WORLD of ART SPECI al Iss U E 2 0 0 0 WORLD of SPECIARTal IssUE 2000 ARTISTS PORTFOLIO GA LLERIES PORTFOLIO INTERN A TION A L EXHIBITIONS VIRTU A L EXHIBITIONS ARTISTS OF TOD A Y ART WITH ATTITUDE EMER G IN G ARTISTS OP ENIN G S ART WEB SITES CONTEM P OR A RY ART LEXI C ON 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 [email protected] 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. 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ADDRESS INSERTION FORM TODAY TO INSERT YOUR Postage and a self-addressed return envelope ADDRESS & CV AND START must accompany unsolicited manuscript, photo- graphs, and other submitted materials. However, YOUR SUBSCRIPTION World of Art is not responsible for unsolicited sub- IN WORLD OF ART missions. 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.