influences of the older cultures of Europe minimize external representation. sense are the story of the painting and take or America in some ways concocts its idea For the artist to develop in the viewer a on that narrative of a work rather than any of nationalism. This particularly happened more sensual understanding of the work story line as in more figurative work. in the arts and people like myself who had and therefore possibly they will read those All artists are aware of other artists and over the years because we had lived in configurations back into the real world. their work and in a lot of cases the way other different countries adapted lots of those In my youth I was very involved in sports artists have solved their problems you can other cultures into our work. We didn’t use -played senior soccer, represented my city in use too. So one is aware of previous work clique symbols and any those devises that Swimming, Football, Diving, Gymnastics. done by other artists. were intended to identify with New Zealand At the moment I play classical and Flamenco When one is young there is a natural sense so weren’t included in exhibitions that guitar but to be realistic I dont’t have of wanting to be what one could call avant were thought of as New Zealand reflecting the talent or the drive to become a profes- guarde - wanting to be part of the scene so the South pacific. This has now settled sional. to speak. But as all artists are aware being down and some of those artists are not so In an indirect way music does relate to avant guarde is a little like following fashion prominent now so my work is being looked my work as I said I play guitar and the it is fairly fickle and one grows out of it. at as just ”art” to be good or bad as it should piano. I have had a concert played where the However as trends come and go not only be. That self conscious nationalism so composer composed five musical composi- in the new work produced by the different prevalent, in terms of being more represented tions in responses to five of my paintings. artists but by the buying public you become in National galleries might have suffered I fortunately haven’t had any really bad less worried by these and simply get on in the same way as the feminist movement reviews. Anything negative mentioned I’ve with your own development and this in did in its heyday allowing a lot of less found do have a slight element of truth, some ways makes you beyond fashion and adequate artist to be bought than should which you have to consider. therefore slightly isolated. have been. Generally I can say the work finishes In a recent article written on my work, a Personally, it would be nice to have your when I feel that the painting is starting to critic called the gestures controlled spontane- work put up and be promoted by someone explore aspects that have gone beyond what ity, which in a sense describes this type of so that the public could see your efforts I intended and should be the subject of a activity well. I like the contact with the over a number of years and you having new painting. All work has to allow those surface in the same way a sculptor is in the satisfaction of it being seen and being important accidents to happen which gives contact with their materials as it also allows respected. But, however, should that not the work that sense of unexpectedness that for a certain amount of unplannedness in the happen it wouldn’t worry me too much.

Tumbling 2000 Collage on paper 16 x 20 cm / 6¼ x 8 in

104 WORLD of ART Special Issue 2000 petruencaustic and D rawrussuing on Wood

Kerberos, 1999, 80 x 50 cm, 31½ x 19¾ in

ART ADDICTION Mörbylund 19, 9tr. SE-182 30 Danderyd Stockholm Sweden +46.8.857264 [email protected] www.artaddiction.se world of art premiere!