Contemporary art from 31 European countries Exhibition and ... · Contemporary art from 31 European countries Exhibition and Auction Under the auspices of the Mayor of Trier Wolfram

25 Years Academy of European Law

Art knows no frontiersContemporary art from 31 European countries

Exhibition and AuctionUnder the auspices of the Mayor of Trier Wolfram Leibe

19 September - 19 October 2017

Contributing artists and artworks ANASTAS Konstantinov, BulgariaNo. 1: Blue Jazz / No. 2: Quantum CommunionKatarina AXELSSON, SwedenNo. 3: Grand paysage avec arbre / No. 4: Arbres et lumièreHaude BERNABÉ, France No. 5: Untitled / No. 6: Lignes de vieAustin CAMILLERI, Malta No. 7: November Test / No. 8: November PassAndreï CIUBOTARU, Romania No. 9: Clouds I / No. 10: Clouds IIGiovanni DE ANGELIS, Italy No. 11: Female figure with garment / No. 12: Young man with open mouthBernard DE WOLFF, Netherlands No. 13: Les Bateaux / No. 14: Lonely AfternoonVolkmar ERNST, Germany No. 15: Number 1 / No. 16: Dark ZoneJoseba ESKUBI, Spain No. 17: Mesmo / No. 18: LesaJean FETZ, Luxembourg No. 19: Journal intime I / No. 20: Journal intime IIZlatko GLAMOTCHAK, Montenegro No. 21: Chute / No. 22: L’ObservateurHans JØRGENSEN, Denmark No. 23: Cavalier No. 10 / No. 24: Corps No. 21Ruta JUSIONYTĖ, Lithuania No. 25: La belle et la bête / No. 26: La femme et le chat bronze 1János KALMÁR, Hungary No. 27: Spiritual Gravitation II / No. 28: Spiritual Gravitation IIILukáš KANDL, Czech Republic No. 29: Douceur d’un nid / No. 30: Fauvette perléeKaia KIIK, Estonia No. 31: Tempête / No. 32: Série Monet (ou Nymphéas) 1 de 11Levan MAKHARADZE, Georgia No. 33: The abandoned village I / No. 34: The abandoned village IICile MARINKOVIĆ, Serbia No. 35: Portrait de Leyla / No. 36: La DécouverteYannis MARKANTONAKIS, Greece No. 37: Cheminées noires / No. 38: Grande matinale bleuMichael MULCAHY, Ireland No. 39: Genie’s Bottle / No. 40: The StorytellerMartin-Georg OSCITY, Slovakia No. 41: Venezia Fantasia / No. 42: Wächter der VergangenheitMałgorzata PASZKO, Poland No. 43: Floraison / No. 44: La MerDimitri POPOVIĆ, Croatia No. 45: The Body of the Shadow I / No. 46: The Body of the Shadow IILuís RODRIGUES, Portugal No. 47: Aloes / No. 48: Le ClosPaul RUMSEY, United Kingdom No. 49: Library head / No. 50: MolechChristina SEFOLOSHA, Switzerland No. 51: Flagstaff / No. 52: Pirate aux oiseauxIsabelle SEILERN, Austria No. 53: Jeux de Lumière N° 13 / No. 54: Peinture Photographique N° 1Jari SILOMÄKI, Finland No. 55: My Weather Diary 1 / No. 56: My Weather Diary 2Yaroslav SOLOP, Ukraine No. 57: Farewell to Hercules / No. 58: Gemini ConstellationIztok ŠOSTAREC, Slovenia No. 59: Les taches solaires / No. 60: Les trous noirsJohan VAN MULLEM, Belgium No. 61: Untitled / No. 62: Untitled

Open ing o f t he Exh ib i t i on

Tuesday, 19 Sep t 2017

19 :00

Auc t i onThur sday, 19 Oc t 2017

20 :30

VenueERA Con fe rence Cen t re

Me tze r A l l ee 4

D -54295 Tr i e r

Published by the Academy of European Law (ERA).

Editing: Wolfgang Heusel, John CoughlanLayout: Tanja Bernhardt, Stephanie Hoffmann

Translation of the texts “Artist and work”: Wolfgang Heusel (German), Ruth Whiteley (English)

Content

Preface Catherine Kessedjian

Why this exhibition? Wolfgang Heusel

IntroductionChristian Noorbergen

ARTISTS AND ARTWORKS

ANASTAS Konstantinov

Katarina AXELSSON

Haude BERNABÉ

Austin CAMILLERI

Andreï CIUBOTARU

Giovanni DE ANGELIS

Bernard DE WOLFF

Volkmar ERNST

Joseba ESKUBI

Jean FETZ

Zlatko GLAMOTCHAK

Hans JØRGENSEN

Ruta JUSIONYTĖ

János KALMÁR

Lukáš KANDL

Kaia KIIK

Levan MAKHARADZE

Cile MARINKOVIĆ

Yannis MARKANTONAKIS

Michael MULCAHY

Martin-Georg OSCITY

Małgorzata PASZKO

Dimitri POPOVIĆ

Luís RODRIGUES

Paul RUMSEY

Christina SEFOLOSHA

Isabelle SEILERN

Jari SILOMÄKI

Yaroslav SOLOP

Iztok ŠOSTAREC

Johan VAN MULLEM

Auction conditions

ERA Jubilee Fund

Open ing o f t he Exh ib i t i on

Tuesday, 19 Sep t 2017

19 :00

Auc t i onThur sday, 19 Oc t 2017

20 :30

VenueERA Con fe rence Cen t re

Me tze r A l l ee 4

D -54295 Tr i e r

Visit our auction website where you can download this catalogue for free.

On the website you can also register to bid in person or by telephone at the auction on 19 October. As a registered bidder you can also submit bids in advance by e-mail.

www.era25.eu/auction

prefaCe

Vincent van Gogh, writing to his brother Theo, maintained that art should be the mainstay of life, and life as eventful as possible.

For many years I have been guided by this passion for art, which has led me down all sorts of paths, professional and personal. Life would be an arid business without the eyes of artists to guide us, give us food for thought, move us, enrage us and bring a smile to our faces.

The artist has an unrivalled place in society. Without her, or him, it makes no sense.

So, to mark the twenty-fifth anniversary of ERA, bringing together artists from all over Europe seemed the obvious thing to do.

Who better than Christian Noorbergen to take on such a challenge? The artists and works he has assembled for this project are proof of his brilliant talents as a critic and exhibition curator. I extend my thanks to him here.

Wolfgang Heusel has supported this project from the very beginning. The monumental work by Chillida that stands in front of ERA, and the many exhibitions he has organised within its walls, are testimony to his interest in art. Without his unfailing support, and that of all the ERA staff, neither this exhibition nor the auction would have been possible.

But none of this would be happening if the artists had not agreed to follow us in this adventure. It is thanks to them — their talent, their faith and the beauty of their works — that art has blended so happily into our lives. My gratitude goes to them.

Allow me to end this brief preface with the hope that the huge efforts put into this event will be reflected in the satisfaction of the collectors taking part in the auction. They, too, have my sincere thanks, in anticipation.

Catherine Kessedjian

President, Villa Seurat Foundation for Contemporary Art

Member of the Board of Trustees of the Academy of European Law (ERA)

why this exhibition?

At first glance, art and the law seem to be more divided than united. But at a second glance their mutual influence becomes obvious. The picture of the law, or better “justice”, in the visual arts and literature, stretches from the numerous portrayals of Justitia on the entrances to courts of law, fountains and church portals, of just or unjust judges by Calderón de la Barca, Shakespeare, Kleist or George Grosz to the caricatures of the Gens de Justice by Daumier. On the other side of the coin, art is not created and living in a legal vacuum: it is free and yet still has to respect the rights of others; it claims copyright and sells its products according to the rules of sales law, to name just a few points of contact.

The Academy of European Law, which exists to provide training in European law, has, in many ways, a close relation to art. The most obvious example of this is Chillida’s monumental sculpture The Cage of

Freedom, which adorns ERA’s forecourt and which wonderfully illustrates the idea of a free legal system — the cage is empty, but its title and its position in front of ERA make it clear that freedom also needs rules, that it needs the law in order to blossom. For many years, ERA has had a tradition of art exhibitions on its premises. The meaning of European law for art and artists was also an independent topic of an ERA congress.

Catherine Kessedjian’s idea, as a member of the Board of Trustees, to honour ERA’s 25th anniversary with a special exhibition, seemed an ideal opportunity to do justice to both the concept of Europe and the connection of our institution with art. We are proud and grateful that our curator Christian Noorbergen has succeeded in obtaining the collaboration of 31 contemporary artists from 31 countries in this project. Catherine Kessedjian also suggested that the works in the exhibition should be auctioned at the end and that half of the proceeds should benefit ERA’s Jubilee Fund, which, among other things, funds ERA’s scholarship programme.

First of all, I would like to thank the artists for generously making their work available. I would like to thank Catherine Kessedjian for her initiative and committed support. I also thank all the supporters of this exciting project for their advice and assistance, represented by the head of the European Art Academy in Trier, Gabriele Lohberg. I wish visitors to the exhibition an exciting art experience and would be pleased to welcome you again to the auction.

Wolfgang Heusel

Director, Academy of European Law (ERA)

31 artists from 31 european Countries

Geographical borders are less impenetrable than internal locks. Opening up to the values of others such as to all created realities enables us to unlock the frontiers within. Art is a miraculous passport to peace and the infinite.

Mentality is born without limit, like the body, skin and emotion… Secure borders are unaware of the horizons of otherness. Instead of subscribing to the identical, collective, global and supposedly perfect model, the artist invents his own language and his own effects.

Whether they are of the deep, whether they are of the intimate, the bizarre or the forbidden, these islands of art travel to the edges of the established world. They transform the unthinkable into reality, they burn the surface and scoff at the expected.

Although they appear both near and far, these artists come from the whole of Europe. Transcending the poor language barrier, the timeless spirit of creation unites them. Each of them follows his own path, each of them slips away.

These artists are above all humanity, they do not attempt to grasp, they are grasped. They are the great “openers”. And from these apertures of art emerge our extraordinary doubles, our soul brothers. These stalwart artists of a living Europe transcend the tracks of our age. They remedy modernity. They go to any limits of what is possible in their work. And it is there, without doubt, in a fragile solitude, that they experience what really brings them together, the impossible union of emptiness and completeness, and the nostalgia of the country of the pictures.

Art stages what is lurking below the vast stage of what appears to be, the only thing that matters, and creates life unknown to thought, when weak comprehension reduces the range of what is comprehendible. As man, in himself, can live further away. Art is the bridge to life without ideological crutches, without a religious stranglehold and without mental manacles.

I have not chosen any “fabricated” artists. I have chosen “heavyweights”, male and female. Before making my final choice, I was aware of more than half of the artists in the exhibition. This knowledge, made of the memory of experience and fellowship, made my task less onerous. I would like to thank ERA for giving me a completely free hand. Cultural centres, embassies and galleries played the game. But the main role is played by the artists. Among them, defined first of all by their creative independence, five photographers, three pure draughtsmen, and six sculptors. No imposed aesthetics, but the manifestation of the extraordinary richness of contemporary creation.

Thanks to you, the spirits of art and fellowship, for having the courage to create as you do.

Christian Noorbergen

Curator


ARTISTS AND ARTWORKS

In memory of

Anastas Konstantinov1956-2017

ANASTAS KONSTANTINOV

* 29.3.1956, Peshtera (BG)

1982 Degree in painting, University of Veliko Turnovo (BG)

† 1.6.2017

Solo and group exhibitions across the world including:

1983 Debut exhibition, which made him considered defiant to social realism and a Secret Police target

1986 Closing of the artist’s conceptual exhibition which displayed themes of dissidence and rebellion

1989 Museum De L’Athène, Geneva (CH)1990 X+ Gallery, Brussels (B)1990 Bernard Felly Gallery, Paris (F)1991 Gallery 88, Luxembourg 1992 Gallery 100, St. Julian’s (MT)1996 Palazzina Azzurra, San Benedetto del Tronto (I)2001 Vitosha Gallery, Sofia (BG)2013 Galerie Schwab Beaubourg, Paris (F)

His works of art got an exposure in prominent art shows like at the 4th International Triennale of Graphics, Wrocław (PL); the 1st Biennale of small paintings, Toruń (PL); the Del Bello Gallery International Competition of small paintings, Toronto (CDN); the International Art Fair Europe Art, Geneva (CH) 1992; the Select Fairs, Miami (USA) 2013 and New York City 2014. Anastas’ works are owned by the state art galleries across Bulgaria, shareholders of MOMA (NY), numerous private collectors around the globe.

Artist and work

I’ve travelled a lot around the globe, I’ve even visited countries where there are no tourists. I could connect strongly to some places around here. I could feel some strong sensations which detach me from the West. And after having had a stroll around the Ancient Plovdiv and some other places, I could feel as though I am in my own country, my country where there are no boundaries and I feel best. I could feel the concentration of energy in the Ancient Plovdiv, I felt I stepped on one of the tops of humankind. In reality that is all I am living for and that is the same sensation that fills you when you stand in front of a great painting. Modern life is full of superficial images which seem numerous and as though seen through a telescope. This information comes in waves, huge in terms of volume, that is why when a man sees a powerful painting, he needs to stop in front of it and experience in depth something so new and unknown.

Anastas belongs first to art and then to his Bulgarian origin. Anastas’ way of painting is open, infinite. He makes use of outstanding ways of painting. He moves into all these feasible ways to explore and upgrade his painting and that makes the difference. Anastas designs a kind of structured chaos in his paintings, and it looks only seemingly chaotic. All our acquired habits, all our stereotypes vanish into his paintings, they explode. He discovers all possible ways of painting. This provides painting with a different perspective and it feels as though we have never experienced painting before.

Anastas is bold, he has chewed the cultural symbolism (symbolism of the ancient Thracians, Christianity and many more) to empower his art to influence potently so that all habits – both spiritual and mental – can explode. The spectator falls into stupor in the sense that is associated with the state of a person whose visual abilities have been exceeded, and it provokes a virgin-like reception. Anastas has his narratives but those go outshone by the power of his art. He is far more than a storyteller, his ways of painting reach far beyond. Great painting comes to the fore out of the clash and conflict. I would say that is the proof of quality. The more of those can be discovered in art, the more they serve as a proof of quality and that deserves respect. Anastas knows how to balance the pressure, keep it and not suffocate it in the storyline.


ANASTAS KONSTANTINOV Quantum Communion

Painting, oil on canvas, 2013

171 x 230 cm

No. 02

KATARINA AXELSSON

* 1962, Stockholm (S)

1989 Diploma in painting studies, Ecole Nationale Supérieure des Beaux-Arts, Paris (F)

Canterbury College of Art (UK) and Royal Academy of Fine Arts, Antwerp (B)

Lives and works in Normandy, Paris and Stockholm. Exhibits mainly in France and Sweden.

Principal exhibitions

2017 Musée de la vallée de la Creuse, Éguzon-Chantôme (F) Galerie Felli, Paris (F) Galerie Christine Colon, Liège (B)2016 Inauguration of the new paintings for the church of Rådmansö (S) Galerie Duchoze, Rouen (F) Vaxholms Konstförening, Vaxholm (S)2015 Galerie Christine Colon, Liège (B) Trois peintres du Paysage, Galerie Felli, Paris (F)2014 Galerie Felli, Paris (F)2013 Galerie Le Garage, Nantes (F) Galerie WA2, Tokyo (Japan) Salle Jef Friboulet, Yport/Normandie (F)2011 Abbaye de Jumièges, Normandie (F) Lille Art Fair, Galerie Prodromus (F) Galleri Ekvall och Törnblom, Stockholm (S)2010 Galeri Osebro, Porsgrunn (N) Vaxholms Konstförening, Vaxholm (S) Galerie Prodromus, Paris (F) Keramikens Hus, Strängnäs (S) Grünewaldsvillan, Saltsjöbaden (S)2009 Galleri Ekvall och Törnblom, Stockholm (S) Konst på, Österlen (S) Galerie Prodromus, Paris (F)2004 Galerie Prodromus, Paris (F)2002 Galerie Prodromus, Paris (F) Karby Gard Konstcentrum, Täby (S)2000 Galerie Prodromus, Paris (F)1999 Galleri Olsson och Uddenberg, Göteborg (S)1998 Installation Place Emile Goudeau, Paris (F)1997 Galerie W, Paris (F)1996 Sigtuna Kulturgård, Sigtuna (S)1996 Galerie Kunststück, Würzburg (D)1994 Galerie du Bellay, Rouen (F)1991 Galleri Westlund, Stockholm (S)1990 Galleri Trosa Kvarn, Trosa (S)1989 Galleri Westlund, Stockholm (S)1988 Galleri 20, Lund (S) Galerie Bernanos, Paris (F)

www.katarinaaxelsson.com

Artist and work

Words of Katarina Axelsson

“We are nature, we are part of it. But my subjects are closely linked to my personal life and evolve as I go along. My life as a painter slowly got going in my mid-twenties. The birth of my girls was a kind of revelation, an aesthetic choc. It was my first strong artistic subject. I wanted to document their childhood from the very beginning and our life as a little family in the big city, a life so different from that of my own childhood in Sweden.

From 2000 and onwards, my main subject was the Place de Clichy in Paris, with its never ending flow of cars and people. We lived above it, in an artist`s studio on the seventh floor without elevator. The year of 2007 was a kind of landmark: I felt really ill and when I got well enough to start to work again a year later, my present subject imposed itself on me, the world that you would call the ”reign of vegetation”. The one I used to retire to in order to find peace and that I now realised could very well become my subject for the rest of my life if I wished.

I´ve always spent a lot of time observing and trying to understand nature, ever since my earliest childhood´s summers on a small island in Sweden.

Until then, however, my attempts at representing it where so pitiful in comparison to what I saw, that I gave up. Painting, I felt how soothing the green colour was to my mind. Like rinsing my eyes.

I have never painted the sea, although my studio in the 40 acre forest lies only a kilometer away from the English Channel. But the sea seems to me less interesting than the woods. I have sometimes painted bathers and the movements and reflections in the water, but the sea as a proper subject, no. For the moment it´s essentially the green, that very nature who will save us and who regenerates me.

Today I feel I´m part of that nature, which wasn´t the case when I first started on the subject. Contemporary art, the academism of our time mostly proceeds by the use of quotations, irony, criticism... it´s not my way of doing and being.

I am very rough with my paintings. I put them in water, I abandon them outside, I sometimes leave it to chance to give me a direction.

The fields around here are shaped by the cattle: lovely orange coloured cows called Limousines that seek shadow and shelter under big trees in the fields. These trees have all the space they need to develop into all sorts of shapes and individual expressions. In my series of drawings I´ve set my imagination free to interpret their visual messages. It´s been great fun!

But more seriously, there´s a lot of recent research on the way trees communicate. Scientists tell us that they are connected in a massive belowground communications network of fungus and roots, allowing them to share vital information and substances on big distances. A sort of Wide Wood Web. The Mothertrees, the oldest trees, are the most connected and the most active in sending out information and substances. So never cut a Mothertree.

All this inspires me enormously.“

Interview with Carine Tschudi

KATARINA AXELSSONGrand paysage avec arbre (Big landscape with tree)

Painting, acrylic on wood, 2014152 x 152 cm

No. 03

HAUDE BERNABÉ

* 1963 Brest (F)

Autodidactic sculptor, Haude Bernabé lives and works in Montrouge (F).

Strong interest for painting, modelling and the assembling of objects, she is however dissuaded from attending the Academy of Fine Arts. Later she takes drawing and modelling lessons and discovers working with metal.

1998 First encounter with Cérès Franco

2001 Encounter with Albert Féraud

Main exhibitions:

2017 Alter ego, Artsupermarket Gallery/FRENCH MAY, Hong Kong (China) AFFORDABLE ART FAIR Artsupermarket Gallery, Hong Kong Carnival, Amnesty International, Hong Kong2016 #marenostrum, Villa Finaly, Florence (I) Haude Bernabé/Short cuts, Showroom Nathalie Garçon, Paris (F) La peau et les mots, Montolieu (F)2015 En grand format, Inauguration of the Cérès Franco Collection La Coopérative, Montolieu (F) Galerie Jacques Levy, Paris (F)2014 Inside out, Galerie Claire Corcia, Paris (F)2013 Désirs bruts, Cérès Franco Collection, Maison des Arts, Châtillon (F) 20 ans après, Maison des Arts, Châtillon (F) Art O’Clock, Gallery Claire Corcia, Paris (F)2012 Folie douce, Galerie Claire Corcia, Paris (F) Sintra Arte Pública IX, Sintra (P)2011 Insolente réalité, Galerie Claire Corcia, Paris (F) Chic Art Fair, Galerie Claire Corcia, Paris (F)2010 Elles rêvent d’Eros, Galerie Claire Corcia, Paris (F) Slick Art Fair, Heart Gallery et Frère Independent, Paris (F) Cérès Franco Collection, Musée des Beaux-Arts, Carcassonne (F) Gallery Recto Verso, Luxembourg2009 El arte bajo presión, Bancaja Fundación Caja, Castellón (E) Féminin pluriel, Galerie Claire Corcia, Paris (F) Biennale de sculptures, Eglise de la Madeleine, Paris (F)2008 Contrastes, Maison des Arts, Châtillon (F) Beautés ensorcelées, Galerie Claire Corcia, Paris (F)2007 Galerie Recto Verso, Luxembourg2005 Les Mitologies de Haude Bernabé i Pepe Donate, Galleria Favre, Barcelona (E) Les imagiers débridés, Carcassonne (F)2004 Triptyque, Angers (F) Bruissements d’Elles, La Caserne Centre d’art, Joué-lès- Tours (F) Désirs Bruts, Le Kremlin-Bicêtre (F)2003 Désirs bruts, 6th Fine Art Forum, Les Ulis, Le Kremlin- Bicêtre (F) Alchimie, Galerie Geneviève Favre, Avignon (F) Attention jeunes, Fête de l’Humanité, La Courneuve (F)2002 Lineart, Galerie Geneviève Favre, Ghent (B) Galerie Geneviève Favre, Avignon (F)2001 Cérès Franco Collection, L’art sous tension, Fondation d’entreprise Espace écureuil, Toulouse (F) Salon de mai, Paris (F)2000 L’art chemin faisant, Pont-Scorff (F) Cérès Franco Collection, Château de Belval, Miramas (F)1999 Biz’art carte blanche à Cérès Franco, Bures-sur-Yvette (F)1998 L’objet recréé, 5° Forum d’art plastique en Ile-de-France, Les Ulis (F)1996 Jeux et jouets d’artistes, Galerie Médiart, Paris (F)

To come :Solo show Maison des Arts, Châtillon (F), 14 November-16 December 2017

Artist and work

Originating from Brest, this European city at the edge of the continent, as Mac Orlan describes it, this town of harbours, quays, containers and freighters has, in a certain way, fashioned my imagination. It is not a town to pass through, but to go to. If you grow up there, next to the sea, the horizon is what you always see and you are aware that on the other side there is a different word.

I feel that this generates curiosity towards the different, my imagination is moulded by the harbour and nomadic, blended, I cannot

define myself simply through belonging to a geographical entity.

My encounters have reinforced this feeling. In particular, the meeting with Cérès Franco at the end of the nineties was crucial. Originating in Brazil, at the time director of the gallery ‘L’œil de Bœuf’ in Beaubourg and art critic, she supported my work from the beginning and guided my steps, opening me to the world of fantasy coming from outside.

First of all, I have as a desire to understand life, relations to others, to the “other” with all its diversity and to transmit it.

Art is a language which explores a territory different from the written word. There is a different way of looking at things behind it.

Working with metal, particularly with recycled metal (my metal dealer is still in Brest), allows the outside world to enter into this process, vision leads to an echoing dialogue with the material at hand.

I often work on matters, which I reflect on beforehand, but I do not make any preliminary draft; when I start on a project, I create the draft directly onto the piece of metal.

There is a sort of defined reinforced action which comes from working with the blowtorch.

My work is a half-way house between design and intuition. Forming by hand is the intuitive part, during the process it becomes an extension of the brain, but not of the brain that devises, this sits deeper.

There is a state of grace, where head, heart and hand are in harmony.

For the last few years, I have preferred to strip the metal of its rust “skin”, to polish it to discover its shine. To elongate the lines. This work with the grinder supplements the use of the blowtorch in search of a blueprint, greater tension.

For me, the desire to create comes from the wish to combine the universal with the incidental, to remove it from the fleetingness of time, to hold it fast. This can be an encounter, an idea. But then there is a moment of tremor, a break with time, a short circuit. This is a symbolic or mystical happening. The sculpture becomes the incarnation of this happening, a crystallisation of the “here and now”, once it merges with the personal myth.

Scientifically trained, I have devoted myself to sculpture and drawing since the beginning of the 1990’s. My first passion was always art, the second life sciences. I later understood that it was the same driving force, understanding the living, but from a different viewpoint.

For a long time, my work explored the core of things, sometimes through the medium of Eros, melancholy, writing.

But the political, human and ecological conditions that the world is currently faced with gives us all a responsibility I think. Mine as an artist is to use the means I have to express what I feel about this situation. My work has therefore evolved towards topics connected to this. In 2016, with the support of the Foundation Villa Seurat for Contemporary Art I created an installation on the fate of “migrants” in the Mediterranean: #marenostrum, which was shown at the end of 2016 in Florence. Currently, for the last two years, I have been working on the search for identity by creating sculptures which are equally portraits and masks.

Haude Bernabé

HAUDE BERNABÉ Untitled

Sculpture, patinated metal, 201472 x 20 x 18 cm

No. 05

AUSTIN CAMILLERI

* 1972 Gozo (MT)

Austin Camilleri is a freelance visual artist working simultaneously and non-hierarchically in installation, painting, drawing, video and sculpture.

Born into a family of artists, he studied at the University of Malta and at the Accademia Pietro Vannucci in Perugia (I) after winning a four-year scholarship in 1991. He is the founder of 356, founding member of StArt, Fundazzjoni Klula and Istra- foundation for Art and Research, and visiting lecturer at the Faculty of Built Environment, University of Malta.

He has also designed books, campaigns, awards as well as stage sets for operas, theatre and dance pieces.

Exhibitions:

• KalmarKonstmuseum,Kalmar(S)• WTC,Stockholm(S)• HendersonCenter,Beijing(China)• CentraleEléctrique,MuséeBotaniqueandPlace Fontainas,Brussels(B)• MuseumofContemporaryArt,Cluj-Napoca(RO)• Apollonia,Strasbourg(f)• GalerieGNG,Paris(F)• FondationVillaDatris,L’Isle-sur-la-Sorgue(F)• PalaisLiechtenstein,Feldkirch(A)• VaticanMuseum,Rome• BiennaledegliArtisGiovani,Ex-Mattatio,Rome(I)• MuseoArcheoloigicocomplex,Lipari(I)• MuseoCivico,Nichelino(I)• BibliotecaUniversitaria,Turin(I)• BibliotecaNazzionale,RomeandinCosenza(I)• UNBuildingandSAIGallery,NewYork(USA)• St.JamesPalace,London(UK)• PalaisdesNations,Geneva(CH)• Inguat,GuatemalaCity(Guatemala)• GroteKerk,TheHague(NL)• ChiesaSantaChiara,SanMarino• BeithShemesh,Jerusalem(Israel)• PalaisKherredine,Tunis(Tunisia)• Künstlerhaus,Munich(D)• GalerieBagnatoandKulturzentrum,Konstanz(D)• NationalMuseumofFineArts,Maritime Museum,MuseumofArcheology,StJamesCavalier, andMaltaContemporaryArtFoundation,Malta.

Awards:

• RecentlyCamilleri’sarchitecturalproject‘Bl- OhladawlLibbist”haswontheinternationalcall forproposalsforanartisticstatementtotheMaltese Republicandiscurrentlyunderconstruction.• In2017,hisworkhasbeenrepresentingMaltaatthe BOZARinBrusselsandattheVeniceBiennale.

Artist and work

Austin Camilleri’s painting process is reminiscent of the sixth century Western European practice of ‘Palimpsest’, one of the earliest processes of recycling of material, with the exception that the artist does not re-use his canvases for economic or ecological motives but rather re-appropriates his own existing work as hostage to act as new reference framework for further inception. Camilleri’s final forms are not witness to the complete erasure of the original, but through a complex structure of layering and masking, the various histories of the paintings retain parallel conviviality. The origin of the new works therefore does not know a recent tabula rasa, but they unfold in a performative fashion through a dialogue between the younger and the

contemporary Camilleri (and even at times a totally extraneous artist), a tour de force of the duality of characters and of concepts. Austin is here presenting us with not one but two or possibly more works per hanging – a curious dichotomy of forms which bears true testimony to the artist’s creative process, one which leaves no stone unturned in its strife to work for and against the grain contemporaneously. Camilleri’s works go through an elaborate process of re-invention with the exception that they not only reference the original or earlier work but also incorporate it physically on the same canvas.

This working practice saw its beginning around 2006 with Austin’s revisiting of his own paintings of the 1990s, following intense phases of sculptural, installation and video activity. This process of using existing paintings to serve as significant departure points for further image intervention by the artist was also extended to incorporate appropriated, acquired and even commissioned works by other artists. It is through this practice of parallel representation (which also echoes the imagery created when two video streams are frozen in mid transition) that Camilleri manages to create a metaphor that stands for his own characteristic restlessness, a trait that permits not only self-reconsideration but also finds methods of reconciling opposing polarities of concept through transparency of paint and masking of forms.

The video mix or transition is a device that in the language of media many times symbolises a passing of time between the former and the latter scenes. Freeze frames caught in mid transition by their very nature put across two strands of parallel, possibly diverse information that fuse into one visual composite. The practice of adding veils of colour onto an existing colour structure in both the (visual) electronic and digital media as well as in painting many times result in a neutralising of the overall picture vibrancy through a process of cancellation produced by opposing chromatic strengths. Camilleri makes full use of this technique and couples it occasionally with strategic scraping and masking to reveal the various intensities of forms and layers of paint residing beneath. Through this fragmentary practice of conceptual and visual (re)intervention the artist chooses to suspend both the original and the new versions of the painting in their newfound metalanguage, a strategy that points to the well-worn practice of parallel narrative, involving the coexistence of simultaneous and interconnected points of view so relevant to today’s Internet screen culture.

VinceBriffa

AUSTIN CAMILLERI November Test

Painting, acrylic and oil on canvas, 200750 x 70 cm

No. 07

AUSTIN CAMILLERI November Pass


No. 08

ANDREÏ CIUBOTARU

* 16.1.1977 Bucarest (RO)

1994-1997 University of Alaska, Anchorage (USA)

1998-2002 National University of Arts, Bucarest (RO)

2002-2003 Master, National University of Arts, Bucarest (RO)

2006-2009 PhD, National University of Arts, Bucarest (RO)

Exhibitions:

2017 Galerie Lee, Paris 2016 Galerie Simeza, Bucarest2016 Galerie Mora, Bucarest2014 Musée d’Art, Arad2014 Varna Biennale “August in Art”, Bulgarie2013 Gallery Night, Bucarest, parc Carol2011 DemisolGallery, Bucarest2011 UNA Gallery, Bucarest2010 Galerie Simeza, Bucarest2010 Recycle NestGallery, Bucarest2009 Centre Culturel PalateleBrancovenesti, Mogosoaia2009 Galerie Calina, Timisoara2009 2RArt gallery, Londres, Angleterre2007 Galerie CaminulArtei, Bucarest2006 Galerie Apollo, Bucarest2005 Galerie Apollo, Bucarest2005 “Trialog”- Land-Art Symposium - Hundisburg, Allemagne2004 Prometheus Club, Bucarest2003 Galerie d’art, Bistrita2002 Galerie Frezia, Dej2002 Autoportraits- Belgrade, Yougoslavie2001 Galla Gallery, Bucarest1997 Prints - Anchorage, Alaska1996 Campus Center Gallery - Anchorage, Alaska1995 Anchorage, Alaska

Awards:

2015 Prix pour la peinture, décerné à la biennale nationale d’art contemporain “Aegyssius”, Tulcea, Roumanie2014 Prix du jury spécial décerné à la biennale nationale de l’imprimerie “Danubius”, Tulcea, Roumanie2011 deuxième prix - Biennale nationale de la gravure - Targoviste, Roumanie2008 Prix décerné par l’association des avocats “Stoica and Associates”2006 Prix d’excellence pour jeunes artistes décerné par l’Union roumaine des employeurs.2003 Prix du ministère roumain de la Culture pour le projet «UrbanQuarantine» du festival «Performing Places» organisé par le British Council Roumanie au centre-ville de Bucarest1995 Deuxième prix – “All students exhibition”, Anchorage, Alaska

Public and private collections:

Roumanie, Musée Nationale d’Art ContemporainDanemark, résidence de la Reine Margrethe II.Roumanie, Anastasia FoundationRoumanie, Mogosoaia PalaceRoumanie, Musée d’Art, Arad

Artist and work

“A child at the time of communism, my best moments were the times spent in the summer months with Horia Bernea, he encouraged me to paint water colours and I was in heaven.” This ancient house belonging to Georg Enescu was a meeting place and place of exchange for Rumanian artists, some of who were part of groups such as “9 + 1”, or later the neo-Byzantine “Prologue”.

Their proximity impregnated Andreï Ciubotaru with a certain perception of nature, of sacred geometry, a strong sense of ethics, which was later to permeate his art.

At the age of 17, carried on the wave of self-imposed exile of the transitory post-Communist era, he succeeded in leaving his country and going as far away as possible. He followed a friend as far as Anchorage.

He exhibited his engravings and three years later obtained his first university degree from the University of Alaska. “Andreï Ciubotaru ... showed himself to be extremely sensitive and preoccupied with finding a solution to the problems of conscience caused by the pressure of life in the ‘terror of history’”, wrote Constantin Prut in his article The Arch or The Poetics of Transcendence.

Once he has completed his studies of painting and engraving in the United States, he puts into practice back home his ideas on art. He returns to his house, joins the National University of Arts in Bucharest and gives form to his particular art language. Open, he shares his art with other artists, among them Jan Eugen, Nicu Ilfoveanu, Florin Cuibotaru, Vlad Basarab. He initiates the creation of different groups of artists from different schools, “to support the idea of getting to know and to mould the phenomena of contemporary art.”

He is a professor at the National Art University, exhibition curator, a performer, a founding member of the NIT gallery in Bucharest. He influences urban landscape with remarkable contributions on a grand scale (for example Saint George and the Dragon, Naieni, Buzau County, Urban Plants, Otopeni, Man in Chariot in Kiseleff Park, Bucharest …). He participates in colloquia on land art in Rumania and elsewhere. Outside Rumania, Andreï Ciubotaru’s work has been shown in the following places: Anchorage, United States; Chisinau, Republic of Moldavia; Land Art Symposium, Hundisburg, Germany; Varna Biennale, Bulgaria; London, England.

Clouds, 2016. Felt and acrylic on canvas, 18 pictures

Andreï Ciubotaru structures the interior and exterior world of the works via the framework, the contour. In Clouds this thin frame is a line of support for the empty white spaces and the surfaces saturated by black.

Gradually, during the creation of the series, he abandons the flat achromatic surfaces by adding silhouettes, which in their turn become more and more organic. Living entrails surrounded by thin lines.

The organic form imposes a geometric approach of reading. The clouds take their place in accordance with the rules of art. The interior world occupies the whole surface of the canvas. The canvas incorporates Clouds in a geometry made of sections, zones, different perspectives, asymmetric shapes.

This paradoxical order provides a larger view, not of the internal cloud, but of its shape.

Looked at from the frame of the canvas, the shape does not reveal the beat of the organic interior but a picture that can be identified.

Clouds is neither a question of three-dimensional portrayal, nor the capturing of clouds in the sky. It is living life captured in “painting”.

“... Looking at the work, we cannot divine the history behind it, this is not my intention, I prefer to leave narration to writers and to keep to shapes, materials and colours.” A.C.

Camilo RacanaExhibition curator, Paris, December 2016

ANDREÏ CIUBOTARUClouds I

Painting, charcoal and acrylics on canvas, 2016130 x 110 cm

No. 09

GIOVANNI DE ANGELIS

* 23.2.1938 Ischia (I)

1949 Prize Primo Premio del Fanciullo Artista, Milan (I)1950 Meets Swiss sculptor H. Haller and subsequently works in hisstudio in Zurich (CH) and that of sculptor Zschokke in Basel (CH)1954 Meets poet Eugenio Montale on Ischia and models his bust1955 Participates in Quadriennale d’arte di Roma in Rome (I)1958 Award Rassegna Nazionale del disegno, Florence (I)1959 Meets sculptor Giacomo Manzù 1960 Studies at Accademia d’arte in Florence (I)1961 Scholarship granted by the German government for the Academy in Munich (D)1962 The museum of modern art Museum Ludwig in Cologne (D) (Collection Haubrich) acquires one of his sculptures1968 Five year sojourn in Moltrasio (Como/I), contact in Milan with E. Montale, F. Russoli, Enzo Fabiani, Gryzko Mascioni, Dino Buzzati, P. Chiara, A. Sala, R. Sanesi and others1973 Return to Ischia, contact with R. Guttuso, Libero de Libero and others1974 Realisation of the Monument for Giacomo Matteotti, Ischia1976 Works in Carrara (I), developing friendly relations with sculptor G. Vangi 1981 Moves to Novilara (Pesaro/I)1985 Study trip to Peru1986 Assignment to create a Monumento alla Pace on Ischia (I)1986 Large-form sculpture in Tuscan travertine for Il Giardino of Eleonora Sachs in Forio d’Ischia (I)

1986 Study trip to Greece with Vangi and Piattella1988 Assignment to create a Monumento alla Pace in Nova Milanese (I) 1989 IVth prize in the competition to create a monument for Ludovico Arisosto in Reggio Emilia (I) 1989 Ist prize in a painting and sculpting competition Rassegna internazionale di pittura e scultura Bice Bugatti1990 Realisation of thee multiples for the Centro culturale E. Bugatti in Ora (I)1991 Study trip to Egypt 1994 Return to Ischia (I) 2000 Sculpture symposium directed by Floriano de Santi in L’Aquila (I)2001 Realisation of a large sculpture in Vesuvian lava for the city of Heilbronn (D) 2002 Realisation of a bust of the publisher and producer Angelo Rizzoli, Villa Arbusto, Lacco Ameno (I)2003 Realisation of a large sculpture in Carrara marble for the city of New York (USA)2005 Realisation of the multiple Kommunikation for Life Systems, Hamburg (D)2006 Realisation of a bust of the archeologist Georg Buchner, Villa Arbusto, Lacco Ameno (I)2008 International sculpture symposium in Amman (JO) and installation of his work Uomo al cellulare (man at his cellphone) in the Jordan gallery for modern art in Amman (JO)2011 Participates in the Biennale of Venice (I)

Individual exhibitions:

1962 Foyer of the theatre Contra Kreis, Bonn (D) Italienisches Kulturinstitut, Cologne, (D)1963 Italienisches Kulturinstitut, Cologne (D) Raymond Burr Galleries, Los Angeles (USA) Galleria Centrale, Arezzo (I)1965 Volksbücherei, Bremen (D)1970 Galleria Levi, Milan (I)1973 Galleria Cortina, Milan (I) Galleria Pannelle 8, Locarno (CH) Galerie Schöner Wohnen, Zurich (CH)1975 Galerie Im Zielemp, Olten (CH)1976 Westdeutsche Landesbank, Münster (D) Galerie Seifert-Binder, Munich (D)1978 Galerie Antares, Munich (D)1986 Galerie Im Zielemp, Olten (CH)1987 Galleria S.Carlo, Milan (I)1988 Galerie Wolf, Düsseldorf (D)1989 Centro Culturale E. Bugatti, Auer (I)1990 Galerie Wolf, Düsseldorf (D)1991 Galerie Zschokke, Basel (CH)1992 Ausstellung in der Altstadt, Sarnano (I) Galerie Am Markt, Cologne (D)1993 Sala della Ragione, Anagni (I) Galerie St-Jacques, Brussels (B)1994 Castello di Federico, Candelara (I)1997 Galerie Am Markt, Cologne (D) European Parliament, Strasbourg (F) Galerie St-Jacques, Brussels (B) Torre di Michelangelo, Ischia (I)1999 Sender Freies Berlin, Berlin (D) Schloss Reinbek, Hamburg (D)2001 Museo Maltese Il Torrione, Forio (I)2004 Museo Luchino Visconti La Colombaia, Forio (I)2005 Galerie St-Jacques, Brussels (B)2006 Academy of European Law (ERA), Trier (D) Galerie Haus Isenburg, Kierspe (D)2007 Hannover Gallery, Hannover (D) Tucholsky Museum, Schloss Rheinsberg (D)2008 Hindenburg-Klassik, Hannover (D)2009 Universität Club, Bonn (D)2010 Torre del Mulino, Ischia (I) Beate Öhler, Art Consulting, Cologne (D)2011 Galleria Ielasi, Ischia (I) Ramirez Màro Galerie, Huset (B) Galerie De Twee Pauwen, The Hague (NL) Galerie Heidefeld, Krefeld (D) Galerie Gottschick, Lübeck (D)2012 Galerie Müller-Petzinna, Lübeck (D)2013 Town Hall, Stuttgart (D)2014 Officina della Memoria e dell’Immagine, Fiuggi (I) Castello Aragonese, Ischia (I)2016 Galleria Ielasi, Ischia Ponte (I)

Artist and work

… The originality of de Angelis’ sculptures lies particularly in the combination of various historical roots, different sensitivities, various objectives in relation to formal research, without any contradictions. Both a Nordic and Mediterranean man, de Angelis looks both to the future and the past, bringing different histories and cultures together, with the intention of finding a common denominator for all. Giovanni de Angelis places this experience in the centre of the world, in a transformation of art into life and life into art, in this way constantly reflecting the ever-flowing changes which he portrays in his sculptures.

Vittorio Sgarbi, Art critic, 2004

… The tension between the perfect closeness of the three-dimensional organism and inner movement, which we see emerging and flowing on the surface of the sculpture never attacks the solidity of the outer profile. Hence the three-dimensional block never opens to this, it does not yield to the gesticulating drama, as so many contemporary sculptures do. Sealed in a form of ideal clarity they never give the movement that unfolds in the inner of the sculpture the impression that it can overflow and spread itself in a disorderly manner in the space surrounding it; we never have the impression that it sometimes tends to include the space or to weave it into the three-dimensional structure.

Vitaliano Corbi, Art critic of the daily newspaper “La Repubblica”, Naples, 10th March 2006

… Giovanni de Angelis’s sculptures are forms of three-dimensional space, in the narrower sense as well. They live from a sometimes fragile and apparent ambivalence between openness and closure, caused by concave, space-filling and convex space-repelling volume. This results in a dialogue of exciting tension between the sculpture and the space: The convex shape enables the sculpture to assert itself in the space, bound together almost block-like round an inner core. The concave “oscillating” shape, on the other hand, opens to the space and counters the impression of mass. There is interplay between disguise and exposure, a balance struck by the artist between centripetal and centrifugal forces.

Dr Ulrich Bock, Art critic, 2009

… Against this stand the dynamic and expressive shapes of de Angelis’s work, storming through time and space, which seem to free themselves from the statics of gravity. Their surfaces are torn open like the sculptures of Auguste Rodin and they press forward in a way that reminds of us of the futuristic shapes created by Umberto Boccioni. Apart from this we see surrealistic echoes in some of the sculptor’s work diametrically opposed to this, in their proximity to dream and slumber, which shine with Cartesian clarity and appear to proclaim a world and sense of reality de more geometrico. Even this brief abbreviation of his work testifies quite clearly how blithely the artist borrows from different centuries for his sculptures, and how his work combines present and past, the modern and antique as well as abstraction and concreteness.

Michael Stoeber, Art critic, 2011

GIOVANNI DE ANGELIS Female figure with garment

Sculpture, white marble, 2010

82 x 20 x 23 cm

No. 11

GIOVANNI DE ANGELIS Young man with open mouth

Sculpture, Vesuvian black lava, 2010

60 x 25 x 20 cm

No. 12

VOLKMAR ERNST

* 2.9.1959 near Reutlingen (D)Regular painting practice from the age of eight years1980-84 Philosophical studies with Sotirios Pantelidis in Reutlingen and Tübingen (D)Around 1980 first exhibition of paintings in the show Reutlinger Künstler, Cityhall Reutlingen (D)1985-89 Study of fine arts, art-therapy and teaching of art at the Hochschule für Kunst im Sozialen in Ottersberg/Bremen (D)Since 1990 exhibitions in Ottersberg (Bremen), Limburg/Lahn and Frankfurt am Main (D)1999 Move to France (near Poitiers)2014 Move to Corsica (near Calvi)

Recent painting series:

Tribute to Gil Scott-Heron (2008), Journal français 2011, Dunkelzone (Dark zone) 2013, 2016

Exhibitions:

Germany, France, Switzerland, USA, Hungary, Italy, England, China.

Since 2014 Participation at Salon Réalités Nouvelles/Paris, France

Collections:

Conseil Régional Poitou-Charentes / Poitiers, France

University of Poitiers, France

Collection Albert Alföldi / Hajos, Hungary

www.volkmar-ernst.com

Artist and work

Volkmar Ernst or the tremors of opaqueness

Broad handwriting, edged in an unknown way, in the unfathomable without limit, the enigma grows against the inexorable walls of a sombre and superb masonry. An art of awakening and elevation, on the threshold of the essential, as Volkmar Ernst, modest and distant, never speaks too much of his work. At the centre of this artistic asceticism, this creator of inner spiritualism does not dwell on a multitude of colours or provocations. He prefers to use the modulations of hidden values, in many variations he explores the totality of a shade in a way close to silence. A style of painting full of awareness.

On the edges of western abstraction, Volkmar Ernst’s work is surrounded by a sense of absence, a rich and fertile absence, that extinguishes everything within itself that skirts around the visible and which applies itself blindly to the appearance of the world. By distancing himself from daily seductions, Volkmar Ernst allows vast gestures to vibrate which unfurl the majestic unspokenness of the depths of an archaic spirit. His so-called abstract art is that of a revelation in reverse, one of latent shudders of deeply buried mental night, where everything is silent and withdrawn.

The space of art opens here to the strange and unlimited, with waves of distant mediation which approach the holy. An immaculate alphabet, clear, of surprising density. Volkmar Ernst’s painting, harshly vertical, never abandons itself to a gesture that liberates. Like a talisman of immensity, like a dark mirror of secrets, it reveals itself slowly. The clearness of the day is not desired, nor the ease of carnal impressions.

Something has been snatched from the most secret depths of the whole state of material life: the opposite of the body of the universe. Solitary islands of the soul cross the opaqueness without the depth of the original and burst onto the canvas. Then Volkmar Ernst devises a fragile wall of intense and shimmering signs, which mask any crashing of the depths. Traces of these signs, simply, almost nothing, which dare to enclose the whole. The entire work trembles with murmured intensity, dazzling and tragic, restless and magical. Art of mental clifftops. A sombre poignant presence, as the base of the picture is bottomless space.

In Volkmar Ernst’s tense serenity, the basic elements fuse together, creating a symbolic universe of incredible depth. A darkness of distance and forgetfulness, sublimating the material, absorbed in itself, by degrees of subtle and distant levels of awareness, eternal cosmic energy.

No message, no speculation, no speech. More a meditative and poetic ascetic of a show of sensitive life, more like the precious mirages of the intellect, but with hard fractures, like the broken echo of a forgotten fusion, which sometimes signal sharp traces of the bruises of life. This is the tainted/immaculate framework of the innermost being that the artist communicates, when spiritual night, indefinitely crushed and reconstructed, only permits the essentials to appear. In the hollow of the bottomless pit.

The art represents the prodigious depths of our emotions.


VOLKMAR ERNST Dark Zone

Painting, oil on canvas, 2013200 x 190 cm

No. 16

JOSEBA ESKUBI

* 1967

Lives and works in Bilbao (E).

Graduated in Fine Art from the University of the Basque Country, where he currently teaches.

Individual exhibitions:2017 Lesas de Merlo, Galería Estampa, Madrid (E)2016 Mo, Galería Esther Montoriol, Barcelona (E)2015 EN PASSANT Galerie Artdocks, Bremen (D) SACROSANCTUM, Oratorio di San Mercurio, Palermo (I)2013 HIPNOSIA, Galería Paula Alonso, Madrid (E)2012 INSOMNIA, Sala Rekalde, Bilbao (E) Galería Alegría, Barcelona (E) La sonrisa de la Ballesta, Madrid (E) Conde Mirasol 1, Ehu-UPV2010 Galería Jamete, Cuenca (E)2008 Galería Epelde & Mardaras, Bilbao (E)2005 CENIZA, Galería Muelle 27, Madrid (E)2002 Galería Bilkin, Bilbao (E)1997 Galería La Brocha, Bilbao (E)1994 VIRUS, Aula de Cultura de la BBK, Elcano, Bilbao (E) Casa de Cultura de Gallarta (E) 1993 Casa de Cultura de Muskiz (E)1992 Galería La Fundición, Bilbao (E)

Group exhibitions:2016 Alfonso & his friends, Galería Juan Manuel Lumbreras, Bilbao (E) DARK MATTERS, Temporary Art Centre, Eindhoven (NL) DREAM Knight Webb Gallery, London (UK) Feria Estampa, Galería Estampa, Madrid (E) DESTINESIA curated by DH Dowling, Stephen Romano Gallery, New York (US)2015 Zwiegespräch II – Dominik Zehnder & Joseba Eskubi, Galerie Fravi, Domat/Ems (CH) DARK MATTERS, Temporary Art Centre, Eindhoven (NL) delicARTessen 14, Galería Esther Montoriol, Barcelona (E) NIGHT ON EARTH, Collegium Hungaricum, Berlin (D)2014 GRAND OPENING, Galerie Artdocks, Bremen (D) delicARTessen 13, Galería Esther Montoriol, Barcelona (E) KONTVENTPUNTZERO 2014, Silenci abans de Bach, Cal Rosa (E) ENCAPSULADOS, Casa de Sostoas, Málaga (E)2013 PULSE MIAMI, Galería Mirus, Miami (US) NOT NOW, Galerie Wolfsen, Aalborg (DK) ART COPENHAGEN, Galerie Wolfsen, Copenhagen (DK) DREAMTIME: NEW SURREALISM, Gallery Mirus, San Francisco (US) PINTA Art Show, Gallery Paula Alonso, London (UK) IN TRANCE, Schafhof, Freising – European House of Art (D) VIELZUVIEL, Galerie Baum auf dem Hügel, Berlin (D) SMALL WORLDS, Galerie im Park, Bremen (D) DINA A33, Galería Louis 21, Palma de Mallorca (E) VERFHOND´S 2013 INTERNATIONAL PAINTING SHOW, Amsterdam (NL)2012 JULEUDSTILLING, Galerie Wolfsen, Aalborg (DK) HIGH ON LOWBROW, Galerie Wolfsen, Aalborg (DK) A SMALL EMBASSY OF LIVING PAINTERS, Galerie Appels, Amsterdam (NL)2011 55 EN KRISIS, Galería Krisis Factory, Bilbao (E) THE 22 SHOW” 22 Magazine, Café Orwell, Brooklyn N.Y. (US)2010 DIGESTIONES, Catálogo General/Epelde & Mardaras Gallery, Bilbao (E)2009 ESPEJO CANALLA, Galería Artificial, Madrid (E) ARTISTAS DE LA GALERÍA, Galería Epelde & Mardaras, Bilbao (E)2008 LA PINTURA EN LOS TIEMPOS DEL ARTE, VEINTE PINTORES ESPAÑOLES PARA EL SIGLO XXI, Baluarte, Pamplona (E)2006 HAMAIRU, Mercado de la Ribera, Galería Epelde & Mardaras, Bilbao (E) SIETE POR VEINTE, Galería Juan Manuel Lumbreras, Bilbao (E)2005 ARTESANTANDER, Stand Galería Muelle 27, Santander (E) FORO SUR, Stand Galería Muelle 27, Cáceres (E) ARTELISBOA, Stand Galería Muelle 27, Lisbon (P)2004 Ibilarte, Aula de Cultura de la BBK, Elcano, Bilbao (E)2003 Ibilarte, Aula de Cultura de la BBK, Elcano, Bilbao (E)2002 Desparadisoa, Cordoaria Nacional, Lisboa (P) Ibilarte, Archivo Foral, Bilbao (E)

ARTFRANKFURT’02, Stand Galería Bilkin, Frankfurt (D)Bilkin Harian, Galería Bilkin, Bilbao (E)

Artist and workJoseba Eskubi – An enchanted art, forbidden und metamorphic

The entities created by Eskubi are transparent, all emerging subtly from elsewhere in the mental world, hardly possessing depth. They exist, at the same time they cannot exist, apart from in the strangeness of painting. Permeated by inconceivable bodily dreams, they are easy to scan with the eye. They do not resist, because they are neither real nor intimate. They are accidents of existence. Ephemeral and sensitive from the realm of fantasy, these cases of sublime failure of normality belong neither more to the interior nor the exterior. Other entities are created, other appearances emerge, other bodily paths are traced. The monstrous body, a superb demonstration of otherness, can venture into the virtualities of the world. Joseba Eskubi, more than any other, gives materialised life to the unspeakable that reigns in the territory of fear. He creates a world of now you see it, now you don’t. He disorientates, because his creations of creatures, no matter how far they are from familiar images, are nevertheless of a disturbing and immodest proximity. Art sometimes offers the unease discerned in another life.

Flowers, flesh, shells, larvae, here in the Eskubian country everything is amalgamated into an improbable and fragile allure. This side of life turns all norms of life on their heads. With the bonus of a hallucinating impact of a frightening pictorial presence.

Joseba Eskubi does not stray from his obsessions, he faces up to them and caresses them gently. The universe is created anew, removed from space and time. It is destiny to be drawn to the unknown.

Dilapidated sketches in the form of hallucinating existences emerge, fluid at the edges, diverted by the moving sands of the nocturnal spirit. Various states of the universe are drawn together, different fragments clash together until the final dizziness incorporates them.

The colours are elegant and fine, inventive and unconventional. They attract, they attract like a splendid poisonous flesh-eating plant towards the central trap of the “thing” shown, and the clever trap closes as we look. Attraction and repulsion embrace, but attraction triumphs, like a bitter poison. Joseba Eskubi dares to show the unusual embodiment of an incessant and staggering metamorphosis. The living metamorphosis leaks the inacceptable, the unbearable, and the horror of being totally enclosed in a final definition, offering all the dangers of identity. What is needed: never to be there, never to be that, never to be here. Eskubi’s universe, of an extraordinary and considerable, but dispersed syncretism, requires an existence which itself is split into numerous fragments, each of which – in a constant and unstoppable explosion – is in a patchy, partial state, often minute, fragile and as it were fixed in the moment of its appearance. Ordinary life, that needs foundations does not create any liveable continent here.

Joseba Eskubi refers to the deepest sources of the birth of the body, to the origins of forms and life. He invents the mystery of an effective and discrete horror, when it is a question of showing the genesis of visuality both seductive – his way of staining is unprecedented –, transgressive and despite it all, a tender but eerie view.


JOSEBA ESKUBI Lesa


No. 18

HANS JØRGENSEN

* 1948

1976 Fine art studies, Copenhagen (DK)

Dedicated to painting, stays several years in Morocco and Spain where he puts numerous exhibitions

1990 Establishment in France, leaving painting and turning to sculpture

Exhibitions:

2008 Galerie Guillet Arcane 17, Paris (F) Le Petit Faucheux, Tours (F): Artaud totem performance with musicians and comedien La Chapelle Sainte Anne, Tours (F)2009 Galerie Larrivage, Troyes (F) Puls’art, Le Mans (F) Galerie Grand’rue, Poitiers (F)2010 Galerie Grand’rue, Poitiers (F) Galerie du Rat mort, Ostende (B) Galerie Jack Drougard, St Emilion (F)2011 Galerie J. Marc Laїk, Koblenz (D): exhibition with C. Miralles2012 Galerie Alain Rouzé, Nantes (F) Galerie La Louve, Arlon (B) Beaulieu, Lausanne (CH): Collective exhibition L’humanité 2013 Galerie la Louve, Arlon (B) Galerie Jakez, Pont Aven (F) Galerie Egregore, Marmande (F) Galerie Art Aujourd’hui, Paris (F): Collective exhibit of small forms 2014 Galerie Art aujourd’hui, Paris (F) : Exposition des artistes de la galerie Galerie A L’Ane Bleu, Marciac (F) Galerie J. Marc Laїk, Koblenz (D)2015 Prix Miroir de l’Art Galerie L’Ane Bleu, Marciac (F): exhibit engravings Galerie J. Marc Laїk, Koblenz (D): Les artistes de la galerie Galerie Richard Nicolet, Robion (F): Les artistes de la galerie Espace St Louis, Bar le Duc (F): pièces monumentales Galerie Art aujourd’hui, Paris (F): La part de l’ombre, four artists 2016 Salon Passage à l’art, Cherbourg (F) Galerie Art aujourd’hui, Paris (F): Exhibition of small forms Palais Bondy, Lyon (F): Artistes en liberté Galerie Egregore, Marmande (F): Nine artists around the topic of Intimacy2017 Galerie Art aujourd’hui, Paris (F): Collective exhibition Ils en font des têtes ! Galerie le cœur au ventre, Lyon (F): Exhibition with painter Hubert Duprillo Galerie Art aujourd’hui, Paris (F): Exhibition with three painters (Isabelle Vialle, Victor Soren and Denis Pouppeville) Galerie Mayhaus, Erlach (CH): exhibition with Anna Altmeyer Galerie Art aujourd’hui, Paris (F): exhibition Les artistes de la galerie Galerie A L’Ane Bleu, Marciac (F) Galerie J. Marc Laїk, Koblenz (D)

Individual collections in the United States, Germany, Spain, Morocco, Belgium, Luxembourg and France.

Artist and work

The grand sculptures of Hans Jørgensen

Hans Jørgensen’s large-scale sculptures are “charged” works. They summon the archaic powers which process the energies of the universe in silence. They capture the original hidden soul of wood and the trees, which lives, breathes and acts. The delicate tree stretches its broken arms towards infinity and humanity. Hans Jørgensen brings these powers together. He seizes the source of vitality of this vigorous material. And the sculptor forms this timeless, bony and fragile flesh in a life-like manner.

The tree is a piece of dry, hardened humanity, close to the human skeleton, and Jørgensen transcends the prohibitions which bar the way to the old and monstrous reality of human animality. The barriers give way to this cursed birth, filled with the eternal obsessions of human bedrock. Hans Jørgensen works as if he was using a scalpel to open the secret surfaces of the body, as if he was removing the skin from all the sculptures of the world. In the cesspit of the deep interior, he beats on the heart within. His art is magical, timeless and heavy with sacral exorcism.

Convulsive chaos is crystallised in totems of bewildering impact, or in split figures that are almost twins. Existences emerge with sketchy, hallucinating shapes, androgynous and fragmented. Coarse definite figures of raw nudity. Animal fraternity is close, convulsive and violent. They too create havoc with any expectations from art. They infringe from all sides, and vital pleasures roam incessantly in the obscure corners of fantasy. Out-of-time surges of a festive, jubilatory and scabrous macabre nature, in a sumptuous theatre of trance and cruelty. Inside this prodigious, striking and murky ritual, broken marionettes maltreat our certainties.

A feverish and medieval mysticism roams. It transforms each piece into formal polemics, demanding, impressive and bewitching. We could say that the material “wood” is burning on the inside because of a sacrificial fire. Jørgensen’s art, far from the seductions of modernity, is a ritual of appearance-preventing loss, against all disappearance. It strikes a blow, in the fact of implacability, for the terrifying singularity of archaic emotions. With its brutal immediacy, with its physiology of the visual impact, it wrenches itself from heavy aesthetics, like the life of the piece, fused with the cruelties, torn from the gravity of life.

This is how great creation lives.


HANS JØRGENSEN Cavalier No. 10

Sculpture, polychrome wood, 2011

53 x 25 x 18 cm

No. 23

HANS JØRGENSEN Corps No. 21

Sculpture, polychrome wood, 2010

80 x 64 x 25 cm

No. 24

RUTA JUSIONYTĖ

* 1978 (LIT)

Lives and works in Paris (F)


2017 Galerie de l’Univers, Lausanne, Suisse. Musée Moncys, Palanga, Lituanie. Galerie Claudine Legrand,Paris.2016 Galerie Danielle Bourdette Gorzkowski, Honfleur. Galerie Picot-Le Roy, Morgat. Vilnius Art Fair, Lituanie. Galerie Saint Rémy, Liège, Belgique. Karlsruhe Art Fair, Galerie Wagner, Frankfurt sur Main, Allemagne.2015 Galerie Claudine Legrand, Paris. Galerie Crid’Art, Metz, France. Galerie 22 Art Contemporain, Cabrières d’Avignon. Galerie Menu Tiltas, Vilnius, Lituanie.2014 Centre d’Art Deforges, Nancy, France. Galerie Aidas, Vilnius, Lituanie. Galerie Claudine Legrand, Paris. Galerie Saint Remy, Liège, Belgique. Galerie de L’Univers, Lausanne, Suisse. Galerie Danielle Bourdette Gorzkowski, Honfleur, France. Galerie Daniel Duchoze, Rouen, France.2013 Galerie de L’Univers, Lausanne, Suisse. Galerie Picot-Le-Roy, Morgat – Presqu’île de Crozon. Galerie Schwab Beaubourg, Paris. Galerie Claudine Legrand, Paris. Galerie Saint Remy, Liège, Belgique. Galerie Daniel Duchoze, Rouen.2012 Espace Arts Visuels, Suisse. Galerie Danielle Bourdette, Honfleur, France. Galerie Art Espace 83, La Rochelle, France.2011 Galerie Au-delà Des Apparences, Annecy, et Galerie Alain Rouzé, Nantes, France.2010 Galerie Daniel Duchoze, Rouen, et Galerie Pierre Marie Vitoux, Paris.2009 Galerie Ardital, Aix-en-Provence, Galerie Crid’art, Metz, et Galerie En Aparté, Limoges. France.2008 Galerie du Cardo, Reims, et Galerie Au-delà des Apparences, Annecy. France. Galerie Pierre Marie Vitoux, Paris.2007 Galerie Pierre Marie Vitoux, Paris, et Galerie Picot-Le-Roy, Morgat – Presqu’île de Crozon, France.2006 Galerie de l’Arc de Triomphe, Saintes, et Galerie Art 4, Caen. France.2004 Galerie Françoise Souchaud, Lyon, France.

Private and public collections:

Acquisition pour le Musée d’Art Moderne à Vilnius, Lituanie. Huit toiles acquise par le collectionneur privé pour le nouveau musée d’art contemporain à Vilnius, Lituanie. Acquisition par le Musée d’Art d’Anges en Lituanie.Ville de Mans, France, acquisition d’une sculpture.Acquisition par “ Lithuanian Expatriate Art Foundation’s collection” en Lituanie, sculpture.Prix Georges Coulon : price of the Academy of Fine Arts at The University of France for figurative sculpture (2015).

http://www.rutajusionyte.com

Artist and work

Ruta Jusionytė – Her sculptures of humanity

The eyes are larger. The fragility is greater. Ruta achieves this ritual of revealing nudity. Her beings are human gaps. Through them, we see, as there are bodies surrounding the gaps through which infinity slips. There is no more horizon, the sky has been removed. Perhaps they have the colour of mud and a burnt look. But the original mud is still burning. These are beings densified by pain, by deficiencies and with a strange energy. Nothing can be taken from them, for they no longer have anything. They have lost everything, apart from our humanity. They are not invincible, a breath would blow them away, a reproach would appal them, and yet they are undefeated. They have crossed through the destruction of all externals, they are indestructible.

They are our brothers of the abyss, they will survive until the end of time. Their organs are all as one. Everything has solidified, everything is concentrated. Their density is terrible. They would break hearts. But they are still within reach of our tenderness.

A small eternal man, with gentle sex, offered to immensity. A woman with a dangling heart. A clinging child. Together, they are one. One single look. Every piece of work by Ruta is an island of sublime life. A final resistance, resisting everything, has taken shape…

Ruta works in the irrecoverable world. For her, it is always night. Unlimited, interminable. She challenges the part of shadow which normal life does not dare to challenge, she speaks of the swathes of being, the sacrificed bodies of our shadows and their mortal beauties.

She knows how to work the soil, the soil in which she works, and its characteristics, and the ancient culture of the Baltic coasts. These indescribable beings, poignant and caring, have the muffled nostalgia of living sources, intimate myths and secret legends. They inhale our wounds and our silences. They have flaws, fissures, transparencies, cracks and, above all, the flows of the sky. Because Ruta Jusionytė does not stop at suffering. The angel has forgotten the beast and catastrophe has been put to flight. From the spiritual in art... Tenderness withstands everything.

Sculpture with risks, like that of Ruta, as there is not even a hint of distraction, not any mirage of seduction, but an insidious contagion, the high and implacable presence of great work. An extreme and raw compassion. Delicate alchemy of the hardest presence and cruel beauty.

The miniature people, these ageless humans, powerless, essential, and of a strangely reduced size, amalgamate the insupportableness of the too-much lived with the bewildering elimination of these children of the soul. These beings with their posthumous regard are the hard mirrors of our souls. Where everything is silent, infinitesimal, fangs on the inside, they speak without words of the eternal enigma of existence.

Ruta Jusionytė sculpts humanity in the raw. And her sculptures bear the eternity of life.


RUTA JUSIONYTĖ La belle et la bête (The beauty and the beast)

Sculpture, terracotta, 201650 x 43 x 25 cm

No. 25

RUTA JUSIONYTĖ La femme et le chat bronze 1 (Woman and cat bronze 1)

Sculpture, bronze, 201435 x 30 x 15 cm

No. 26

JÁNOS KALMÁR

* 1952 Budapest (H)

1973-1978 Studies at the Academy of Fine Arts in Warsaw (PL) and the Academy of Fine Arts in Budapest (H)

2011 Doctor of Liberal Arts at the Hungarian University of Fine Arts in Budapest.

www.janoskalmar.com

[email protected]

Works in public collections:

British Museum, London (UK) City of Bath (UK) British Art Medal Society, London (UK)American Numismatic Society, New York (USA)Graf-Zeppelin-Haus, Friedrichshafen (D)Museum of Fine Arts, Poznań (PL)Skironio Museum, Athens (GR)Hungarian National Museum, Budapest (H)Hungarian National Gallery, Budapest (H) Museum of Literature, Budapest (H)Janus Pannonius Museum and Csontváry Museum, Pécs (H)Liszt Ferenc Museum, Sopron (H) City of Kiskőrös and Bácsalmás, (H)Szombathelyi Képtár, Szombathely (H)

Individual exhibtions:

2016 Galerie Art Aujourd’hui, Paris (F) Galerie55, Paris (F)2015 Spiritual gravitation, Fuga, Budapest (H)2014 Spiritual gravitation with János Aknay, Vajda Stúdio, Szentendre (H)2013 Space-antropology with Janos Aknay, Gallery of the City of Érd (H)2012 Horváth Endre Gallery, Balassagyarmat (H) Fuga, Budapest (H) Salon Karinthy with Bence Kalmar, Budapest (H)2011 Soul Positions, Aulich Art Gallery, Budapest (H) Soul Positions, University of Fine Arts, Parthenon Hall, Budapest (H)2010 Zikkurat Gallery, Budapest (H) Aulich Art Gallery, Budapest, (H) Hungarian Cultural Center, Moscow (RU)2009 Door to Eternity, Evangelist Church Csillaghegy, Budapest (H) New Drawings, Gallery IX, Budapest (H) New Works, Nagy Balogh Gallery, Budapest (H)2008 Espace 181, Paris (F) Körmendi Gallery, Budapest (H)2007 Soul Positions, Museum of Králíky (CZ)2006 New Works, Lénia Gallery, Budapest (H)2005 Sculpturengalerie Krafft, Gebenstorf b. Baden (CH) La Notte Bianca, Hungarian Academy in Rome (I)

Artist and work

János Kalmár is one of the most outstanding figures of contemporary Hungarian sculpture. His career started in the 1970s. He spent years in Africa and India as a child and began his studies in Poland.

Already in his youthful small-scale works he experimented with monumentalism and abstraction of bodies. At the onset he was influenced by Moore, Brâncuşi, Arp, Gabo, Hepworth and Picasso.

The works of the 1980s anticipate the character of the later series with their blades ripping open the space. The impact of Moore disappears and in place of mass, space becomes the important element which his statues are not meant to fill but to mark out.

In the late 1990s the fundamental standing, sitting, lying poses of the human being appear. Most spiritual of all is the standing pose. The spirit is aspiring upwards. Standing is the most spiritual, most disembodied position.

Interpretation is the tool of his anthropomorphism. His figures are not male or female, but human. His figures reaching upward visualise the exposedness which is only connected to human beings. His philosophy of art calls to mind Pascal: “Man is but a reed, the most feeble thing in nature, but he is a thinking reed”.

Kalmár’s themes are reduced, but he admittedly wishes to show only that much. Self-restriction enlarges the artistic problem – the elementary questions of the creative process – and makes them comprehensible for the viewer in the present.

One of the innovations of his statues concerns the base. The statue and the pedestal have a deliberate harmony, the finely carved limestone is an integral part of the statue.

János Kalmár is the artist of vita contemplativa, contemplative life, of someone left alone with the existential questions of man. Transcendence shows through his meditative body postures, his ascetic, monastic world ashamed of the body.

His self-restraint is not impoverishment but it gives rise to a rich diversity at the level of reduction. His spiritual origo is being cast into the world, being fully aware of the human fate. This lends the solitary, withdrawn figures of János Kalmár intimacy and dignity.

Erzsébet Szitás

JÁNOS KALMÁR Spiritual Gravitation II

Sculpture, bronze/limestone, 2014190 x 30 x 20 cm

No. 27

JÁNOS KALMÁR Spiritual Gravitation III

Sculpture, bronze/limestone, 2014182 x 40 x 21 cm

No. 28

KAIA KIIK

* 1973 in Estonia

1992 Degree from the School of Applied Arts, Tallinn (EE)

2000 Master in epistemology, Ecole des Hautes Etudes en Sciences Sociales (EHESS), Paris (F)

2003-2005, researxch in the United States (Los Angeles) supported by the Friedland Soutyrine Foundation

Since her stay in the US, Kaia Kiik’s work focuses on the transformation processus of matter in a space and time framework. She works with organic and mineral materials or/and objects of value by exposing them to natural and meteorological forces. In her approach, Kaia Kiik wonders about the traces of life between hazard and determination.

Recent artistic inspirations by Giuseppe Penone, Antoni Tapiès, Anselm Kiefer.

Recent exhibitions

2017 Exhibition Sur la frontière de la terre et de l’eau, ces paysages estoniens on the occasion of Estonia’s Presidency of the Council of the European Union, Brussels (B)2012 Reliefs, Galerie Artligre, Paris (F)2011 Horizons, Galerie Ecart, Paris (F)2010 Strata II, Galerie Pierre Kleinmann, Paris (F)2009 Strata I, Vaal Galerii, Tallinn (EE)2007 Conceptual Portraits, Left Coast Gallery, Los Angeles (USA)

Awards2011 The Culture Endowment of Estonia (Eesti Kultuurkapital)2009 The Culture Endowment of Estonia (Eesti Kultuurkapital)

Artist and work

The art of Kaia Kiik

In Kaia Kiik’s art there are so many infinite shades of freedom that it’s not possible to express them all in words... But the spectator will be enchanted by her images. By entering in the picture every grain on the canvas becomes important as it will be enlarged a thousand times by the lens of the human soul. The landscapes which open up to the spectator are mainly matt and dusty, giving the feeling that all this cosmic dust or perhaps urban dust has fallen on the picture and has accumulated into a dense soil over thousands of years. This outmost organic impression – as if these pictures were not created by a human hand but by time and space – is fascinating. And yet there is enormous presence in this anonymity. Or more rather, a possibility of memory.

In the world that Kaia has created, there is much air, the important space for thinking. Maybe this derives from her Estonian background, from chromatic emptiness of Nordic tenebrity and often seemingly eternal winters? Or maybe that kind of thinking-space is a result from Kaia’s philosophical studies: an ability to distil from one’s thinking everything superfluous, until it loses its recognisable form and becomes a status? As any kind of excessive figurativeness, even the most

abstract one, seems to constrain this world. Only a vague gesture, a barely audible sigh will remain. But just when it will seem that you are headlong lost in the weightlessness of these pictures, you will notice something merely recognisable. Snowbound, there will be some dried plants, a bouton or a handful of wheat.

Or a scarlet splodge will gleam through the ice. These are the last shadows in the room – the allusions that there has been someone before us. At this moment the spectator becomes an archaeologist who moves on over the strata of the memory layers, tracing a lost civilisation. Or in the lost moments of a human being – those of the spectator and of the author of these pictures.

Tanal Veenre

KAIA KIIK Tempête (Tempest)

Picture, mixed technique (cement, textile, herbs) on canvas, 2008130 x 162 cm

No. 31

CILE MARINKOVIĆ

* 1947 Belgrade (YU)

1972 Graduated from the Academy of Fine Arts, Belgrade

1977-80 resides in Paris with scholarship of the Yugoslav government

1993 Member of ULUS (Association of Serbian artists)

1994 Member of the Maison des artistes in Paris

Since 1992 lives in Paris

www.cilemarinkovic.net

Main exhibitions:

1968 Galerie Borba, Belgrade (YU)1972 Les rencontres d’Avril, l’abandon du classique, Galerie SKC, Belgrade (YU)1976 VIIle Festival international de la Peinture, Cagnes- sur-Mer (F)1977 Centre Culturel de la RSF de Yougoslavie, Paris (F)1983 L’Art des années 80, Musée d’ Art Moderne de la Ville de Belgrade (YU)1984 Galerie du Musée d’Art Contemporain, Belgrade (YU) 3e Biennale d’Art Contemporain Yougoslave, New York (USA)1986 40 artistes, 40 ans, 40 pays rendent hommage à 40 ans de l’UNESCO, Galerie de l’UNESCO, Paris (F)1988 Gallery of the Yugoslavian Press & Cutural Center, New York (USA)1990 Galerie Sébasian, Varaždin (HR)1992 Exposition ”Sefarad ‘92”, Harace Richten Gallery, Tel Aviv (Israel) and Argo Gallery, Toledo (E)1993 Centre Culturel de la République de Yougoslavie, Paris (F)1995 Musée du Tiers Etat, Podgorica (Montenegro) La peinture en Serbie, huitième et neuvième décennie, Musée d’Art Moderne de la Ville de Belgrade (RS) Kruševac (RS)1996 La peinture et la sculpture Serbe après 1995, Collection du Musée National de Yougoslavie, Belgrade (RS)1999-2014 Biennale d’Art Moderne, Cachan (F)2004 Orangerie du Château de Sucy-en-Brie (F)2006 Musée de L’Histoire yougoslave, Belgrade (RS)2007 Centre Culturel Francais, Belgrade (RS)2009 Musée de l’Armée, Belgrade (RS)2011 Musée du Roi Petar, Belgrade (RS)2016 Assemblée Nationale de la République de Serbie, Belgrade (RS)2017 Orangerie de la Ville de Cachan (F)

Awards:

1975 Palette d’Or de l’Association des peintres, sculpteurs et graveurs yougoslaves (ULUS), Belgrade (YU) 1976 Mention spéciale du jury, VIIIe Festival International de la Peinture, Cagnes-sur-Mer (F)

1995 Grand Prix d’ Octobre de la Ville de Belgrade (RS)2011 Prix spécial pour l’Excellente Contribution à la Culture Nationale attribué par le Ministère de la Culture et de la Communication de la République de Serbie, Belgrade (RS)

Artist and work

Cile Marinković, a Yugoslavian and Serbian painter, began his career in the seventies at a time when Belgrade was a city spilling over with art and intellectualism. Initially influenced by Pop Art, he portrayed the universe familiar to the young of Belgrade carried on a wave of optimism and insouciance. In the course of the eighties, the joyous satire associated with fashionable youth gave way to an expressionism more and more grumpy and restless. Both in the choice of subjects and style: raw shapes and violent colours, he is close to the German “New Wild” movement as well as to the Italian “Trans-avantgarde”, but always with a special Slavonic flavour.

Cile attaches himself to persons that he stages, that he keeps at a distance, and who he models according to his imagination. In the street or the café, he makes rapid sketches in a notebook. Back in his studio he traces a synthetic figure on the canvas, first in acrylic that he then reworks and later paints in oil.

Even if the artist remains true to his style, his more recent pictures are more and more refined, synthetic, stylised. By renouncing little by little the anecdotal and the picturesque, Cile focuses on the figure which takes up almost the whole surface of the canvas, on the expressive force of the colour and on the effects of the material.

These faces painted, with broad brushstrokes, feverish and angry, remind us, with their exacerbated expressions, of the heads by Georges Rouault and by their hieratic solemnity of the portraits by Jawlensky. They translate the loss of individuality or even identity in a society that is more and more geared to the masses where personality disappears behind the superficial.

Yves Kobry

CILE MARINKOVIĆPortrait de Leyla


No. 35

CILE MARINKOVIĆLa Découverte (The Discovery)


No. 36

YANNIS MARKANTONAKIS

* 1955 Hania (la Canée), Crete (GR)

During his engineer studies in London, discovers the National Gallery and in particular the impressionists at the Tate Gallery triggering his interest in painting. After graduation, returns to Greece for his two-year military service, after which he joins the shipping company of his uncle in Piraeus. Spends five years sailing and repairing cargo ships all over the world, but never gives up his palette.

At 30, Yannis settles down in Paris and takes lessons from Jean Bertholle and André Bouzerau at the Academy Saint-Roch. In 1987, first exhibition of his paintings.


2017 Ostend (B), Galerie du Rat Mort Berlin (D), Galerie Born2016 Brussels (B), Galerie Albert Premier Born, Darß (D), Galerie Born Paris (F), Galerie GNG Paris (F), Art Élysée avec la Galerie GNG 2015 Saint-Briac (F), Galerie La Boucherie Noirmoutier (F), Galerie Bourreau Ravier2014 Paris (F), Galerie Vivo Equidem Paris (F), Galerie Échiquier Ondes marines La Rochelle (F), Galerie Art Espace 83 Ostend (B), Galerie du Rat Mort2013 Lyon (F), Galerie Françoise Souchaud Strasbourg (F), Galerie Brulée Paris (F), Galerie Nabokov avec la Galerie La Boucherie Marseille (F), Galerie Bartoli The Hague (NL), Galerie Olink2012 Born, Darß (D), Galerie Born Constance (D), Galerie Bagnato Le Touquet (F), Galerie Emmeraude2011 La Rochelle (F), Galerie Art Espace 83 Lubéron (F), Galerie Richard Nicolet Paris (F), Galerie Vivo Equidem Lyon (F), Galerie Françoise Souchaud, exhibition around Frack Sénant’s book Au bord des paquebots2010 Constance (D), Galerie Bagnato2009 Saint-Briac (F), Galerie La Boucherie2007 Craponne-sur-Arzon (F), J. Julien / Galerie Prodromus2006 Paris (F), Galerie Prodromus2003 Paris (F), Galerie Prodromus1999 Paris (F), Galerie Maison Mansart1996 Paris (F), Galerie Maison Mansart Paris (F), Asiathèque with Galerie Maison Mansart1995 Paris (F), Galerie Quincampoix1992 Paris (F), Galerie Maison Mansart

Collective exhibitions:

2016 Constance (D), Galerie Bagnato Dunkerque (F), Galerie Estelle Lebas2015 Dunkerque (F), Galerie Estelle Lebas Ostend (B), Galerie du Rat Mort Brussels (B), Galerie Albert Premier Marseille (F), Galerie Bartoli2014 Noirmoutier (F), Galerie Bourreau Ravier Saint-Briac (F), Galerie La Boucherie Ile de Ré (F), Galerie Art Espace 83 Karlsruhe (D), Galerie Edouard Schrader Fascination mer Karlsruhe (D), Galerie Schrader & Mochental Marseille (F), Galerie Bartoli2013 Troyes (F), Galerie Eric Dumond Strasbourg (F), Galerie Brulée Marseille (F), Galerie Bartoli2012 Noirmoutier (F), Galerie Bourreau Ravier Le Touquet (F), Galerie Emmeraude

2011 Le Touquet (F), Galerie Emmeraude2010 Paris (F), Galerie Prodromus2009 Saint-Briac (F), Galerie La Boucherie Tokyo (J), Galerie Brücke2007 Paris (F), Galerie Prodromus1988-2001 Paris (F), Chez le collectionneur Louis Bernard Polignac1987 Paris (F), Galerie Internationale

Artist and work

Yannis

To a certain extent, Yannis is a revolutionary. This is a surprising point of view, if we simply look at externals: everything in his painting seems to be serene: the sky, the sea, the harbour ... right down to the slumbering, full, freight ships.

Bound to his work like Ulysses to his ship, deaf to the song of the sirens, caring little for the fifteen minutes of fame that Andy Warhol promised to everyone, he spurns “recognition”, rejects the influences that bombard him from every side, particularly that of De Staël, but of so many others since. For he is a very great painter, proud, stubborn, attached to habits, gestures, ways of doing things, sometimes almost “do-it-yourself”, which could be classed as tics but which are evidence of a strange personality: discrete audacity, collages that are almost undetectable, staples placed randomly like hints, fine small volumes cobbled together from digital photographs, copy-pasted, patched together. So many little winks with a smidgeon of modernity.

A craftsman, he delights in working with wood, his favourite medium: raw, dented, gnarled, that lends itself without resistance to manipulation.

He conscripts it, enrobes it with the noble material of art, incorporates it in the noble material of art, ennobles it.

Other have tried to do the same: Torrés Garcia with luck like a game; those as supports of surfaces, more austere ...Yannis is distinguished essentially by banishing any dichotomy between the object being pictured and its component parts, so that the work maintains perfect homogeneity. The work can be seen as “service and accessories included”. He chooses the framework to surround it but does not impose it. The connoisseur is free to choose whether he displays the canvas alone, or combines it with the azure blue wallpaper in his bedroom. Perhaps a way of connecting the connoisseur with the work. For his part, he has done what he felt was right.

He will not like it if I say he is skilled. To say that a painter is skilled, in general, is to denigrate him. For the critic is dangerous. He says he admires the skill and flatters awkwardness, in this agreeing with Paul Klee.

He who says craftsman, says staid: Yannis uses these four pieces of wood like precise instruments: one after the other: the yardstick, bracket, angle, cover, extension, they all enable him to gauge, modulate, modify, test; to make of the canvas a support of “variable geometry”. Reducing at one point, opening an angle, closing another.

Until his personal, definitive vision appears.

Louis Bernard

YANNIS MARKANTONAKIS Cheminées noires (Black chimneys)

Painting, oil on wood, 201585 x 96 cm

No. 37

MARTIN-GEORG OSCITY

* 1952 Bratislava (CS/SK)

1968 emigrates to Switzerland1976 settles in Munich Studium:1961-66 Painting & drawing studies, Academy of arts, Bratislava (SK)Toys design, School of arts and crafts, Brno (CZ)1969-74 Diploma in arts design, School of arts and crafts, Bern (CH)1976-82 Diploma in painting, Akademie der bildenden Künste,Munich(D)Since 1982, independent painter and graphic artistMembership in art associations: BBK (D), Libellule (F), Crossart (D), Künstlerspectrum (D), DUK (SK), KS21 (D), SNKK (D)

Exhibitions:

More than 200 worldwide; most recently in Mexico, Morocco, Paris (F), Slovakia, Prague (CZ), Italy, New York (US), Vienna (A), Traun (D), Linz (A), Viechtach (D), Moscow (RUS) etc.

Awards:

1985 Painting award, Paris – Palais des Nations 1978 Preis für Grafik in Basel

Artist and work

Coming from surrealism in childhood, Oscity quickly finds joy in the style of “Magic Realism”, also known as the “Fantasy Art” of the Viennese School. He founded his VISIONART at the turn of the century. It is its own school of art, consisting of three main components: 1/ the aesthetics of shape, 2/ spiritualty, 3/ quantum cosmology.

He attaches great importance to preserving the universal values of painting and to develop these further. His choice of subjects is enriched by concepts such as beauty, aesthetics, harmony, spirit, even Christian values and the philosophy on the meaningfulness of life and the diversity of creation, whether in the micro or macro cosmos.

He is best pleased by the transformation of elements. The fusing of different shapes and the invention of completely new rich shapes, whereby the laws of the feasible are often rescinded, for example gravity, the concept of time, the logic of materiality and many others. He longs for a freedom that is not of this world.

During his career, he has been awarded many prizes and honours. His art is often copied but – as he emphasises – without taking account of the scale of values on which his art rests. Apart from daily sketching, he devotes himself mainly to oil painting and mixing techniques. He particularly stresses that an artist should be very versatile and love his profession. For him, his details are never precise enough. It is no surprise that he combines old master painting techniques with so much experimental enthusiasm. His style is stamped by the almost endless variety of versatile shapes. In his compositions there are spirals, circles, waves and much movement. His motto is:

as the universe was created from dust thanks to the divine spirit, so should the artist be able to create meaningful works of art with the power of his spirit. On his internet homepage, the following appears: “I love art, so that I cannot prevent myself from serving beauty!”.

In recent years, he has devoted himself to honouring the old masters: historical topics of the Baroque era, the Renaissance or the Gothic style as well as futuristic visions, always on the search for new shapes and aesthetic spiritual elegance.

Marina Culikwww.visionart-malerei.de und www.raum-illusion.de

MARTIN-GEORG OSCITYVenezia Fantasia

Painting, oil on canvas, 2016/1742 x 42 cm

No. 41

MARTIN-GEORG OSCITYWächter der Vergangenheit (Guardians of the past)

Painting, oil on wood, 199891 x 83 cm

No. 42

MAŁGORZATA PASZKO

* 1956 Warsaw (PL)

1975 Academy of Fine Arts, Warsaw (PL), then Ecole des Beaux-Arts, Paris (F)

1979, at the age of 23, she first exhibits at the FIAC.

1986 -1987, scholar at Villa Medici in Rome (I)

Numerous exhibitions, e.g. at Galerie Camomille and Galerie Fred Lanzenberg, Brussels; Galerie Koralewski, Paris; and elsewhere in France, Germany, Greece, Poland and in Beirut at Galerie Mogabgab.

Artist and work

The enchanted work of Małgorzata Paszko

Małgorzata Paszko’s paintings are created from nostalgic wonders, shadows crossed by intimate light. She loves the symbolists, and Vuillard, Valloton and Edvard Munch, all painters of mystery. She enchants the herbal shadows that penetrate the unknown and secret body of an archaic and generous nature, enveloping and protecting. Vibrant vegetation like an immense and fragile skin, permeated by vital clarity. Her work initially lives in landscapes of approach and proximity. In France, with its historic and picturesque traditions, Mediterranean landscapes dominate. They are sometimes brutal, hot, flooded with sunlight, dry, stripped, stony, with a hard outline, in strong colours. In contrast, with Małgorzata Pasko, we feel that the vegetation conceals, that it creates distance, so that an almost living and subtly carnal painting emerges. “I need to be in the centre of the landscape. The vegetation is more important that the outline, it brings us in. I never paint the landscape for the sake of the landscape. The foliage creates proximity, crumbles the light and diffuses it.”

Before painting landscapes, she painted trees, and it is the nostalgia of the trees which led her to landscapes, landscapes heavy with vegetation.

Her creations breathe the enigma, the great enigma of the déjà-vu, the already-lived déjà vu, across the dreams of existence. “My painting is mysterious. It envelops. Everything is mysterious. I need calm and the warm mist. Hiding something is also a form of self-portrait. In painting, we try to be truthful. We communicate feelings which are those of the subject, of its coherence, and its way of being. Painting transcends itself, yearning towards the universal.

Małgorzata Paszko’s art abolishes any cruel distance, her painting shrouds. If something is hidden, a diffuse and latent

form of secret self-portrait appears. In her earlier work, sombre and nostalgic mass dominated, of an almost violet-hued vegetation, of a deep green, almost opaque. And, already, this transitory light enlivens and wakens. There is no block, no blockage, no clamp, no privileged centre as in Chinese painting, but an aerial and globalising vision. Immense breathing. “When the painting is going well, a kind of gentle dance emerges” she told me...


MAŁGORZATA PASZKOFloraison (Florescence)

Painting, pigments and binder on canvas, 2016130 x 60 cm

No. 43

DIMITRIJE POPOVIĆ

* 4.3.1951 Cetinje (MNE)

1974 Meeting Jean Davray, Parisian art collector, in Paris

1976 Graduated from the Academy of Arts in Zagreb (HR)

Exhibitions:

1978 Exhibition of his work by Jean Davray at the gallery Alexander Braumüller, alongside artists such as Salvador Dali, Ernst Fuchs, Victor Brauner, Dado Đurić and Leonor Fini1982 Exhibition by galleries Liberta and Universal Fine Arts from Washington of his graphics with Salvador Dali in Pforzheim (D) Drawings Ommaggio a Leonardo, Palazzo Sormani, Milan (I) to markthe great jubilee Leonardo a Milano - 1482-19822000 Series of work based on the Crucifixion Corpus Mysticum, Sant’ Andrea al Quirinale, Sta Maria del Popolo, l’Agostiniana arte sacra conteporanea, and Pantheon, Rome (I)

Popović had over 70 solo and over 200 group exhibitions.

He received over 30 awards and honours. Ten monographs and fifteen documentary films, as well as essays and poetry were made about Popović and his art.

Artist and work

Dimitrije Popović – Painter and writer

It is obvious, as everyone will be ready to admit, that Dimitrije should be given credit for his exceptionally true anatomy, technical skill, virtuoso modelling, deceiving illusionism, mimetic tricks, interesting details, and so on and so forth. What is important, however, is the fact that this is a systematic world and an individual vision in which deformity suitably rhymes with beauty and where the achieved balance is always questioned anew.

Popović‘s dark imagination responds to every flash of passion (interpreted originally as Passion) and gives birth to monsters in – as Goya would say – an inner inverted mirror.

By returning to the origin of modern West European civilisation and turning to the currents of his lose and intimate Mediterranean environment, he confirms both his own and the collective belonging to the same trends – historically rather than geographically. A proud heir, he is not oppressed

and stifled by the authority of heritage, but moves pliantly, leisurely, imposingly within the bounds of the allotted (and accepted) space and mode of expression.

Dimitrije exposed himself to the beneficial radiation of strong doses of the classical masters in order to be able himself to irradiate others, to express his irreducibly specific quality in relation to the agreed and sedimented code of discipline and technique.

Tradition has given him precious experience, the present its basic breakthroughs and demystification, and yet he has turned exclusively to his own time to establish a mythical projection – the only possible synthesis.

Tonko Maroević

DIMITRIJE POPOVIĆ The Body of the Shadow I

Drawing, coloured pencil, tempera, 201370 x 50 cm

No. 45

DIMITRIJE POPOVIĆ The Body of the Shadow II

Drawing, coloured pencil, tempera, 201370 x 50 cm

No. 46

LUÍS RODRIGUES

* 3.10.1948 Torres Novas (P)

www.luis-rodrigues.fr


2017 Galerie São Mamede, Lisbon (P) L’atelier de Luis Rodrigues, peintures et céramiques, Saint- Sébastien/Loire (F)2016 Palais du roi du Rome, Rambouillet (F) Galerie Espaço Exibicionista, Lisbon (P) Galerie Convento Espírito Santo, Loulé (P) Galerie du Théatre, Guarda (P)2015 Return Home, Torres Novas (P) Traces & récits, Les abattoirs, salle St Pierre & La fabrique, Avallon (F)2011 Galerie A. Bual, Amadora (P)2003 Galerie Art’act, Ancy-Le-Franc (F)2002 Maison du Portugal, fondation Gulbenkian, Paris (F)2001 Ambassade du Portugal, Paris (F)1999 Musée D’Etampes (F)1996 Château de Morsang/Orge (F)1995 SNCF, Art Contemporain Portugais, Marne-la-Vallée (F)1992 Mairie du XIe, Le Portugal dans la cité, Paris (F)

Group exhibitions:

2017 De Lisbonne à Vladivistok, Moscow (RUS) ERA, 25th anniversary, Trier (D)2016 De Lisbonne à Vladivistok, Minsk (BY)2014 MIAB-International Biennale of Madeira (P)2012 International exhibition, Villafranca de los Barros (E)2010 Artistes portugais de Paris du XXe siècle, Galerie A. Bual, Amadora (P)2005 Museu Miguel Torga, Coimbra (P)2004 Artistes portugais de Paris, Museu de Figueira da Foz (P)2001 40 artistes Portugais et étrangers, with José de Guimarães, Graça Morais, Julio Resende, Pierre Buraglio, Paul Buri, Shirley Jaffe, SPE-FENPROF, Portugal2000 Artistes Portugais de Paris, with Júlio Pomar, M. Cargaleiro, Dimas Macedo, Maison du Portugal, Paris (F)1998 FIAC SAGA, Galerie Dialogue, Espace Eiffel Branly, Paris (F)1997 La peinture et la sculpture ibérique contemporaines, with Tapiès, A. Saura, Vieira da Silva et Costa Camelo, Rueil Malmaison (F)1993 Puttingen (D)1992 Sélection du salon Réalités Nouvelles du grand palais de Paris, Libourne (F) Espace Wallonie-Bruxelles, Paris (F) Musée Yavorov à Tchirpan, Sofia & Sozopol (BG) FIAC SAGA, Galerie Lehalle, Grand Palais, Paris (F) Europe Art, Geneva (CH)1987 Düsseldorf (D)1984 Musée Dunoyer de Segonzag, Boussy Saint-Antoine (F)1980 Pavillon français des œuvres/papier, New York (USA) Sensibilités plastiques d’aujourd’hui, Montréal (Canada)

Public collections:

Musée Yavorov, BulgariaMusée de la SNCF, FranceMusée d’Etampes, FranceMusée d’Avallon, FranceMusée de Torres Novas, PortugalMusée Casa Miguel Torga, Sabroza, PortugalCasa Aprigi Gomes, Amadora, Portugal Collection Caixa Geral de Depositos, PortugalCollection de la Ville de Paris, FranceBoston, USAPrivate collections: Algeria, Belgium, France, Germany, Italy, Lebanon, Portugal, Spain, Switzerland, USA

Artist and work

In Luís Rodriguez’s work every canvas is a new adventure and, as Michel Leiris confirms, painting is “a new risk to discover”. Watching the artist at work ... proves this. To be in his studio energises him, provokes this speed of execution that he will deploy spreading shapes in fluid colours, or in some cases, doughy, opaque or brilliant colours, then to scrape them, tamp, recover them or to reinforce them with a contour, sometimes to paint over them the hieroglyphics of a personal vocabulary. With a kind of nervous gesticulation, almost automatic, but which owes nothing to surrealism, or to lyrical abstraction, nor competes with revealing part of the artist’s sub-conscious, he liberates himself from the servitude of realism to achieve his sensitive portrayal without affectation. The brush becomes the seismograph for the recalled transcription of the spaces that forged it. Tangible reality appears on his canvas, at first instable and traversed by a feverish brush or trowel. It emerges gradually, taking shape in the material.

At the beginning of work, a surge of shapes, a cacophony of colours and the fracas of strokes retain the marks of a permanent battle to master impulses and to dominate the canvas that the painter often works with on the floor. If the body is rarely shown, the flesh is certainly present in the skin of the painting that he brushes, as with the enamel on ceramics which will cover the mass of the clay, it is in the material that he forms, that he submits to his sometimes delicate, sometimes aggressive gestures. His works testifies to a sensuous relation with a skin spanned on a frame, a surface where the image is less important than its texture, its resistance or its abandon. (...) We are convinced we see great spontaneity in this method of execution, but it may be that subsequently the painting will be jet-washed, rubbed over, caressed, to be found again. Trying to ensure at every stage that habit has not crept in to make life easier, the artist returns to his picture to eliminate any possible reminder of an earlier work.

Jacques Py

LUÍS RODRIGUESAloes

Picture, mixed technique and acrylic on canvas, 2016162 x 130 cm

No. 47

CHRISTINE SEFOLOSHA

* 1955 in Montreux (CH)

Primary school in La-Tour-de-Peilz, Vaud (CH)

1971-74 Secondary school and diplôme de maturité in Neuchâtel (CH)

1975 Departure to Johannesburg (RSA); meeting with South-African artists, visiting the Market Theatre, stronghold of musical, theatre and artistic experience

1982 Return to Switzerland

1986 In the framework of a preparatory course for the Art Center College of Design of Pasadena in La-Tour-de-Peilz, meets a professor encouraging her to attend a course at that school and recommending her to continue her personal work.

Exhibitions

1988 First personal exhibition (Galerie la Luna, Vevey)1991 Exhibits totemic cardboards, Galerie Aparté, Lausanne (CH)1993 Meets Geneviève Roulin, custodian of the Collection de l’Art Brut, Lausanne (CH)1994 First exhibition of her terres at the Galérie L’Oeil de Bœuf, Paris (F)1995 Contributes to the first exhibition of the Halle St Pierre in Paris (F)1996 First exhibition in the US A at Judy Saslow Gallery, Chicago Invitation to the META Museum, meeting American artists, Black Mountain College, Asheville NC (USA)1998 Award of the Leenaards Foundation, Lausanne (CH)2000 Personal exhibition at the Museum im Lagerhaus, St. Gallen (CH)2002 Meets gallery owners Shari Cavin and Randall Morris representing her in the US (Cavin Morris Gallery, New York)2002 Exhibition at the Manoir de Martigny (CH), dialogue with Claire Koenig on boats Publication of the catalogue “Outremer 3072”2003 (as of), regular exhibitions in Paris with gallery owner Dominique Polad-Hardouin (Galerie Polad Hardouin)2005 Publication of the booklet “Phantom”, art&fiction, Lausanne (CH)2007 Monographic exhibition (with S. Katuchewski), Musée de la Halle St Pierre, Paris (F) Publication of the catalogue “Christine Sefolosha” on the occasion of that event Meets Raymond Meyer in his etching atelier at Lutry, with whom she has worked since on series of monotypes and drypoints2012 Invitation to present her work at Winthrop University, Rock Hill SC (US)2013 Curator for the exhibition De l’inachevé..., Lausanne (CH)

Artist and work

CHRISTINE SEFOLOSHA – Oneiric traveller

There are some artists whose work drifts like a dark voluptuous flower over the unseeing ant-like hordes of the art mainstream. It travels. It moves even as it seems to be stationary on board, canvas, or paper. This art is about travel in a way. We look to the distant horizon or up higher in the skies and see shivering roiling concentrations of energies: birds, leaves, dust, storms, insects, demons, angels all indistinct in the chiaroscuro seconds before attaining form and disappearing in darkness.

I see Sefolosha as an often out-of-body expatriate. A visual wanderer. She is not a shaman. She is an artist. I think many people confuse shamanism for animism. Animism is the imbuing of life and internal

forces to non-human objects and entities. It is less specific. It is a way of belief rather than a dogma. We must never forget that shamanism is a hard-earned discipline. Sefolosha and other visionary artists translate animistic tendencies and impulses into idiosyncratic visual languages.

Animism gives those natural objects and beings souls. By this regard we become linked to them in a form of empathetic identification. More often than not this vitalised essence is spiritual. Sefolosha takes it even further. She recognises stories in dreams and memories. Her paintings illuminate and animate what for most of us is almost intangible. She doesn’t name them. We sometimes recognise their skins, their shapes and forms, or how they are dressed or not dressed, what they once were or will be if they ever do come to be part of an empirical reality but she does not define them. She passes through where their worlds and our world connects with a passport of vulnerability and she observes and shows us what she saw. And so it is up to us to decide what to do with what she has revealed in her passionate approach to form and colour. She challenges us to look.

The power to communicate this imagery can be misused or abused. It can be faked and misappropriated. It can be heavy-handed as the negative aspects of primitivism, cultural colonialism in which the original source of translation, that which is being translated, is erased in favour of the new ‘owner’. Stolen. You cannot claim spirits. You cannot borrow them temporarily. You cannot manifest them by merely titling them as yours. There are too many artists in the art singular world who claim spirits by presenting them as horror vacui on a page and using titles like “voodoo” or “Shaman”. They describe the experience rather than being the very experience themselves. Sefolosha lives these dreams. To call her shaman is to steal her power and intention.

Randall Morris

CHRISTINE SEFOLOSHA Flagstaff

Painting, monotype on chiffon, 201795 x 80 cm

No. 51

CHRISTINE SEFOLOSHA Pirate aux oiseaux (Pirate with birds)

Painting, monotype on paper, 200780 x 55 cm

No. 52

ISABELLE SEILERN

* 26.5.1975 near Salzburg (A)

Interested by photography since her adolescence

Traineeship in Innsbruck (A)

2002 Established in Paris

Exhibitions and salons

2017 Galerie L’Achronique, 42, rue du Mont Cenis (2-21 October) L’arrivage, 6 rue Larivey, Troyes (17 March-15 April)2016 Espace Ségur, Paris 15e La Petite Biennale Photographique de Chédigny Galerie Hebert, Paris 4e La Porte Maubec, La Rochelle Le 102, Paris 6e Editions Albin Michel, Paris 15e, exposition permanente DZD Art Gallery, Roermond, Holland Galerie Culture Graphique, Monts Lille ART UP Galerie Olivier Waltman, Paris 6e2015 Art3F Mulhouse Le 102, Paris 6e Editions Albin Michel, Paris 15e Parcours d’Artistes Belœil, Belgium Consul’Art, Marseille La Prévôté, St. Aignan, Touraine, Identités Rencontre - 4 photographes européennes2014 Editions Albin Michel, Paris 15e Creation of the movement Transfiguring Galerie B&B Identités Rencontre - 4 photographes européennes, Paris 10e Galerie Hebert, Paris 4e2013 Artcité, Fontenay sous Bois Abbaye de Léhon, Bretagne Affordable Art Fair, Brussels Emission télématin (france2) sur son travail de photographe Galerie Samagra, Paris 6e2012 Hivernales de Paris-Est Montreuil MacParis Espace Champerret, Paris 17e2011 Balt’Art (l’Art et le Grand Paris), Nogent-sur-Marne, Pavillon Baltard Galerie Samagra, Paris 6e2010 MacParis, Espace Champerret, Paris 17e Espace Grande Arche, La Défense - Paris Galerie Le Gemon, Paris 3e Galerie Angle de Vues, Boulogne-Billancourt2009 MacParis, Espace Champerret, Paris 17e

Artist and work

Isabelle Seilern – The world is a reflection of the world

There is no doubt that Isabelle Seilern has the eye of a painter, subtle, fine, delicate. This this is only one aspect. She also has a musical eye, because, no matter what her subjects are - light in the water or on tiles, pools trembling with the rhythm of our steps, spectators who chose their place at the spectacle, or perhaps the oars of a regatta, etc., she captures and reflects the tempo of what is happening and brings us into its ban. And how does she do this? Through the music of reflections, through the waves that come from everything and everybody.

Above all, and with certainty (since I would like to be able to demonstrate what it is about this photographer that reaches our eyes) Isabelle Seilern possesses the poetry of the apparently banal, the gift of showing what is extraordinary about the ordinary, if we only look closely. How does she do this? By looking at the reflections of the vision, which produces a side look which lightens our view, which reveals what is there. Shop windows, pavements, roads, worn tarmac, frosted windows, neon light in the rain - so many things where the lens focuses on the prism of this, condensing and liquefying. Then the artist determines and works on the optic in a way that “the” reality that the eye sees reflects the eye that sees it. The eye inseparably fused in the physical and psychological sense with what is known as a” look”, a “way of regarding”, the camera which filters what is happening in the heart of the brain, from the sensitive cornea back to behind the retina, where it is imprinted in the depths of the brain. We do not see without an idea of what we are seeing. But we see even better if we free ourselves from preconceptions and open ourselves to other concepts, without prejudice. Isabelle Seiler does not neglect the concepts embodied in painting, above all those relating to work on optical impressions. She also does not ignore urban subjects which have become part of modern and contemporary images. She shows that these are still valid. For nothing is irrelevant, if the truth be known. This immediate simplicity is proven by the refinement, and the skill in her photographs. And, as we have just seen, the simplicity of a result of this plasticity is always complex to explain. We are in the presence of what only photography can show us. Finally, Isabelle Seilern’s total vision of reflections shows that the world is a reflection of the world. Of this world, obviously, as long as we can see it.

Jean-Philippe Domecq

ISABELLE SEILERN Jeux de Lumière N° 13 (Light games n° 13) Digital photography, analogous print colour RC satin-finished Kodak, bonded Alu 1mm, frame Nielsen Apollo black wood. 5 prints, 201650 x 70 cm

No. 53

JARI SILOMÄKI

* 1975 Parkano (FIN)

I am an artist concentrating on documentary photography. I seek new forms for traditional documentary to narrate and describe people as accurately as possible as individuals and as a part of the society. The topics that I study include expectations imposed by the society, failure and violence. I am also doing post-graduate studies at the Aalto University, Helsinki. The object of my research is directing people and actors in photography.

In my latest work We are the revolution, after Joseph Beuys 2013 I walk on the locations of political murders of the 20th century, taking an equal number of steps to the number of people killed in that particular tragedy. In my work I describe the inevitable loneliness of people in the face of great events. I also take a stand on the rhetoric created by the industrial revolution where the quantification and measurability of an object is a valid basis for a fact. This work is in the collection of the Museum of Contemporary Art Kiasma.

One of the central themes in my art is the place of the individual in the history of his/her own time. This was the basis for my work Room with a View 2011. This work is an installation consisting of texts, photographs and a video. For this work I collected texts of unknown people written on moments that changed the world: the murder of Franz Ferdinand, the Cristal Night, the Cuban missile crisis, Neil Armstrong landing on the moon, the fall of the Berlin Wall, the collapse of the WTC etc. In addition to the text collage this work also includes a projection filmed on 16mm film, in which I project the history and iconic images of the 20th century on the bare hunched back of a hundred-year-old man. The totality of this work illustrates how the apparent exterior also exists within any active actor. This work has been shown in Gallery Viltin in Budapest, Small Project Palace Gallery in Tromso and Gallery Korjaamo in Helsinki. It is also in the collection of the Museum of Contemporary Art Kiasma.

Many of my works are studies on the aesthetics of war, such as Ordinary Town on Ordinary Day 2008. It is a photo series of European towns photographed using the aesthetics of violence and war. I studied the iconic images of the founding generation of Magnum photographers and realised how the form of crisis photography, established long ago, has been directly transferred to the photographs of the next generation. This work illustrates the operational methods of media; how old images influence the photographer’s vision more than the reality of this moment. This work has been shown all over the world, eg in the Cultural Centre of Hungary in New York. I presented the whole work for the first time in my solo exhibition in Gallery Galiga in Milan in 2009.

I present another viewpoint to violence in my work Personal war stories of an outsider 2007. It describes a generation to whom war is absent because it takes place elsewhere. However, at the same time war is omnipresent through media and everyone is forced to face it. Instead of violence the central part of this work is a study of how people behave when faced with the incomprehensible. The whole work has been shown in numerous exhibitions around the world such as the European Peace Museum in Austria. It is in the collections of Pori Art Museum and Vaasa Museum of Contemporary Art.

In My Weather Diary 2001–2051 I connect my personal life to world politics. Since 2001 I have taken a landscape photograph every day. These images connect personal human relationships and terror strikes, raising children and genocides, the smell of coffee and global economy. At present, these ‘Weather diaries’ comprise thousands of photographs and is a continuous process; all exhibitions on this theme have been different. The starting point of this work was that world events, personal events and weather will repeat themselves and merge into one large continuum. On the other hand, tying landscape and news concretises how we are in contact with world events through the media. Everything is brought up close, which also means that events that are truly nearby are no longer close.This series has been shown in more than a hundred exhibitions around the world. I have presented it in Biennale of Sydney in 2004, Biennale of African Photography in Bamako in 2007, Biennale of Belgrade in 2006, P.S.1 of MoMa in New York in 2008. Images of this series are in numerous public collections in Finland and abroad.

My works are in the following collections: Wäinö Aaltonen Museum of Art, Turku, Finland; Helsinki City Art Museum, Finland; Museum

of Contemporary Art Kiasma, Helsinki, Finland; The Finnish Museum of Photography, Helsinki, Finland; Turku Art Museum, Turku, Finland; Kuntsi Museum of Modern Art, Vaasa, Finland; Jenny and Antti Wihuri Foundation, Rovaniemi Art Museum, Rovaniemi, Finland; Saastamoinen Foundation, Espoo Museum of Modern Art, Espoo, Finland.

Artist and work

I was traveling on a tram in Budapest when I have first heard about the collapse of the Twin Towers. I rushed home, turned on the television and tried to get a grip in a suddenly tilted world. Whenever I see the images of the Twin Towers covered in smoke I can see the yellow tram as well.

Jari Silomäki searches for these interwoven points of global events and personal history, but does not dig them up from his memory; he documents them as they occur. He has been capturing images on every single day since 2001 and he notes them with texts. They are random marks of the same moment frozen in time. His handwritten texts can record a personal event or refer to a news item picked up from the media. Therefore, the global events become part of his personal narratives and at the same time as the intimate events, or the existential anxiety of the author, manage to gain global importance. The diary-like format and the sensitive poetic texts place his work somewhere at the threshold between literature and fine art photography.

Silomäki applies one rule only; he takes the pictures during his everyday activities without preparing and he avoids composition. The unengaged mechanic-like photos and the withdrawn attitude of the author reminds one of the first sentence from the novel Goodbye to Berlin by Christopher Isherwood: “I am a camera with its shutter open, quite passive, recording, not thinking.”

According the rules set up by Silomäki the photographer is an unbiased observer, selection is fault. The images document a section of time without much input from the author. Meanwhile the texts are often very personal and carefully selected. The mechanical randomness of the photos are taken to another dimension, they are hijacked by the texts. The seemingly opposite directions don’t invalidate each other, instead they create a tension and a strong juxtaposition.

The images in the My Weather Diary series, often taken at unidentified places, are disquietingly covering up something as well, and this is made obvious by the texts. It is as if Silomäki wouldn’t trust these images, he literally over-writes them, hoping that the diary-like remarks take him closer to the essence of the moment.

These texts inserted into the landscape fragments have another function; they are wedged between the viewer and the landscape. Silomäki doesn’t trust the viewer, he tries to channel the reading of the images with the added texts. He annotates the landscapes with his personal texts, and uses them as an illustration to his remarks. In the case of the texts referring to global events, he invites the viewer to remember “Where were you when the Twin Towers collapsed?”His texts are opening up a door in which the world is pouring in and the seemingly idyllic landscapes are not idyllic islands any more. The images of the My Weather Diary series illustrate the collective claustrophobia called the global village.

On the day of the bombing of Afghanistan Silomäki took a picture in a small Finnish Town. On the day of Arthur Millers death he photographed an Underground entrance in London. The far away events resonate in both images. The picture of Finlandia Hall was taken on the day when the Twin Towers collapsed, and this image, no doubt, contains the jingling of a yellow Budapest tram as well.

Alexa Csizmadia

JARI SILOMÄKI My Weather Diary 1 “It is a severe winter day in Tulokra, Russia, when the UK publishes a report on the murder of Alexander Litvinenko.”

Photography printed on Hahnemühle paper 2016, 28 x 28 cm

No. 55

JARI SILOMÄKI My Weather Diary 2“Sortavala-Olonets, Karelia. I turn off the headlights: for a short while I drive by the light of the moon.”

Photography printed on Hahnemühle paper, 2016, 28 x 28 cm

No. 56

YAROSLAV SOLOP

* 1979 Chernivtsi area (UA)

Lives and works in Kyiv, Ukraine


2015 The Plastic Mythology, AXEL gallery, Stockholm (S)

Selected group exhibitions:

2015 Open letter. Naked emotions, Art 14 gallery, Kyiv (UA)2015 Un Homme, chapitre III, Hors Champs gallery, Paris (F) Boundaries of the possible, Poznań (PL)2014 Resistance project, Moscow Biennale for the Young Art, Moscow (RUS) Boundaries of the possible, ArtKyivContemporary, Kyiv (UA) Literatur Haus Lettretage, Berlin (D)2013 Industrial Eden, ArtKyivContemporary, Kyiv (UA) Monthly payment, Bereznitsky Project Space, Kyiv (UA) YPHM III, Young Photographers Month III, Russia2012 Cult of the body, Leisure gallery, London (UK) Cult of the body, Bardens gallery, Bristol (UK)2010 New Generation, Fotokina, Düsseldorf (D) New Generation, Atelier MicMac gallery, Cologne (D)2008 Chernivtsi, je t’aime, National Art Museum, Chernivtsi (UA)

Curated projects:

2016 Archive, Photofund for memories, a series of lectures, discussions and round table, PinchukArtCentre, Kyiv, Ukraine2015 Boundaries of the possible, Poznań (PL)2014 Boundaries of the possible, ArtKyivContemporary, Kyiv (UA)2012 Nothing to do, Gallery 57, Kyiv (UA)

Awards:

2015 Photographer of the Year within the framework of the Art Photography category, Kyiv (UA)

Artist and work

Plastic Mythologies is the title of an experimental project by the Ukrainian artist Yaroslav Solop. Begun in 2011, it is a “work in progress”. The term “work in progress” refers to the interminable, the perpetual accumulation. Distinct from the idea of continuation and of the end in the unfinished series, it is not prolonged, it adds. The body of work is, in itself, a compact, non-linear point.

The artist re-vitalises the universe of the images of the Greek Pantheon, familiar to him since his childhood reading. It is this permissive and ethical universe, located in a territory of today and surrounded by contemporary signs of consumerism which mark the specialness of Solop’s work.

Yaroslav Salop presents bodily nudity with the greatest of indifference. The only attraction of the bodies lies in extreme youth, still maladroit and chaste. These naked and chalk-white persons are connected to an ostensibly timeless actuality. It is this desire to reflect the timeless and universal, which enables the artist to speak of both a local and global art. Universal elements, such as the reference to Greek mythology, its gods, semi-gods, heroes and martyrs and the actuality of the inevitable presence of luxury consumer goods, war and revolt melt together like the pictures on a tarot card.

Do we remember what made the intimate and silent world of our childhood? Our dreams, our unshared impulses, our consternation at the metamorphoses of our body… Do we remember our certainties in the existence of another life, in the forest, in the night, next to water? This ambiguous world, the core of which is a hero of beauty, is the world of Plastic Mythologies. But this intimate world lives from difference, from conflict, from not belonging to the world of “real” people. Those who dream of this world are marked as incomplete beings, as innocent or degenerated…

In Ukraine, photography is, without any doubt, one of the most special in Europe. During the sixties, with the aid of old films, old-fashioned cameras, images cut up and re-assembled, pioneers such as Yevgeny Pavlov created a photography with no links to the Soviet decrees of the time. Today’s critics are inclined to place the work of Yaroslav Solop in this same category. No matter that he never had access to Pavlov’s manifest, I dare to think that, by his formal liberty and by the revealing of masculine intimacy, “Plastic Mythologies” is a continuation of Pavlov’s introductory series from 1972. Paradoxically, Yaroslav Solop revives nudity in his humanist integrity.

The works suggested by Yaroslav Salop are Farewell to Hercules, 1972 and Gemini Constellation, 1972. They were exhibited in Paris in the Hors-Champs gallery, in the exhibition “Un Homme, chapitre III”, of which I was the curator.

Camilo Racana, “Mythologies”, Paris 2017

YAROSLAV SOLOPFarewell to Hercules

Photography, 201240 x 60 cm

No. 57

YAROSLAV SOLOPGemini Constellation

Photography, 201230 x 20 cm

No. 58

JOHAN VAN MULLEM

* 14.7.1959, Isiro (then Paulis, Belgian Congo)

1985-89 Diplôme d’architecture, Ecole La Cambre, Brussels; study of engraving, Ecole des Arts (atelier of Cécile Massart), Ixelles, Brussels.

Johan Van Mullem lives and works in Belgium.

Solo Exhibitions

2017 Galerie Loo & Lou, Paris (F) Salon Art Paris Art Fair with Galerie Loo & Lou (F)2016 DE ANIMA - the UNIT LONDON, London (UK) Espace B - GLABAIS (B) Galerie Duchoze, Rouen (F) Musée d’Ixelles, Brussels (B) 2015 Face à Face, Galerie SCHWAB BEAUBOURG, Paris (F) Fiat Lux - Hus Gallery, London (UK)2014 Musée d’Ixelles, Brussels (B), acquisition of a piece of art Meta Morphoses, MACADAM Gallery, Brussels (B)2013 C24 Gallery, New York (USA)2012 Origin, Hus Gallery, London (UK)2012 Andipa & Hus Gallery, London (UK)2011 Hus Gallery, London 2010 Arthus Gallery, Brussels (B) Chapelle de Boondael, Brussels (B) Anarto, Antwerp (B)

Group Exhibitions

2016 drawing rooms#2 - PAK GISTEL (B), September This is not a landscape - PAK GISTEL (B), May Créations Belges - MAZEL GALERIE, Brussels (B), February2015 8ème Avenue - Paris (F), October Kantfabriek – Vilvoorde (B), September ART’UP, Lille (F), February 2014 São Paulo International Art Fair (BZL), apr Dallas Art Fair (USA), apr Paysagistes contemporains autour de Nehlich - Galerie Schwab Beaubourg, Paris (F)2012 Hus Gallery, Gstaad (CH)2011 Lineart Gent, Ghent (B), February Art Fair London (UK), October Sem-Art & Hus Gallery, Monaco, May2010 Lille Art Fair, Lille (F), May Art Gallery 826, Knokke (B), May AAF Paris (F), May Eté Contemporain Dracénois, Draguignan (F), August AAF London (UK), October

Artist and work

Johan Van Mullem – His impossible faces, his unimaginable landscapes

Johan Van Mullem’s faces, both in paintings and sculptures, embrace and ignite. They proclaim separation from nature, the power of divided energy and the implacable presence of the alternative. The essential nature of his work comes from the inside. Art which breathes the unconscious serves as the raw material for essential hunger, which entices a bite of the flesh of the universe and is the source of breathing for everyone. “I had to work very hard to stop the brain’s infernal machine”. (JVM)

His lavish faces are made of tense holy knots, moving magma and wild labyrinths. His impressive anti-portraits, often unique, melting pots of the night filled with trances, reflect the sharp echo of life-threatening wounds. They are the faces of extreme life, torn from nothing. Pre-human, they do not share. They are without expression. Absolute, voracious, indestructible. In these faces, which have risen from primordial earth and the fire which ravaged them, there is water, air, winds that rustle, and archaic elements that form the erect base of the universe. These first faces are pre-human. “I paint man with a capital M”. The figures he presents are prodigious with art and life. Van Mullem breathes painting. He only creates faces and landscapes, all convulsive, bewitched and breaking out. As is proper, his creations do not belong to him. They remain an enigma to him. This is how great painting lives.

“The landscapes, my landscapes are their own external vision, projected visions. They allow showing their own image to the world. The face comes from the inside. The landscape, i.e. the fact that I can express what I see, allows acceptance of the world as it is, to be linked to it. It is to be in tune with the world. And there is a horizon, a limit in these landscapes. The horizon shares, it shares things. In the faces, things happen which we do not see, whereas the landscape locates elements. It places them and clarifies. Each face painted is a fleeting moment, outside time and without time. My faces pass through many different faces before appearing. At the beginning, there is a first face, almost recognisable, then I erase it and replace it with another, which I also erase and so on until I find the “right” one. Appearing or disappearing, I never know. Twenty or perhaps forty faces have lived before the final face appears. And every ephemeral face leaves traces. Things do not really live by their history”. (Johan Van Mullem)


JOHAN VAN MULLEM Untitled

Painting, ink on Kappa, 2013140 x 120 cm

No. 61

JOHAN VAN MULLEM Untitled

Painting, ink on Kappa, 2013140 x 120 cm

No. 62

AUCTION CONDITIONS

1. Scope of application

These general auction conditions apply to the auction of the works of art that are to be shown within the framework of the exhibition Art

knows no frontiers between 19 September and 19 October 2017 in the Academy of European Law in Trier. They regulate legal relations between the artist supplying the work, the Academy of European Law (hereafter: the auctioneer) and the purchaser of the work of art. Artists accept these conditions by providing the work of art, potential purchasers by registering as bidders.

2. Legal relationships

(1) ERA’s auctioning of the works of art is undertaken on behalf of the artist.

(2) Every participating artist has issued the curator Christian Noorbergen with a power of attorney to represent them vis-à-vis the auctioneer, in particular to provide or receive any declarations required by these conditions on their behalf.

(3) An accepted bid creates a contract of sale between the artist and the purchaser. ERA is authorised to transact the contract of sale vis-à-vis the purchaser and to make all necessary declarations and to fulfil any legal requirements on behalf of the artist.

(4) ERA is not liable vis-à-vis the purchaser for any legal or material defects in the auctioned work of art. ERA is not liable vis-à-vis the artist either for the sale of the artwork auctioned or for payment of the purchase price by the purchaser.

3. Sale prior to auction

ERA is entitled to sell an artwork before the auction for the published start price. Paragraph No. 2 above applies where appropriate.

4. Auction, start price and reserve price

(1) Persons can only bid if they have registered before the auction with all necessary details in the auctioneer‘s list of bidders (access via www.era25.eu/auction). Bidders can register in person until the start of the auction at the ERA reception desk. Bids may be submitted in person, via e-mail or by telephone.

(2) Bidding shall start at the previously published start price. Further bids can be made in steps set at the auctioneer‘s discretion. A sale to the bidder is concluded with the words „zum dritten” (“for the third and final time“).

(3) If there is no bid at the level of the start price, the auctioneer can successively reduce the price until the level at which a valid bid is made. This bid shall be accepted.

(4) An artwork may not be sold for less than the reserve price set by the artist. If the reserve price is not reached, no sale will be made.

5. E-mail bids

(1) Bids via e-mail can be made in English, French or German after the catalogue has been published to [email protected] by 15 October 2017, 24.00 hours at the latest. They must include the title of the artwork to be bid for, as well as a price at least at the level of the start price.

(2) Once the deadline for the submission of e-mail offers has expired, bidders may continue to bid until the end of the auction either in person or by telephone.

6. Telephone bids

Prospective buyers who wish to submit telephone bids can only do so if they have registered by 15 October 2017, 24.00 hours, specifying the art work for which they wish to bid. These bidders will be telephoned by an auction assistant at the telephone number they provide at the time of registration. They can continue to bid until the hammer falls. ERA is not liable for the call connection being successful or for the stability or security of the telephone connection.

7. Legal consequences of a successful bid, transfer of risk

(1) Once the hammer has fallen the purchaser is committed to accepting the artwork and to pay the purchase price.

(2) Once the hammer has fallen, any risks pass to the purchaser (§§ 446, 447, German Civil Code).

8. Purchase price and transfer of ownership

(1) The purchase price is made up of the winning bid, plus any taxes and expenses and any potential dispatch costs.

(2) The artwork acquired will be handed over to the purchaser or, at his request and on his risk, delivered to an address provided following payment of the purchase price. Once the transfer has been made, the purchaser acquires ownership of the art work.


9. Failure to complete the purchase

If the purchaser fails to comply with his obligations to accept and pay for the object, ERA can, on behalf of the artist, withdraw from the contract and demand compensation.

10. Guarantee

The artist is responsible for the details of the nature of the art work, method of production and dimensions. Any further liability is expressly excluded.

11. Proceeds

The artist and ERA are each entitled to one half of net proceeds. ERA will transfer the artist’s share at his expense to a bank account specified by him. The percentage retained by ERA is a donation by the artist to ERA’s Jubilee Fund and will be solely utilised to fund ERA’s non-profit activities.

12. Unsold artworks

Any artworks remaining unsold will preferably be returned to an address in Paris provided by the curator, at ERA’s expense. Alternatively, the artist is entitled to request his/her artworks to be returned to any other address in Europe which he will have indicated by the day of the auction. For any address outside the European Union, the artist will be in charge of any customs clearance and duties in the receiving country.

13. Data protection

ERA is authorised to save, process and pass on the name, address and other data of the artist and registered bidders, in as far as this is necessary for the execution of the auction and processing any sales contract following a successful bid.

14. Place of execution, applicable law and place of jurisdiction

(1) Trier is the place of execution and jurisdiction for any legal obligations arising from the auction. German law applies.

(2) In case of dispute, only the German version of these conditions is legally valid.

Jubilee Fundwww.era.int/jubileefund

ERA JubilEE FundbE pARt oF building A EuRopE oF lAw

About tHE JubilEE Fund

the ERA Jubilee Fund is an initiative by the Friends of ERA Association to support capacity-building and greater access to

Eu law training for legal practitioners in Europe. it was founded in 2012 to mark the 20th anniversary of the Academy.

the central aim is to ensure that all legal practitioners in the Eu, whatever their means or income, can benefit from high-quality

Eu law training programmes.

wHY tHE Fund iS nEEdEd?

Eu law has come to play an ever more important role in the lives of European citizens, from the freedom to live and work in different

member states through closer law enforcement cooperation in combatting cross-border crime, to changing living conditions in a

digitalised and globalised world.to ensure equal access to professional training on European law,

the Jubilee Fund supports ERA’s scholarship programme which enables legal practitioners from Eu member states and candidate

countries to participate in ERA training programmes who otherwise could not afford to do so.

www.era-comm.eu/jubilee

Edua rdo Ch i l l i d a , bo rn i n t he Ba sque t own o f S an Seba s t i an i n 1924 , wa s one o f t he 20 th cen tu ry ‘ s mos t impor t an t s cu l p to r s .

H i s f a vou r i t e med ium was i r on and h i s monument a l ou tdoo r s cu l p tu re s c an be seen th roughou t Eu rope . Ch i l l i d a ’s “Cage o f

F reedom”, bu i l t i n 1996 , wa s e spec i a l l y de s i gned f o r t he a rea i n f r on t o f t he ERA Cong re s s Cen t re .

The i dea o f c rea t i n g a “ cage o f f r eedom” on l y c ame t o Ch i l l i d a when he had a l r eady s t a r t ed work on the mode l . He knew tha t he had

c rea ted a c a ge bu t „ i t wa s a c a ge where no th ing and nobody cou ld be l o cked up . Tha t i s why i t h ad t o be c a l l ed t he Cage o f F reedom.

The l a r ge open ing s a re a me tapho r and a r eques t ;

t ha t anyone who goe s i n c an ge t ou t a ga i n .

The s cu l p tu re i s no t pa r t o f t he exh ib i t i on .

Academy o f E u r opean L awMet ze r A l l e e 4 , D - 5 4295 Tr i e r

w w w. e r a 2 5 . e u / a u c t i o n

Price: 20 €

Contemporary art from 31 European countries Exhibition and ... · Contemporary art from 31 European countries Exhibition and Auction Under the auspices of the Mayor of Trier Wolfram

Documents