Page 1


19 Bratislava 21 Riga 26 Bucharest 418 Bucharest 0 gms Sofia 35m2 Prague 3x3 Liberec A Panevėžys A.M.180 Prague acb Budapest Ad Astra Kuřim Agency Art Moscow Agra


Ana Cristea Cluj – New York Anaid Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova Saint-Petersburg AnnArt Bucharest Arhipelag Cluj

Bosnia-Herzegovina Bulgaria Croatia

Art Warsaw Aidan Moscow Aiurart Bucharest Akademija VDA Vilnius AL Saint-Petersburg Alis Bucharest Alkatraz Ljubljana Alma Riga AMG Prague AMT Project Bratislava Arka Vladivostok Ars Aevi Sarajevo ARSkontakt Brno Art Depot Sarajevo Art Market Vilnius Art re.Flex Saint-Petersburg Art Today Plovdiv Art Yourself Bucharest Art4. ru Moscow ArtConsulting Prague – Brno ArtDepoo Tallin Artinbox Prague Artmark Bucharest Artnewscafe Plovdiv Artpro Prague ArtXpert Bucharest ASA Art Sarajevo Asymetria Warsaw Atelier35 Bucharest Aukso Pjüvis Kaunas AV17 Vilnius AVS Kiev Baltic Tallin Barbarian Zurich Baroti Klaipėda Barrel Zagreb Bazis Cluj – Berlin BB Kraków – Wroclaw Belart Minsk BlackBOX Sarajevo Bochenska Warsaw Boris Smoje Sarajevo Bottega Kiev Brucie Collections Kiev Bulart Varna BWA Warsaw Caesar Olomouc Calina Timisoara Cargo Děčín Ćarlama Depot Sarajevo Cin Cin Bratislava Collection Kiev Colors Bucharest – Paris CT Bratislava Cypriána Majerníka Bratislava Czarna

Czech Republic

Warsaw CZD Prague D137 Saint-Petersburg Dailininku mené Vilnius Dea Orh Prague Desa Modern Warsaw Desa Unicum Warsaw Diehl Moscow – Berlin DOM Warsaw


Petersburg etc. Prague Faica Bratislava Faur Zsófi Budapest FF Lódz Fine Art Moscow Foksal Warsaw Fotograf Prague Fotografic Prague Fotografija Ljubljana Fotoloft


Dovin Budapest DOX Prague Duplex/10m2 Sarajevo Dvorak Sec Prague Elena Vrublevskaya Moscow Enter Bratislava Entrance Prague Equrna Ljubljana Erarta SaintMoscow FPSW Warsaw Freta Warsaw Frolov Moscow Futura Centre Prague Galateea Bucharest Gandy Bratislava Garage Center Moscow Gary Tatintsian Moscow Gate Prague Gelos Moscow Gisich Saint Petersburg Glaz Moscow GMG Moscow Godot Budapest Goldart Bucharest Gregor Podnar Ljubljana – Berlin Grinberg Moscow Guelman


Moscow H’art Bucharest Haus Tallin Heppen Transfer Warsaw Hest Ljubljana – Maribor HIT Bratislava Hunt Kastner Prague Ideas Belgrade Inda Budapest Iragui Moscow


Kálmán Makláry Budapest Kapelica Ljubljana Kapsula Ljubljana Karas Kiev Karas Zagreb Karol Winiarczyk Vienna Karousel Bucharest Kauno Fotografijos Kaunas Kauno


Ivan Bucharest Izolyatsia Donetsk Jaroslava Fragnera Prague Java Sarajevo Jecza Timisoara Jeleni Prague Jiri Svestka Prague – Berlin Juskus Vilnius Kabinet Moscow Langas Kaunas Khankhalaev Moscow KIBLA Maribor Kisterem Budapest Kodl Prague Kogart Budapest Kolonie Warsaw Konstant Oradea Kontseptsiya Minsk Kontura Zagreb Korners Kiev Kournikova Moscow Kressling Bratislava Krokin Moscow Krokus Bratislava Kuda Novi Sad Kyiv Fine Kiev Kytka Prague La Femme Prague Laboratoria


Moscow Laboratorio Prague Langhans Prague LaSandr-art Minsk Lateral Cluj Lazarev Saint Petersburg Laznia Gdansk Le Guern Warsaw Leica Prague Léna & Roselli


Moscow Luxfer Prague M Kharkov M17 Kiev Madl’ Belgrade Magma Sf. Gheorghe Magnum Ars Moscow Marisall Zagreb Mastatstva Minsk Medium Bratislava MeetFactory

Montenegro Poland

Budapest Leonid Lerner Moscow Leonid Shishkin Moscow Lessedra Sofia Leto Warsaw Lietuvos Aido Vilnius Little Yellow Bucharest Lokal30 Warsaw Lumiere Brothers Prague Meissner Prague Melenia Bucharest Meno Nisa Vilnius Menu Tiltas Vilnius Mihai Nicodim Bucharest - Los Angeles Millennium Prague Mironova Kiev Miroslav Kraljevic Zagreb Miroslava Kubíka Litomyšl Mission Art Budapest Mono Budapest Nadja Brykina Moscow – Zurich Nautilus Krakow Navrátil Prague Next Art Budapest NF Ústí nad Labem Nova Bratislava Open Moscow Open Bratislava Ostoya Warsaw P74 Ljubljana Pál Miercurea Ciuc PANEL contemporary Budapest Paperworks Moscow Passage Ljubljana Pecka Prague Peles Empire Cluj Peron Prague Photon Ljubljana Piekary Poznan Pies Poznan Pinchuk Kiev Pintér Sonja Budapest Plan B Cluj – Berlin PM


Zagreb Pobeda Moscow Polina Lobachevskaya Moscow Polswiss Warsaw Pop/off/art Moscow – Berlin Posibila Bucharest Prinz Prager Prague Prodajna Belgrade Proekt


Fabrika Moscow Profile Warsaw Promenade Vlore Propaganda Warsaw Prospekto Vilnius Proun Moscow Public Room Sarajevo Quadro Cluj Raster Warsaw Recyclenest


Cluj Sam83 Třemošná Sariev Plovdiv Satelit Bratislava Simultan Timisoara SIZ Rijeka Školská 28 Prague Škuc Ljubljana Sofa Druskininkai Soga Bratislava Sovcom Moscow


The Chemistry Prague Tifana Riga Tobacco 001 Ljubljana TR3 Ljubljana Trafačka Prague Triumph Moscow Tsekh Kiev Új Kriterion Miercurea Ciuc Upper Town Minsk

Slovenia Ukraine

Bucharest Regina Moscow – London Remont Belgrade Rempex Warsaw - Cracow – Sopot Rigas Riga Ring Zagreb Roman Petrovic Sarajevo RuArts Moscow S Prague Sabot Space Bratislava SPZ Prague Starmach Cracow Starter Warsaw Stella Art Moscow Stereo Poznan SVIT Prague T Bratislava Temnikova & Kasela Tallin Terra ecognita Vilnius Václava Špály Prague Vartai Vilnius Vernon Prague VIA Art Prague Victoria Samara Viltin Budapest Vintage Budapest Virág Judit Budapest Visconti Ljubljana Vltavin Prague Vostochnaya Moscow Wannieck Brno Winzavod Moscow X Bratislava XL Moscow XX Panevėžys XXL Louny „Y” Minsk Ya Dnipropetrovsk Ya Kiev Zacheta Warsaw Zak Branicka Berlin Zdeněk Sklenář Prague – Litomyšli Zderzak Cracow Zeta Tirana Zezula Brno Zona Zagreb Zorzini Bucharest ZPAF i S-ka Cracow Zvono Belgrade

VOL.3. •March – April 2013 bi-monthly contemporary art guide of the CEE region by RadaR

Sisyphus in Metropolis – Adam Magyar’s art

code-like background. It creates an apoca-

by Norbert Vass, translated by Izabella Porcsalmy

from neon signs and billboards. Magyar stills

lyptic, desolate land in black and grey, free noisy city centres as if by magic and thus, the artist’s Urban Flow reveals the essence of city life. The rhythm of the series’ compositions is determined solely by people’s speed walking past the camera and the density of the crowd they create. Music is a significant characterisitc of Magyar’s works. His images are the music sheets of the city, in which people substitute for the notes. In these elegiac photo etudes, we see barren super-highways crowded with Ahasueruses wearing backpacks, holding their mobile phones. These wanderers don’t talk. Some take determined steps, others trudge like zombies following in the footsteps of others in front of them. The images of the Squares series were made from pedestrian bridges. As if Magyar had taken these photos from the perspective of a skyscraper voyeur, and then multiplied the section of the square photographed. Thus he creates an artificial network modelling exposed, hard-working man-ants wandering in a Kafkaesque forest. Magyar’s collage is a framework for them in which they can see and notice each other.

© Ádám Magyar: Tokyo IV, (2007–2009)

In the photos of the Stainless series, we face

121 × 180 cm, inkjet print, edition of 6

passengers arriving to the subway station. They look frightened, dumb, longing, grumpy.


It is the busy marketplace that reveals the

into space. His third eye is a finely polished

series we can see crossings buzzing with

They are fidgeting with their phones, they are

most about a village or a city. Adam Magyar

lens, and citizens might take him for a travel-

life from an unusual perspective. Owing to

kissing or making gestures. Time stops around

is well aware of this millennial knowledge. The

ler from the future, due to all this equipment.

the technique utilizing the scanner’s operat-

them for a fraction of a second. We see them

ing principle but reversing its image-making

as never before. The ray and mass of light

young Hungarian photographer sees the city and makes it seen as nobody ever before him.

Adam Magyar takes photographs of 21st-

method, these special images reveal only

speeding by in front of citizens’ eyes several

Similarly to wandering monks of old times, he

century cities. The photos he took with his

passers-by and vehicles identifiably. Static

times a day suddenly reveals characters. Al-

strays about city agoras. Rather than a crook-

self-developed one-pixel-wide slit cam, and

objects remain invisible to the camera. The

though we see their clothes and mimics only,

ed walking stick however, he holds a futuristic

processed with a programme he himself has

buildings and shop windows appear as lines

„faceless people” turn into personalities in

metal tripod in his hands, and has a computer

written, make the heartbeat of enormous cit-

only, and every now and then, even buses im-

hidden in his rucksack that transforms time

ies audible. In the pieces of his Urban Flow

mobilized by a traffic jam blend into the bar-

continues on page 2

© Ádám Magyar: Flow – #1089 , London (2008), (detail) 26 × 240 cm, inkjet print, ed. 8, continued from page 1.

pressed against the subway’s window Magyar

Works by Adam Magyar – currently living

he uses state-of-the-art technology to pub-

records the arrival of a train to Alexanderplatz

in Berlin – can be found in a number of ma-

lish his findings. Magyar’s photos ask: will

these photos. A selection of these works are

in Berlin. In this video, a copy of which is in

jor collections across the world, such as the

we ever get from A to B, or similarly to the

exhibited at Light Work Media Center, Syra-

the collection of the Houston Museum of Fine

collections of Deutsche Bank and the Hong

hard-working Sisyphus, we roll the miles of

cuse, USA until the middle of March, 2013. A

Arts, a throbbing-humming adventure in-

Kong Heritage Museum. His works were ex-

our lives in front of us to no avail.

few photos of the Stainless series taken in

credibly rich in detail, slowed down to 1/50 of

hibited at the Helsinki Photography Biennale

Tokyo are included in the publication of the

actual speed is projected on our screen. We

and the Brussels Fotofever Art Fair in 2012,

>>Read our interview with Ádám Magyar on

Harvard Graduate School of Design entitled

feel we can hear newspapers rustling, people

as well as in Germany, the United Kingdom

page 14.<<

In the Life of Cities, a book investigating the

chewing or yawning; the room trembles from

and the USA. Magyar’s works are sensitive

effects of city planning on citizens.

the noise coming from the loudspeakers. At

witnesses to the constant beehive-like dy-

the birth of cinema, it was the speed of im-

namism of cities. In his endless wandering,

A video would be the logical continuation of

ages the Lumiére brothers produced that

Magyar sees the adventure of city life. He

Adam Magyar’s work, and is the video work

caused panic, while today, it seems we are at

aligns our constant journey and the impos-

Editorial and staff contributors

that can be considered as the extension and

a loss for words when watching slow-motion

sibility of arrival into time slots. He observes

Editor-in-Chief: Zsuzsi Fieszl

inverse of the Stainless series. With the lense

HD images.

and takes notes in his digital notebook and

Editor: Beáta Mesterházi


Copy Editor: Izabella Fekete Contributors: Bálint Ferenczy, Norbert Vass, Bálint Bolygó, Előd Beregszászi, Izabella Fekete, Tina Kaplár, Maria Loades Marketing: Sarolta Ács, Beáta Mesterházi Design: Pauker Printing Co. Directors and publishing Publisher: Pál Szilágyi, RadaR Public Benefit Association for Contemporary European Art Finance: Bálint Kovács Address: Király utca 51, 1077-H Budapest, Hungary Web: www.artguideeast .org Contact: Printed by Pauker Nyomda Kft. Baross utca 11–15, 1047 Budapest, Hungary Director: Gábor Vértes ISSN 2062-7580 Copyright RadaR – Public Benef it Association for Contemporary European Art 2013 ArtGuideEast is a bi-monthly contem-

© Ádám Magyar: Squares – Hong Kong II., (2007-2008)

porary art journal and professional

80 × 120 cm, inkjet print, ed. 3

periodical focusing on Central Eastern Europe. All the published data is informational compiled and examined carefully. ArtGuideEast, RadaR or any other person contributed to this issue do not take responsibility for the correctness, topicality and completeness of information published in this issue. All rights of alternation and mistakes reserved. Furthermore all rights of alteration, updating, revision or erasion of any data is reserved. All sorts of information and picture in ArtGuideEast is published with the approval and the permission of the holders of rights.

© Ádám Magyar: Stainless – #14536, Paris (2011) 40 × 84 cm, silver gelatin print, ed. 3


2902 Gallery Singapore / Akinci the Netherlands / Albemarle Gallery UK / Art Sawa UAE / Artspace UAE / UK / aye Gallery China / Jack Bell Gallery UK / Boers-Li Gallery China / Brancolini Grimaldi Italy / UK / Nadja Brykina Gallery Switzerland / Russia / Cais Gallery Hong Kong / South Korea / Cda-Projects Turkey / Circle Culture Gallery Germany / Cynthia-Reeves USA / DAM gallery Berlin|Frankfurt Germany / Dark Matter Studio UK / Deweer Gallery Belgium / Domobaal UK / Eleven UK / FaMa Gallery Italy / Selma Feriani Gallery UK / The Fine Art Society Contemporary UK / Flowers Gallery UK/USA / Fold Gallery | London UK / Galleria Fumagalli Italy / Gajah Gallery Singapore / Gana Art South Korea / Gazelli Art House UK/Azerbaijan / Geukens & De Vil Belgium / Michael Goedhuis UK / HackelBury Fine Art UK / Hakgojae Gallery South Korea / Purdy Hicks Gallery UK / Galerie Kashya Hildebrand Switzerland / Michael Hoppen Gallery UK / Rebecca Hossack Art Gallery UK / USA / Hua Gallery UK / Jealous Gallery UK / Amelia Johnson Contemporary Hong Kong / Ivo Kamm Switzerland / Robin Katz Fine Art UK / Kleinschmidt Fine Photographs Germany / Pearl Lam Galleries China / Singapore / Hong Kong / Lazarides UK / Leehwaik gallery South Korea / Levy Galerie Germany / Diana Lowenstein Gallery USA / maerzgalerie Germany / Kálmán Makláry Fine Arts Hungary / Primo Marella Gallery Italy / China / Laura Mars Germany / John Martin Gallery UK / Meshkati Fine Art / Austin / Desmond Fine Art UK / Galerie van der Mieden Belgium / Gallery Minsky France / Galerie du Monde Hong Kong/Macau / Anna Nova Art Gallery Russia / Alexander Ochs Galleries Berlin|Beijing Germany / China / October Gallery UK / The Outsiders UK / Paragon UK / Galerie Paris-Beijing France/China/Belgium / Ph-projects Germany / Pifo Gallery China / Galerie Ramakers the Netherlands / Everard Read South Africa / Riflemaker UK / Ronchini Gallery UK / G10 / Rossi & Rossi UK / Galerie RX France / Galerie Vincenz Sala France/Germany / Richard Saltoun UK / Karsten Schubert UK / Carrie Secrist Gallery USA /Alon Segev Gallery Israel / Paul Stolper Gallery UK / Galerie Heike Strelow Germany / Gallery Sumukha India / Sundaram Tagore Gallery USA / Hong Kong / Singapore / Galerie Tanit Germany/Lebanon / Tolarno Galleries Australia / Torch the Netherlands / Vanguard Gallery China / Galerija Vartai Lithuania / Volte Gallery India / XVA Gallery UAE / Galerie Olivier Waltman France / USA / Workshop | Michela Bruzzo Italy / ZieherSmith USA / Galeri Zilberman Turkey / Zipper Galeria Brazil /Jerome Zodo Contemporary Italy / Faur Zsófi Gallery Hungary


16thline gallery Russia / Aando Fine Art Germany / Magda Danysz Gallery France/China / Galerie E.G.P. France / UK / Eb&Flow UK / Hada Contemporary UK / Ceri Hand Gallery UK / The International 3 UK / alexander levy Germany / Man&Eve UK / mc2gallery Italy / Pertwee Anderson & Gold UK / Daniela da Prato Gallery France / Salon Vert UK / Hidde van Seggelen Gallery UK / Gallery SoSo South Korea / Maria Stenfors UK / Viltin Hungary


Aranapoveda Gallery Spain / Athr Gallery Kingdom of Saudi Arabia / Brundyn + Gonsalves South Africa / Chan Hampe Galleries Singapore / Galerie Dukan France / Gallery Em South Korea / Patrick Heide Contemporary Art UK / IMT Gallery UK / Galerie Martin Kudlek Germany / Lawrie Shabibi UAE /Ani Molnár Gallery Hungary / Tatjana Pieters Belgium / rahncontemporary Switzerland / Scaramouche USA / Temnikova & Kasela Gallery Estonia / Yeo Workshop UK/Singapore / Galerie Zimmermann Kratochwill Austria / Philippines


Cass Sculpture Foundation UK / Daegu Art Museum South Korea / Dundee Contemporary Arts UK / INIVA UK / The Photographers’ Gallery UK / Positive View Foundation UK / Royal Academy of Arts UK / Serpentine Gallery UK / UCCA Limited Editions China / Whitechapel Gallery UK / Zabludowicz Collection UK Gallery list correct at time of print

BOOK TICKETS NOW Follow us on Twitter @Art13London | Like us on

Olympia Grand Hall 1 3 March 2013

art13_gallery_list_artguideeast2_005.indd 1

20/02/2013 17:42

Art from All Corners of the World

It’s only a short time left until the big day!

interview with Stephanie Dieckvoss, FAIR director of Art13 London

Are you happy with your first year’s organisation? The start of the Fair is fast approaching and

something different. Art13’s global dimension

What do you think about Central and East-

we’re very much looking forward to Thursday

will stand out from any other fair that’s on in

ern European art? What are our strengths

February 28 (VIP Preview, Fair dates 1-3 March).

the city. We are also convinced that the tim-

and weaknesses from your viewpoint?

I am very happy for the galleries, partners and

ing and location of the Fair will give it a unique

I am always impressed by the energy of art

all supporters who have already worked so

flair which will attract collectors and general

from this region – and am personally thrilled

hard to ensure the first edition of the Fair will

visitors alike. We feel that the end of February

to see such a strong representation from the

be a success. The advisory board of the Inter-

/ early March is a perfect time of the year for

area. I particularly engage with the wonder-

national Advisory Board has been promoting

the Fair and an exciting time in London fol-

ful modernist tradition in the region which

the Fair tirelessly in their specific regions.

lowing London Fashion Week & the BAFTAs.

can sometimes be overlooked in the Western

We offer prints and editions as well as having

mainstream commercial markets. We feel the

How do you see Art13 London’s future?

a selection of not-for-profit stands to ensure

cultural heritage of the region is a big strength.

Where would you put it on the world art

that new collectors are properly engaged and

There is a younger post-communist genera-

fair’s map?

feel empowered to buy from lesser known

tion producing art that deals with issues of a

We believe Art13 has an interesting future

galleries. We are putting a lot of effort into

newly expanded Europe that we feel needs to

– London’s vibrant art scene, financial ba-

educating galleries and collectors to navigate

be foregrounded on an international stage.

sis and central positioning mean that it has

the art world in London and have plans to expand on this further.

Stephanie Dieckvoss Fair Director Art13 London

Your gallery list is very varied. Do you think you can keep it like this in upcoming years? We’re proud of the level of diversity we feel

Art13 London is a very fresh and new art fair

Art13 London has to offer in terms of its art-

in London. What would you highlight as its

ist and gallery lists. This international scale is

unique features?

something that will continue to be a hallmark

Art13 London is unique in its approach to

of the Fair for years to come. I am very keen

bringing a global art fair to London. It is the

to further strengthen the Modern section at

first time that a European art fair aims to re-

the Fair in future years and to diversify the

flect the change in global artistic production

exhibitor lists even more – we are currently

while also presenting Western and non-West-

doing more research into other areas in East-

ern Art on an equal footing. Our aim is to mix

ern Europe for example and are keen to work

art from all corners of the world to create a

more with galleries from the region.

forum for a rich and rewarding dialogue between galleries, artists, curators, critics and

How do you plan to reach more galleries

collectors… For example, in our section Lon-

worldwide, especially from remote coun-

don First, advised by Lisa Le Feuvre, Head

tries or Eastern Europe? It is very expensive

of the Henry Moore Institute in Leeds, we

to travel to, and exhibit in London.

present galleries which are under 6 years of

This year, 70% of the galleries at Art13 will be

age, and have never shown at a London art

participating at a fair in London for the first

fair before.

time. It’s great to see such interest in taking

Tianbing Li (China): Self-portrait with Arrow

We’re thrilled that over 128 galleries from 29

part in the Fair, and we’re confident that this

2011–2012, Oil on canvas, H 200 × W 250 cm, © Kashya Hildebrand, Zurich

countries will be represented at the Fair, with

level of interest can be sustained. We are very

both established and emerging artists being

committed to visiting galleries in their home

showcased. Art13 London will be accessible

countries to get a feeling for the markets, the

We keep hearing from contemporary galler-

become an important centre within the art

to both experienced and novice collectors, as

gallery scene and the way artists work and

ies from our region that the collector base

world. We feel that there is a high demand

we will have three special sections – Young

believe this underlines our dedication to our

is fading away. Do you know any collectors

in London for a global art fair featuring the

Galleries and London First as well as the main


coming from our region? Can you reach

very best London & UK galleries combined


with really great international galleries from

gallery section with special focus on Photography and Prints & Editions. We hope that we

A few galleries are coming from Central and

Throughout my travels I have come into con-

Europe, the Americas, Africa and Asia who

can engage with collectors of all levels and

Eastern Europe with the majority of these

tact with artists, gallerists and collectors from

are looking for a platform in London. We have

feature both works they are expecting to find

from Hungary. Is it only a coincidence?

the region and I am confident that we will

created a Fair for today’s London and today’s

at the Fair as well as allowing lots of opportu-

Not at all – we feel that Central and Eastern

have visitors from the area that will be keen

market – a global art fair that is accessible

nities for discovery.

Europe has a lot to offer in terms of the artists

to attend the Fair. We certainly have leading

with a focus on quality. We plan on building

and galleries from the region. We’re excited

Hungarian collectors coming to the Fair, some

on this year’s Fair to ensure the next editions

You worked for Frieze Art Fair as well – do

to be able to provide a platform for galleries

of whom are based in London. Yet we feel it

will further strengthen the Fair’s position as a

you consider Frieze as a competitor for Art13

from the area to show and share their artists’

is also important to expose the art works at

stand-alone international event which will be

London or you will complete each other at

work. We are thrilled that this year the Hun-

Art13 London to a range of international col-

a fixture in the international art calendar.

some point?

garian Galleries have taken a leap of faith and

lectors, rather than solely segregating collec-

With Art13 London, we’re looking to offer

have shown commitment to a new fair.

tors and their tastes by region or nationality.

The Fair is sponsored by Citi Private Bank

Yury Alexandrov (Russia): Welen bone carvers

Chiharu Shiota (Japan): Zustand des Seins (Fotoapparat) / State of Being (Camera)

1991, Oil on canvas, 183 × 228, © ANNANOVA Gallery, St Petersburg

2012, Metal, yarn, camera, 30 × 30 × 30 cm, © Alexander Ochs Galerie, Berlin

Art13 London Art Fair GENERAL INFORMATION “See art love art buy art…“ Art 13 London, sponsored by City Private Bank, is a modern and contemporary art fair showcasing over 120 galleries from 29 different countries. It presents art from 1945 to the present day and almost every artistic media is represented: paintings, sculpture, multimedia installations, prints, editions and of course, photography. Visitors can choose from

part of the young generation of Russian art-

on history. While Mindaugas Lukošaitis most-

ist. He creates abstract painting. His works

ly uses a classical academic style of drawing

are present in many important collectons in

this formal method is merely a superficial

the USA,France and Russia. The third artist is

stance conveying the artists’ unique sense of

Rostan Tavasiev. He is a very well known art-

‘realism’. Lukošaitis was chosen to represent

ist in Moscow,, popular for his objects where

Lithuania at the 26th São Paulo Biennial; his

he uses soviet toys. This is considered to be

series of drawings can be found in the collec-

some kind of new Russian pop art. Anna Nova

tion of the Louisiana Museum of Modern Art

Gallery just started to work with Tavasiev this

and the Art vectors collection.

year. Before Anna Nova Tavasiev worked with

Žilvinas Landzbergas (born 1979) is a

Aidan Gallery, which closed last year.

dream weaver, known for placing the viewer in uncanny artificial surroundings equipped

a wide range of performances and talks as well as children’s activities and non-profit art-

with cognitive triggers that seem familiar and

ists’ commissions. During the fair Contemporary Key is hosting a series of guided tours

distant in the same time. His artistic practice

providing the audience with the opportunity to familiarise themselves with the attending

is concerned with storytelling through the


media of sculpture and three-dimensional installation, where the viewer becomes both a

It is also a good opportunity for art lovers and arts collectors to expand their collection, as

participant and a spectator – the narrator and

they can browse among works of art for prices ranging from £100 to £500,000.

character in the story.

This year Art13 London will take place between 1-3 March 2013 (VIP day 28th February) at Olympia Grand Hall in the heart of West London. Amongst its more than 120 participant galleries 7 are coming from the CEE region. You can find Kálmán Makláry Fine Arts (HUN), Galeria Vartai(LT), Faur Zsófi Gallery (HU) and Nadja Brykina Gallery (CH, RU) in the “Main Section”, 16th LINE (RU) and Viltin Gallery (HU) in the “Young Galleries” section which will feature 18 galleries under six years of age, and Molnár Ani Gallery (HU) and Temnikova&Kasela Gallery (EE) in the “London First” section, which presents young galleries under six years of existence from across the world that have not participated at an art fair in London before.

© Zilvinas Kempinas: Fountain

Art13 London – Statistics • 128 is the total number of exhibiting galleries

© Rostan Tavasiev: Antique, plaster, poliester

2011, fan, magnetic tape, 330 cm

2005 (courtesy of Anna Nova Gallery)

(courtesy of Galeria Vartai)

• 93 galleries will exhibit in the Main Galleries section • 18 galleries will exhibit in the Young Galleries section • 17 galleries will exhibit as part of London First • 31 territories will be represented in total across the Fair • 50% of work presented at the Fair will be by non-western artists • 70% of galleries will be participating at a fair in London for the first time Opening times Thursday 28 February (VIP day) Collector’s Preview

4pm–6pm (by invitation only)

First Night


Friday 1 March


Saturday 2 March


Sunday 3 March


Galeria Vártai – STAND I5

Faur Zsófi Gallery – STAND H7

LT-01119 Vilnius, Lithuania

H-1114 Budapest, Hungary

At the Art13 London art fair five Lithuanian

With technological development, countless

artists will be presented by Galerija Vartai.

new devices and new dimensions appeared

The gallery focuses on contemporary art

in our lives.

works which combine conceptual and visual

Photography changed how we look at the

ways of expression through various media,

world, and made it possible to capture the

including painting, drawing, photography,

moment in passing time.

video, sculptures and installations.

In relation to these influences, Faur Zsófi Gallery is intending to present the solo-show

Arnas Anskaitis (b. 1988) works in fields

of Ádám Magyar, who is one of the heirs of

of photography, video, performance and con-

the great past of Hungarian photography.

ceptual art. The young artist was noticed by

The gallery will exhibit three different series

art critics and curators in the last year of his

of the artist (Urban Flow, Squares and Stain-

studies at Vilnius Academy of Arts. His origi-

less), in a completely coherent programme.

nality among his generation comes not only

Experiments, refining technological devices

from his powerful imagination, which the art-

and mixing various technologies are essential

ist puts to work when it comes to choosing

in his artworks. Magyar is not only interested

the most appropriate media for his project

in Hungarian or local problems but his works

but also from a philosophical approach and

also reflect on questions of other countries

a particular interest in linguistics, namely the

and continents. He uses „wide optical lenses”

tension between the sound of a word and its

to look at our world. The concept of the stand


aims to direct attention to our environment.

Žilvinas Kempinas (b. 1969) is best known

Magyar works on capturing the stillness of

for his perception and space-altering instal-

time, the continuity of life, and to reveal dif-

lations, which invite the viewer to participate

ferent worlds in reality. His photographs focus

in the art event as it unfolds. Using magnetic

on mankind and our surroundings, the unique

tape as the main medium for his installations,

relationship between everyday life and the

a specialty and characteristic feature of the

Kempinas’ art acquires multiple points of in-

transcendent/perpetual world.

Anna Nova Art Gallery. The gallery’s princi-

terpretation. Magnetic tape at once becomes

We believe that Hungarian photo-artists may

Anna Nova Art Gallery

ples combine freedom and flexibility towards

a ready-made, while its use addresses the

again be an essential part of the international


creative concepts and formats, characteristic

laws of physics and phenomenology. Kem-

scene. It is our mission to weight our artists

Saint-Petersburg 191014, Russia

for contemporary art, with strict criteria in

pinas represented Lithuania with the instal-

on the scale of international spectators, art

their approach to maintaining the standard

lation TUBE at the 53rd Venice Biennale in

connoisseurs, art lovers, and the works of

St. Petersburg gallery Anna Nova, opened in

and quality of art projects.

2009. Recently he was awarded the Lithua-

these artists may well deserve their place be-

2006, nowadays is one of the leading Russian

The gallery is highly active in the international

nian National Culture and Art Prize.

side the famous predecessors.

galleries working in the field of contemporary

art market, participating in significant Rus-

Tim Kliukoit (b. 1984) is constructing cham-


sian, European and Asian contemporary art

ber-size wall-mounted objects from scav-

The gallery purposefully sets out to promote

fairs. As a result, the position of the gallery’s

enged or gifted items or trinkets acquired

Kálmán Makláry Fine Arts

contemporary visual art, presenting and sell-

artists in the art world is outstanding. In its

from flea markets. These objects largely de-


ing works of Russian and foreign artists of dif-

implementation as a business model and way

pend on the look of the viewer and his/her

H-1055 Budapest, Hungary

ferent art trends: from underground masters

of artistic support, the Anna Nova gallery

ability to feel shape and texture through that

to the celebrities of modern art.

pays special attention to elucidative work,

look. By playing with the tradition of classical


which encourages a better understanding of

painting which is meant to create an illusion

Havadtoy is an English born artist of Hungar-

projects, which apply the fundamental ide-

the newest art by the public.

of different shapes and factures, Tim choos-

ian origin who lived and worked in the vibrant

as of XXI century art, providing access to

At the Fair Anna Nova Gallery will show project

es materials with exclusive textures (glass,

New York art scene of the 70’s and 80’s. For

the newest achievements of the modern art

made by 3 artists of the gallery. They are: Jury

wood, fur, sateen, plastic, sandpaper) placed

twenty years Havadtoy shared his newly

world to a wide audience. Presented in the

Alexandrov with two works from his project

at different distances from the wall.

American life with the quintessential creators

solo projects and thematic group exhibitions,

“Contemporary art of Chukotka”, well known



of pop art and music, such as Yoko Ono,

there is the wide range of art diversity and

in Russia. In this project the artist has shown

Lukošaitis (b. 1981) invites the beholder to

John Lennon, Andy Warhol, David Bowie, and

media: painting, drawing, sculpture, objects,

a mix of traditional Chukotka images together

take an in-depth look at certain aspects of im-

Keith Haring.

installations, video-art, performance etc.

with provocative themes of contemporary art.

agery, the tendencies of human imagination

This dual-identity determined his art. Of

Large-scale and complicated installations are

Young Saint-Petersburg artist Vlad Kulkov is

and strives to promote a responsible outlook

course, the wild, impertinent and playful

Tickets Adult:

in advance £11, on the door £16

First Night:

in advance £25, on the door £30

Concessions, Groups:

in advance £8, on the door £13

Children (Under 16yrs): Free To book tickets visit or call the ticket hotline on +44 (0) 844 854 0503 Location Olympia Grand Hall, Hammersmith Road, Kensington London W14 8UX For visitor enquiries please contact










American pop-art made a powerful impact on

but remained true to their own artistic pursuit

As a sculptor, BaJóTa creates constructions

tions – they appeal to the spectator through

his style but he was also deeply influenced by


with the aim of variability, but for both artists

a hedonistic, ironic and personal view. Her

the frustration of the freedom-less East-Euro-

Their works are displayed across more than

interaction with the exhibition space is also of

recent works approach visibility and non-

pean petit-bourgeois expectations on art.

800 square metres. A repertoire, which once

great importance. The initial form created in

visibility which point towards recent actual

To date the art-loving audiences in Central

was only loosely shown to the public outside

the studio can take another state due to the

problems of Hungary’s publicity.

and East Europe have received Havadtoy’s

the Soviet Union has now been made acces-

interaction generated by the changing envi-

art in the most sensitive manner, since his

sible to the Western world. After the Per-

ronment. This phenomenon is different from

Due to Szilárd Cseke’s versatility his ouvre

concept on art raises all the problems faced

estroika, their creations were acquired and

those precedent-setting site-specific installa-

is covering complete epochs. In his latest

by the East-European cultural environment.

exhibited by the most significant Russian

tions of the 20th century, where the minimal

works Cseke maps the post-socialist situation

Havadtoy’s art suggests an intriguing com-

museums. Nevertheless, their creativity has

change coming from the incidental rebuilding

in Hungary, his impressions of the present

bination of the bold slap-in-the-face Ameri-

long been practically unknown by our local

on another site gives them a new visual look.

merge with his own subjective experiences.

can pop art juxtaposed and intertwined with


They build and then dismantle, deconstruct

He makes mobile objects to set models for

the inhibited, suppressed, secretive, and

All artists are dignified in retrospectives that

their works in a new form. The art of BaJóTa

macro mechanisms functioning beyond the

hypocritical East-European life: existence in

showcase their works from different periods.

is characterized by this sculptural starting

borders of everyday life and simultaneously

pain and distress covered-up by neat em-

Since 1994, Nadja Brykina has been con-

position. He raises questions originating from

he creates series of paintings around various


stantly releasing monographs, artists’ books

reality, practicality and realism, which create

subjects to contemplate the matter on a mi-

In 1978 he established, the Sam Havadtoy Gal-

and exhibition catalogues in four languages

a sculpturally exciting situation, but which

cro scale. Cseke focuses on phenomena orig-

lery and Interior Design Studio, and became

(German, English, French and Russian). Pub-

will fade into meaninglessness intellectually.

inated from past traumas of the society. He

good friends with Yoko Ono, John Lennon,

lications further include documentary films

The starting points of his latest works origi-

examines the situation of workers defined by

David Bowie, Andy Warhol, Keith Haring,

unravelling the artistic life of selected artists.

nate from the above concept, but their source

globalism and he arrives to the subjects of mi-

George Condo, Donald Baechler and many

The exhibitions organised from the works of

is personal memory. In the case of his work

gration and commuters who tend to dwell in a

more artists.

these artists are complemented by photo ex-

entitled ’Trap’, it is the simple concept of the

sector between the center and periphery.

The most monumental bronze sculpture in

hibitions and cultural events such as concerts

mouse trap made from a fruit jar and a half

Keith Haring’s oeuvre, the Winged Altarpiece

and readings giving further insight into their

walnut-shell back in his homeland, Transyl-

Veronika Jakatics-Szabó, as a young,

– was created with Havadtoy’s co-design and

artistic world.

vania. Regarding form, he investigates the

emerging artist, gives a searching look on

limited numbered manufacture. Years later,

relations between the clean factual minimal

the ambiguities of culture in the city. She cre-

the Ludwig Museum in Budapest received

and the organic. Behind the serious sculptural

ates a peculiar personal city-myth reflecting

this rare work as a gift to the permanent col-

goals, there is irony, humour and playfulness

on social situations, isolation in the society,

lection from Havadtoy.

hidden at all times.

mingling of different cultures, etc. In the new

In 1992 he established a gallery in Budapest,

body of work undertaken by the artist col-

‘Galéria 56’ and exhibited works by Keith Har-

laborating with the poet Zoltán Rónai-Balázs

ing, Andy Warhol, Agnes Martin, Cindy Sher-

– whose works she terms ‘comic poems’ – Ja-

man, Kiki Smith, Robert Mapplethorpe, Ross

katics-Szabó takes the story-board narrative

Bleckner, Donald Sultan, Donald Baechler.

structure of graphic novels, and emphasizes

Great Hungarian artist, László Moholy-Nagy

both figuratively and in subject matter the

was also represented in his gallery.

reality that bubbles under the surface of the

In 2000 he returned to live in Europe and has

everyday moments of Hungarian society.

homes in Budapest and Szentendre in Hungary, and Liguria in Italy.

© Zsolt TIBOR: Hide Yourself 2011, graphite, acrylic,adhesive tape, paper, 150 × 162 cm, (courtesy of Viltin Gallery)

Molnár Ani Gallery – STAND LF16 © Marlen Spindler: Composition on Ultramarine Ground

(London First section)

© Szilárd Cseke: Deep Look (project) courtesy of Molnár Ani Gallery

H-1088 Budapest, Hungary

1983, tempera on cardboard, 116.5 x 70.5 (courtesy of Nadja Brykina Gallery)

(courtesy of Kalman Maklary Fine Arts)

Temnikova&Kasela Gallery

2008, focusing on presenting emerging


and acknowledged artists, aiding their rep-

(London First section)

Viltin Gallery – STAND YG17

resentation in Hungary and internationally.

Tallinn EE-10146, Estonia

(Young Galleries Section)

It provides solo and group exhibitions giv-

H-1054 Budapest, Hungary

ing high priority to curatorial concepts with

Temnikova & Kasela gallery is located in

the aim to present quality in contemporary

Tallinn and is based on partnership of galler-

© Sam Havadtoy: GEISHA 2006, silkscreen on canvas 100 × 100 cm

Ani Molnár Gallery started its activity in

Nadja Brykina Gallery

The mindset of East-European artists is

installation art, painting, drawing and sculp-

ist Olga Temnikova and contemporary culture


strongly characterized by an investigating

ture. Taking part in international and local

promoter Indrek Kasela. The cooperation of

8001 Zurich, Switzerland

and collecting artistic attitude that tends to

art fairs and shows, in 2012 for the first time

Kasela and Temnikova came out of necessity

reflect on social and thereby cultural past. It

among Hungarian galleries it exhibited at

of creating new type of art institution, with

The gallery was founded in central Zurich in

often involves social or direct political reflec-

ARTISSIMA 19, a fair specialized in curated

inclination to break out of dysfunctional aca-

2006 by Nadja Brykina. Its repertoire focuses

tions, and also an interpretation of the status

conceptual projects. From 2011 the gallery is

demic gallery image and of course go on with

on Russian art from the second half of the 20 th

of the contemporary East-European artist

a participant of VIENNAFAIR, the most im-

representing and introducing established

century up to present time. The gallery repre-

in a universal European art medium. VILTIN

portant fair focusing on Central- and Eastern

and emerging authors from Baltic region and

sents the artists Marlen Spindler, Igor Vulokh,

Gallery introduces two such artists and their

European art.

beyond. The gallery follows participative art

Vladimir Andreenkov, Alexei Kamensky, Yuri

works based on the importance of searching,

At ART13 Ani Molnár Gallery will present the

trends, creating new rituals for perception of

Zlotnikov, Valery Yurlov, Andrei Krasulin and

collecting and this ’historical’ thinking that re-

exhibition In/Transitive Relations with a con-

contemporary art through organizing inter-

Vladimir Soskiev as well as members of the

flects on the near past. From the artefacts of

cept reflecting upon the actual social and po-

disciplinary dynamic events, optimizing inter-

younger generation, such as Mikhail Krunov

cultural memories discovered this way they

litical situation of Hungary viewed through its

national idea circulation.

and other artists. The spectrum of their works

create works presenting their own individual

changing relations to the western world also

ranges from painting to illustrations; from



graphic works to sculptural pieces.

Zsolt TIBOR basically starts out with a

have chosen artists Emese Benczúr, Szilárd

Many of these artists rank among the non-

’painter’s’ approach, then he bulids and draws

Cseke and Veronika Jakatics-Szabó who deal

conformists. They lived in the Soviet Union

according to the outcome of his perceptions

with these topics in their works. Szilárd Cseke

under desperate circumstances. In their isola-

and investigations. He interprets and re-in-

was chosen by the curators to represent Hun-

tion, they followed their own artistic pursuit.

terprets the current position of drawing. His

gary at the fair, his work ‘Deep Look’ will be

They did not join the ruling party, neither its

set of tools ranges from acrylic and oil paint,

installed in the project space of ART13.

official art – social realism – nor did they join

through various adhesive tapes and found

Emese Benczúr is one of the most remark-

the politicising underground. In exchange,

objects, to the projected image – but first and

able representatives of conceptual installa-

they renounced to acceptance. They put up

foremost, it is the pencil that plays the lead-

tion art in Hungary. She approaches reality

with deprivation, or worse, persecution. Their

ing role as favoured drawing implement. His

through tactile sensations and the primacy

non-conformism was absolute and was ad-

works are two-dimensional experimental me-

afforded to the manufactured artistic object.

dressed not only to the Soviet ideology but

morials: experimental in a sense that we do

Through explicit textual references she pro-

to all attempts to affect artistic works. Even

not recognize at first sight what we are sup-

vides conceptual dimension to the content of

© Krista Mölder:

with the emergence of the Perestroika they

posed to remember. These are all constitu-

her works. These texts refer to temporality,

Inazumi Corridor Red Carpet

did not adapt to the vogue of the art market

ents of a collective memory.

everyday existence and the futility of our ac-

(courtesy of Temnikova&Kasela Gallery)






producing, exhibiting and promoting the Bosnian and Balkan arts scene with partnerships,

“The springtime event for modern and contemporary art”

art projects and art professionals from all over the world. At the international Art Paris

Art Paris will take place at the Grand Palais between 28th March and 1st April this year

Art Fair 2013 Duplex100m2 and its partner

bringing together 144 galleries from around the world. The fair has 74 new arrivals and a

L’Agence will showcase works by three Bos-

total of 43% of the participating galleries are coming from outside France.

nian artists - Adela Jušić, Milomir Kovačević and Radenko Milak - with the support of the

For the first time in its history the fair will have an honorary guest country, Russia . Ap-

agnès b. fund. Using distinctive media (pho-

proximately 90 Russian artists will be represented by 26 galleries. The main section of the

tography, video, painting), all three artists ex-

fair will give space to the 11 galleries coming from Russia which shows the fair’s excep-

plore the multifaceted notion of memory.

tional focus on the art scenes of the East (Central and Eastern Europe, the Middle East Presented artists: Radenko Milak,

and Asia).

Adela Jušić, Milomir Kovačević In 2013 a brand new section named “promises” will be introduced dedicated to the promotion of young galleries under five years of age. There will be another section called

Radenko Milak

“artdesign platform” showcasing eight “cutting-edge” galleries presenting exclusive con-

Presented work: «And what else did you see?

temporary artefacts made by artists who explore the connection between design and

– I couldn’t see everything!»

contemporary art “02. april 1992, Bijeljina, Bosnia and Herzegovina”

The fair in figures… • 6 500m2 in Grand Palais in the heart of Paris

“The last series of his paintings rest on a fa-

• 144 exhibitors from 20 countries

mous photography of an American photo re-

• 1 500 artists, 48 000 visitors

porter Ron Haviv shot in the first days of the

• 43% international galleries and 57% French galleries

latest war, showing a member of the Serbian

• 52% new participants

militia in the Bosnian town of Bijeljina, kicking the body of a woman on the street. The photo shocked the world. It revealed the austerity

Galleries coming from the CEE region

and crimes of Serbian paramilitary and mili-

(followed by their stand numbers): • 16thLine Gallery (Rostov-on-Don) – G4

tary groups towards Bosniaks and Croatians

• Arka Gallery (Vladivostok) – F8

revealing the real casus belli of this war - eth-

• Erarta Galleries, (Saint-Petersburg, London, Zürich) – G1

nic cleansing. Milak replicates this photogra-

• Duplex-10M2 (Sarajevo) – F11

phy which became a media icon in his series

• Heritage International Art Gallery (Moscow) – F6

of paintings. It is a cathartic action, a personal

• Galerija Fotografija (Ljubljana) – A1

appropriation of this excruciating scene that

(c) Adela Jusic: The Sniper (1, 2, 3)

• Gallery Grinberg (Moscow) – G2

acts as confrontation with the crimes execut-

(courtesy of Duplex 100m2)

• Galerie Iragui (Moscow) – F7

ed in the name of his people. The magnitude

• Inda Galeria (Budapest)– B2

of this gesture is ever bigger, provided that

In this work I am not questioning the posi-

• Kálmán Makláry Fine Arts (Budapest) – D17

until the present day, the majority, and from

tion of victim, but questioning the patriarchal

• Marina Gisich Gallery – Ural Vision Gallery, (Saint-Petersburg, Ekaterinbourg) – G5

all sides was not able to confront the fact that

creation of heroism and war.

• Nadja Brykina Gallery, (Moscow, Zürich) – F9

crimes were pursued in their name. It is always

• Pechersky Gallery (Moscow) – F7

“Others” who did it. Milak, in his statement,

Milomir Kovačević

• pop/off/art gallery Moscow–Berlin (Moscow, Berlin) – C8

which is part of his work, asks himself whether

Presented work: «Tito in war», gelatin silver

• Várfok Gallery (Budapest) – E2

the photography which influenced the world-

print, 43 formats 58x41cm, 1992-1995

wide opinion, communicates all about the former war?” (Dunja Blažević, Director, Sarajevo

I was born and grew up in Tito’s era. For me

Centre for Contemporary Art)

and my generation, Tito represented the sym-


bol of peace and cohabitation of all people


tial part of everyday life: in schools, munici-

of Yugoslavia. Tito’s pictures were an essenpal buildings, grocery shops, public places...

Grand Palais, Avenue Winston Churchill, 75008 Paris

Even after his death they remained a part of people’s lives who saw in Tito a guarantee for

By invitation only Trade afternoon for professionals, Wednesday March 27th, 2013: 2pm – 6pm

Yugoslavia and peace.

Opening event, Wednesday March 27th, 2013: 6pm – 10pm

With nationalist parties rising to power a new

Special time slots for collectors and professionals – Saturday March 30th, Sunday March

history was born manifesting itself in the destruction of Tito’s pictures in public places.

31st & Monday April 1st 10.30am – 11.30am Opening hours

(c) Radenko Milak: S ta ste jos vidjeli -

Regardless of these changes, Tito’s pictures

Nisam mogao vidjeti sve!

had been present in Sarajevo at the begin-

(courtesy of Duplex 100m2)

ning of war. The army, which guarded Tito

Thursday March 28th,

11.30am – 8pm

Friday March 29th,

11.30am – 10pm

Saturday March 30th,

11.30am – 8pm

Sunday March 31st,

11.30am – 8pm

Adela Jušić

as silent witnesses of a tragedy. Some of them

Monday April 1st,

11.30am – 7pm

Presented work: «The sniper»

have been completely destroyed, while others

Video : color/sound, 04 min 09s

survived defying the evil. Most of them, how-

Year of production: 2007

ever, were transformed into new pictures.

during his reign, was now destroying his pictures. Nevertheless, those pictures remained

Ticket prices

Edition of 6 + 2 AP

Admission: Adults and children over age 10:


Students and groups of 10 or more – half price: €10

The aggressor’s sniper campaign against the

Free admission for children under age 10

population of the besieged Sarajevo during the war was an inhuman violation of the rules or customs of war directed principally

Catalogue & Bag Catalogue, available at the exhibition:


towards civilians.

Admission + catalogue special offer:

€35 (normal price 40€)

My father has been a member the Bosnian

Bag, available at the exhibition:


Army from the outset of the war through 3

Admission + bag special offer:

€25 (normal price 28€)

December 1992 when, as a sniper, he penetrated the enemy territory and got killed by a

For further information about the fair please visit

sniper bullet which hit him in the eye. Right before his death I found his notebook into which he continuously, over several


After seven years of activity in Sarajevo,

months, listed how many soldiers he had

“Galerija10m2” and art centre “Duplex” were

killed during his combat assignments.

Duplex100m2 - STAND F11

joined together in July 2012 to create Du-

Except for that book, in this work I am using

Obala Kulina Bana 22

plex100m2 in a new structure and space

my father’s last photography made by some-

71000 Sarajevo

located in a converted apartment in the

one a few days before he died. A lot of soldiers

Bosnia Herzegovina

city centre of Bosnia-Herzegovina’s vibrant

were making photos for their families, so they

capital. The new facility is expanding on the

can have the memory of them in case they get

© Milomir Kovacevic: Tito

foundations laid down in the previous years:

killed. My father did it for the same reason.

(courtesy of Duplex 100m2)

Kálmán Makláry Fine Arts

taposed bright colours and monochromatic

collections. In 2009, Tavasiev participated

cities and the traces they leave behind’ – these


surfaces has reached a high level of devel-

in the 3rd Moscow Biennale of Contempo-

are the main topics to unfold on the prints.

opment in Korea. This unique, atmospheric

rary Art within the exhibition ‘No Toys’. Until

The works turn into an absolutely fabricated

10 Falk Miksa str.

world, achieved with the playful juxtaposition

March 2013 he is being exhibited within the

picture as Misetics becomes the ‘director’ of

H-1055 Budapest

of monochromatic and multicoloured sur-

show ‘Decoration of the Beautiful. Elitism

the scenes taking place in front of us.

faces, appeared especially during the Joseon

and kitsch in contemporary art’ at the State

These different periods allow the visitor to get

period, on 15-19th century textiles, in secular

Tretyakov Gallery.

a brief insight into an unusual era in Hungary’s

On the Art Practice

and Buddhist architectural painting, in folk

history of art, during which some tendencies

of Hur Kyung-Ae

paper art, and on folding screens made for

do follow ‘Western’ directions in art, but in

Featuring bright colours, yet poetically re-

special occasions. Hur Kyung-Ae generates a

the same time stay very much characteristic

served in their tone, Hur Kyung-Ae’s unmis-

similar atmosphere in her artworks, kindling

of the local context.

takable artworks stretch the usual bounda-

the senses of the viewers.(Dr. Beatrix Mecsi,

ries between painting and sculpture.


Each of her works resonates the joy of life. Her paintings feature an array of colours in a sensual and expressive complexity, yet they are made to align to a systematic order. The multicoloured layers of paint often emerge from the ground, or more precisely, from under the colour that covers the multiple coats of paint, revealing a small portion here and there, thus generating colourful and flickering surfaces that are nevertheless imbued with a medita-

© Mátyás MISETICS: Artificial light No. 1

tive atmosphere. These objects attest to the process of their

© Hur Kyung Ae: Number.146

creation, the joy of making them: they are the

2012, acrylic on canvas, 97 × 13 cm

products of the human hand shaping them

(courtesy of Kalman Maklary Fine Arts)

2007, giclée print, Ed. 5 + A.P., 80 × 100 cm courtesy of Várfok Gallery

© Rostan Tavasiev:

and allowing them to take form during the

Your place in the history of art

creative process, without preliminary plan-

(courtesy of Pechersky Gallery)

pop/off/art gallery Moscow Berlin – STAND C8

ning. Construction and deconstruction are

Pechersky Gallery – STAND F7

the characteristic phases in this process:

WINZAVOD, 4th Syromyatnicheskiy per.,1/6

scraping off and cutting into the carefully

Moscow, Russia

Várfok Gallery – STAND E2

Winzavod Center

built upper layers of paint, the artist enjoys

Várfok u. 11.

105120 Moscou Russie

the unexpected results. It is an activity full of

1, b.6, 4 Syromyatnichesky lane

H-1012 Budapest

excitement, yielding surprises. The artworks

Pechersky Gallery was founded by Ma-

reveal wonderment at the world, and a sense

rina Pecherskaya in January 2011. Since then,

of joy arising in its wake.

the gallery has changed three locations, held

Várfok Gallery, founded in 1990, chose

When a work has been completed, most art-

several successful exhibitions and participat-

to present a specific reflection of Hungarian

ists remove any unwanted drips and smears

ed in parallel collaborations at the 4th Mos-

contemporary art from 1945 to the present

Pop/off/art gallery opened in Moscow in

of paint, and waste. Hur Kyung-Ae, however,

cow Biennale of Contemporary Art, the Kyiv

through the works of four artists, all part of

2004. Since September 2011 it is located at

has chosen a completely different path: she

Art Fair and VIENNAFAIR.

its international permanent circle .

the Center for Contemporary Art Winzavod

collects the fallen dust of paint and the dry

In 2012, Pechersky Gallery proudly opened a

The vibrant organic surrealism of Endre RO-

the place where the main metropolitan galler-

strips of the layers that she has scraped off,

new venue at Winzavod Center for Contem-

ZSDA (1913-1999) will be presented through

ies are situated. The new gallery space started

and reuses them: she re-pastes them onto the

porary Art with showcasing works by Alexei

artworks created in Budapest between circa

functioning in summer 2012 in Charlottenburg

surface of the painting. By doing so, she con-

Kostroma. Besides Russian artists Pechersky

1945-50. These paintings (rare considering

district in Berlin. Among the artists of the gal-

nects to the train of thought that she has read

Gallery works with artists from the USA (Rich-

this period) precede the next stage of his

lery are the best known names in contempo-

in Didi-Huberman’s “Genius of Non-place”:

ard Hambleton), Germany (Alexei Kostroma)

śuvre already unfolding in France: his long

rary Russian art, from acknowledged classics

the artist inhabits a place, i.e., in her case, the

and Ukraine (Arsen Savadov, Iliya Chichkan).

stay (until his death; he worked and lived from

(Erik Bulatov, Andrew Grositsky) to the main

canvas and the world comprised of the layers

Pechersky Gallery aims to accompany its

1979 at the Bateau Lavoir, Paris) ‘begins’ in

authors of the recent decades (Anatoly Os-

coating the canvas, which she gradually de-

showcasing activity with profound research.

1957 with an exhibition (Galerie Furstenberg)

molovsky, Olga Chernysheva, Gor Chahal, Vi-

constructs and abolishes. The work, however,

In 2012, it was preoccupied with researching

introduced by André Breton’s text. Rozsda

taly Pushnitsky), from rising stars to rediscov-

preserves all the traces of abolishment and

the New Wave movement in Russia. Exhibi-

would be celebrating his 100 th birthday this

ered artists. We show different types of art

transformation. The artist points to this fact

tions presenting VGLAZ artists and Oleg Ko-

year, therefore an exciting series of events

including photography and new media, but

by re-introducing the fallen layers of paint.

telnikov (one of the founders of the renowned

will commemorate the jubilee during 2013 at

mainly we devote attention to painting, sculp-

She addresses the process of creation, which

‘New Artists’ group in the 1980s) followed

Várfok Gallery and in the Hungarian National

ture and objects in their current understand-

is an experience in itself, seeking to share her

each other and in the end aroused interest

Gallery, amongst other places.

ing. The principal feature that unites all the

experience wih the viewers so that they can

for the underexposed but influential and em-

Stepping forward towards the period around

artists of the gallery is really high quality art.

also see and understand the process of joyful

blematic Russian art movement. Discussions

1968, although Hungary was still oppressed

During the Art Paris pop/off/art gallery Mos-

creation in their minds.

held on the New Wave let artists Gosha Os-

politically, officially ‘banned’ artistic trends

cow Berlin in cooperation with Blue Square

Such an immersion into the creative process,

tretsov, Georgy Litichevsky, Nikita Alexeev

were emerging. The Hungarian ‘Hard Edge’,

Gallery (Paris, Washington) presents on its

such a “consuming” of the paintings, is similar

speak their minds on the topic. Pechersky

showing singular local characteristics, will be

stand several generations of Russian artists

to the joy provided by eating colourful cakes.

Gallery now plans to create a public forum

revealed at the Grand Palais through paint-

who live and work all around the world – an

Crumbs and morsels keep falling while you

that will allow artists and curators to hold

ings by István NÁDLER (1938) completed

intimate panorama of art, which has Russian

are immersed in the delight of eating them.

conversations with the general public and

in the 1970s. These works guide us through

roots or matters, but speaks the languages

On special occasions, such as someone’s first

young collectors and to promote the under-

an unusual, personal internal emigration. Ná-

of international contemporary art. We repre-

and sixtieth birthday, weddings or other joy-

standing of contemporary art in Russia.

dler – one of the leading actors of the present

sent the lines of Sots art and conceptualism,

ous events, people in Korea make, display

In 2013, besides its internal exhibition pro-

Hungarian non-figurative picturesque scene

the newest post conceptual and postmodern

and consume similarly colourful cakes. The

gram Pechersky Gallery plans to accomplish

– discovered gestures in the 1980s: since then

movements, with the emphasis on the left

rice cake called siluddeok appears in the col-

two major group shows. One of them is go-

they became major components of his śuvre

wing social ideas or the material which sharp-

ours of the rainbow on such occasions: this

ing to touch upon the relationship between

while he keeps discovering new depths in the

ly outlines the physical relations.

mujigae-ddeok, or rainbow rice cake, as it is

the government as a client and an artist as an

field of colours.

The list of artists represented is:

called, resembles the layers of paint that the

executor of the governmental order. Another

The 1980s meets the liberation of the picto-

Olga Chernysheva, Arkady Petrov, Anatoly

artist applies on her canvases. The ground

show is an international curatorial project

rial language: a strong expressivity sweeps

Osmolovsky, Grigory Maiofis, Rostislav

colour of the rice cake is white, to which col-

which involves significant artists from all over

across Europe and America with different


ourful layers of various flavours are added.

the world.

‘outcomes’ depending on the countries (Free

Prepared in a large earthenware steamer,

Within Art Paris Fair Pechersky Gallery is

Figuration, Neo-Expressionism, Transavant-

this kind of rice cake is made of powdered

planning a solo show presenting Rostan

garde). In Hungary, one of the important rep-

rice flour, layered in a similar way by adding

Tavasiev. Tavasiev was born in Moscow in

resentatives of New Sensivity (a group ensu-

various flavours: sweet red bean, red-orange

1976. He graduated from the Institute of Con-

ing of this tendency) is László MULASICS

Asian persimmon, fruits, nuts and seeds, and

temporary Art. The artist exploits the topic

(1954–2001) who later finds his unique path

other plants yielding colour. As Hur Kyung-

of stuffed toys and works in different media,

through his perfected encaustic technique:

Ae confessed, her works are similar to these

including installation, graphics and painting.

some of the first ‘results’ of these experiences

famous Korean rice cakes: during the proc-

Tavasiev featured shows in Moscow, London,

will be presented at the fair.

ess of making the paintings, she eats up, as

Paris, Miami and Bologna. His works are in

Photographs by Mátyás MISETICS’ (1982)

it were, the colourful layers. She also made

the collections of the Moscow Museum of

let us discover a world of artificial luminous

© Olga Chernysheva: Untitled (Park)

such cake forms out of, powdered paint mak-

Contemporary Art, Multimedia Art Museum

sources where the relation and the interac-

2007, Gelatin-silver fiber based print.

ing reference to such an elemental connec-

(Moscow), the Moscow Branch of the Nation-

tion of Man and space are analysed. Solitude,

60 × 90 cm. Edition of 4 + 2AP

tion to the joy of eating. The aesthetics of jux-

al Center For Contemporary Art and private

alienation… ‘the experience of people in large

(courtesy of pop/off/art Moscow Berlin)

Mommsenstr. 35 10629 Berlin Allemagne (Deutschland)


Transforming Reality

ing Duplex Gallery from Sarajevo among us

interview with Guillaume Piens, director of Art Paris Art Fair

on the Bosnian scene, and well as 16th Line

by Zsuzsi Fieszl

as it will show the best of what is happening from Rostov on Don. Why Russia? (as guest of honour) Russia will be the first chapter of our exploration of the art scenes of the East. There is a lot of talk about Russia, but strangely enough, the Russian scene is almost invisible. This is the first time that Russia is invited as guest of honour in a French contemporary art fair. The objective is to show the wealth and diversity of the structures in Russia. There are Modern Art galleries like Heritage or Brykina, photography galleries such as Grinberg Gallery, contemporary galleries like Pop Off, Arka, Marina Gisich ou Erarta, and new up-and-coming outfits like Iragui, 16th line and Perchesky. They all show dif-

Guillaume Piens

ferent facets of Russian art: from the artists of the diaspora to the non-conformists who

picture by Marie Amar ©

Entrance of Art Paris Art Fair

opposed the cult of Soviet power between 1960 and 1991 to the rising stars of the con-

Art Paris is 15 years old this year. If you look

Globalisation has meant that art and the art

ingly conventional, formal and also frivolous

back what do you think were the main mile-

market today has become more and more

work we see today.

stones that made the fair as successful as it

homogenised and unified. In the face of this,

The difficulty for the region is a lack of means

If I am right opening a section for contempo-

is nowadays?

it is crucial to turn our attention to the very

to distribute and show its contemporary art

rary design is a fairly new thing for Art Paris.

temporary scene.

rich local art scenes that are distinguished by

production abroad. The institutions are weak

What is the concept behind this? Is it some-

When it was set up in 1999, Art Paris took

their own personalities and identities. I like to

and the galleries do not have the means to

thing you will build into Art Paris’ portfolio

place at the same time as the FIAC. From the

think of it as “cosmopolitan regionalism.”

export their artists onto the international

in the future?

beginning, it set out to be different by dis-

We are also interested in widening our field


tancing itself from the fashionable trends of

of prospection and discovery of contempo-

the art world, which by definition are pass-

rary art and to bring together contemporary

Considering your background: Photo or

tween artists and designers. Some designers

ing, and by showing strong support for the

Art Brut and work from the emerging scenes

Paintings? (and we are curious why…)

are shedding the shackles of the functional

French art scene. In 2006, it was the first art

of Africa, Asia, the Middle East and Eastern

fair to be held in the Grand Palais after major

Europe. These days, it seems vital to devel-

My background is in contemporary art but

to contemporary art. For this reason it seems

renovation works. It changed dates and be-

op a specific identity and be different from

I got involved in photography thanks to

like an interesting idea to create an “artde-

came the event for modern and contempo-

other fairs.

Paris Photo. Strangely enough, I collect art-

sign” space where the two can meet. This is

ists whose work often has photography as

the aim of the platform which brings together

rary art held in the spring, as opposed to the

These days there is a close relationship be-

to create ambiguous objects that come close

FIAC that takes place in the Autumn. In 2009,

What do you (honestly) think about Cen-

a starting point, and photographers whose

nine cutting-edge galleries that show exclu-

under the leadership of Lorenzo Rudolf, a new

tral and Eastern European art? Is there a

work tends towards the painterly. I like both

sive, one-of-a kind or very limited edition

concept was launched with the title of Art

uniqueness we can show up or do we need

photography and painting when they transfix

pieces by contemporary talents. We are ex-

Paris Guests. The idea was to open up the art

to change attitude/technique/viewpoint/

the instant and transform reality.

cited about the prospects for this new con-

world and blend contemporary art with other

management strategy?

temporary design space. This year you will have 75 new galleries

disciplines like architecture, gastronomy and

What’s Art Paris’ next step?

fashion. This created a confused situation and

When I was director of Paris Photo, I invited

(by the 30/01/2013 data) some of them

the idea was dropped in 2011.

Central Europe to feature as guest of honour.

from countries who rarely represent their

In 2012 the fair was brought under new man-

This experience had a profound effect on me.

contemporary art on big art fairs. Did you

My aim is to ensure Art Paris Art Fair contin-

agement and was re-named Art Paris Art Fair.

Unlike the countries of the West, central Eu-

change your selection structure or lower the

ues to be a place for discovery and prospec-

It has since worked to establish a unique iden-

ropean nations have undergone fundamental

booth prices or maybe something else for

tion as well as continuing to focus on and pro-

tity as a fundamentally European fair that is

systemic shocks: Communism, the fall of the

this to happen?

mote the art scenes of the East. Next year, in

open to the promotion of the art scenes of

Berlin Wall in 1989, the advent of democracy

the East, meaning Eastern and Central Eu-

and capitalism. The young artists of the re-

First of all, we went out looking for new talent,

rope, the Middle East and Asia.

gion have documented and commented on

travelled and prospected in a large number

these transitions, and that is what makes their

of cities including Moscow, Budapest and

Last year we read a lot about your new con-

work special and specific. It is poetic and po-

Vienna. Secondly, we have introduced a new

My wish is for a successful edition of Art Paris

cepts of rediscovering identities and territo-

litical at the same time. It confronts us with

section called “Promises” for 12 young galler-

Art Fair in 2013 and to be able to contribute to

ries. How are you following this route (in the

the realities of recent history and poses exis-

ies for whom 50% of the participation cost is

the promotion, understanding and apprecia-

future)? What do you think it will change?

tential questions. It stands out from the bor-

sponsored. We are particularly proud of hav-

tion of Russian art on an international level.

Courtesy of Art Paris Art Fair

2014, China will be Guest of Honour.

Courtesy of Art Paris Art Fair

What’s your next step?

Photography One by One: Moldova

the other hand there is a return to the aesthet-

interview with Tatiana Fiodorova, artist and curator, by Zsuzsi Fieszl

many young people who are passionate about

ics of old manual photography. Also, there are using the photo application called Istagram.

photo club in Chisinau called Contrast. Iconic

balev and Gulnara Vishku. A very interesting

You said there are no institutions which

photographers of that time were Valery Vo-

creative project in my opinion is the Night of

would represent contemporary photogra-

lontir, Vladimir Gaidash and Constantin Gro-

shams by Gulnara Vishku where the artist was

phy - other countries organise photo festi-

zdev, who were awarded honorary degrees

trying to visualize dreams through photos.

vals, photo months (like the European Photo

AFIAP, then EFIAP. Today the club has almost

Also, interesting young authors appeared

Month). Have you considered organising any

stopped its activities.

working in the various genres of photogra-

of these? Do you think the Moldavian con-

Of course, the burning and the most important

phy. For example, young photographer like

temporary art audience would be interested

question is the financing of activities aimed

Dorin Goian, Ramin Mazur and Donica Nelu

in this kind of events?

at developing Moldavian photography. In our

produce interesting works in photojournalism.

I think the interest would be huge not only for

state, including the Ministry of Culture, there

Dorin Goian has an interesting series of works

those who are engaged in contemporary art,

is no clear and well thought-out policy about

entitled Hospice Angelus. It is about the first

but in general, as many citizens are addicted

how to promote contemporary art, or contem-

hospice providing palliative care for patients

to photography.

porary photography in particular. Therefore

suffering from incurable diseases. Ramin Ma-

What kind of fundraising opportunities do

photography develops spontaneously and

zur created an online photo magazine: http://

you have? Do you use EU funding at all?

Tatiana Fiodorova

randomly. There are no programs or strategies which presents documen-

Moldavian NGOs received funding from the

artist and curator

for the development of this field.

tary photography. Donica Nelu also tried to

EU, but most of this funding does not go to

One should also add that though photogra-

make film. This year he released his wonderful

the development of contemporary photogra-

phy is taught as a subject at the Academy of

film Nastea & Sioma about a Moldavian village

phy but goes in general for the development

What do you think photography means in

Music, Theatre and Fine Arts only few of the

and its inhabitants. The main characters are

of contemporary art. I myself was invited to

Moldova today?

graduates continue to pursue photography

shepherds who very sharply characterize the

participate in international projects as a part-

This is a difficult question, perhaps not only

seriously after the Academy. Most likely, this is

Moldavian rural context of our time.

ner from the Moldavian side and in the case

for me but for all those involved in photog-

due to the lack of understanding of how they

of the project dealing with documentary pho-

raphy. At first glance, compared to previous

could further develop as photographers.

tography which will be implemented this year,

years, there is a growing interest in photogra-

There are, of course, attempts to change

the association of photographers Sputnic re-

phy both from professionals, and ordinary cit-

things. The Chisinau Centre for Contempo-

ceived a grant from the Visegrad funds.

izens of Moldova, most notably in social net-

rary Art held periodical exhibitions where

Are there art collectors in Moldova? If not,

works. For several years, there is portal foto.

Moldavian artists working in the field of con-

what about Russian collectors? Are they in-

md, where people who are passionate about

temporary photography, could exhibit along


photography, can post their photos and com-

artist working in other media. .

If we talk about investors and collectors of

ments. People are increasingly, turning to

In 2009, I created an online platform, www.

photography I can say mostly no than yes.

this media as a way to visual communication. to popularize

How do you think the situation of Moldavian

Also, private photo schools open, but most of

contemporary art, including photography, by

photography might change in the near fu-

these are of commercial nature. They a won-

doing interviews with artists and photogra-


derfully prepare photographers for weddings


The situation will surely improve in the fu-

and other celebrations, teach a trade, but this

Who do you think are the most well-known

is not for creative fulfilment.

contemporary photographers from your

Can you see Moldavian contemporary pho-

country in 2013?

tography beyond your country’s borders? If

Photography in Moldova is very different

yes, where? What are you (and other Molda-

from what you would expect.

It is worth mentioning Irina Grabovan as well,

For example, in 2011 I curated a photo exhibi-

vian art professionals) doing to make con-

Of course, in Moldova many know the name

a photographer who invited Western pho-

tion entitled Moldova. The choice is yours. In

temporary photography visible internation-

of the photographer Mihai Potarniche who is

tographers to exhibit in her gallery, Aorta.

2012 we planned to organise an exhibition of


praised on Moldavian land for his lyrical photo-

Unfortunately, at present this gallery almost

documentary photography, where photogra-

Generally speaking Moldavian photography

graphic compositions. Abroad, however, he is

stopped functioning .

phers of the CIS were to be invited but, unfor-

is practically scarcely present on the interna-

only scaresly present, like the majority of Mol-

In fine art photography is used in order to

tunately Russia refused to finance the project

tional scene. Almost all Moldavian photogra-

davian photographers. In the genre of photo-

make collage by artists like Egor Tetushev, Irina

at the last stage of its implementation. Now I

phers are only known on local level. Few can

journalism it is necessary to note teacher and

Lesik and Andrei Shushvalyuk. Ivan Yalanzhi’s

am involved as a partner from the Moldovan

show their work in western galleries, and this

photographer Nicolai Pojoga, who occasion-

nude black and white fotos also received in-

side in an international project organized by

is of course connected with the lack of insti-

ally gives lectures in the USA. Oleg Kaneev is

ternational evaluation and recognition.

the International Association of Photogra-

tutions that could promote and develop Mol-

known in Moldova for his macro and landscape

Photos are also very often used in projects

phers “Sputnik. This year we plan to organise

davian contemporary photography. If we talk

photos and sketches. On international level,

made by contemporary artists as Dmitrii

workshops for Moldovan photographers, and

about the personal experiences of the Molda-

the Dutch contemporary photographer (born

Oboroc, Alexander Raevski and Max Kuz-

a group of young Moldavian photographers

vian photographers, they very often do not

in Chisinau) Ilya Rabinovich is well known for

menko. I often turn to photography in my

will visit the Czech Republic. Let’s hope that

have full information on how to be visible in

photographing public spaces like schools and

projects as well. Sometimes I use a photograph

our work will influence the development of

the western world.

museums in the absence of people presenting

as a document of reality, though it is still con-

Moldavian contemporary photography.

How do you see, is there a real market for

the way in which the social system we live in

ceptual by nature. Very often the photo is only

contemporary photography in the Central

makes us live in a certain way.

part of the project. It can be supplemented

More about Tatiana Fiodorova:

and Eastern European region?

Contemporary photography is not supported

by video works, made into a photo object or

Such thing does not exist.

or funded by anyone, therefore Moldavian

go into a multimedia installation. It may have

What are the strong suits of Moldavian pho-

photography mainly developed as a commer-

a social or political sense. For example, for a


cial genre. Two commercial photographers

period of more than two years I made a photo

I think Moldavian photography has huge re-

in great demand in Moldova are Roman Ry-

documentation about the protest a Moldavian

ture, I think we have already started. In col-

© John Donica: Workers, 2012

of Mediart Dialog we are trying to develop and create projects related to photography.

sources, like the whole of our country does- this

war’s veteran named Tudor, who lives in a tent

is our land. Our space is unique both historical-

near the Government and insists on the Gov-

ly and geopolitically. Western colleagues like

ernment to provide him with a house because

to be here. We have something to shoot and

the one he owned was destroyed by authori-

talk about. Moldova for me is, first of all a post-

ty’s mistake. By visiting http://protesttudor.

Soviet space. It is impossible not to talk about you can see how this man

the Soviet utopia project in which we lived for

continues to protest for more than two years.

70 years. And today’s topics in Moldova, both

I also worked with the archival photo material I

social and political in the present period of

got from my father, who was an unknown art-

transition may also be of interest.

ist and photographer in the Soviet time. You

Of course we have talented people with a

can see his works at http://unknownartistmu-

huge potential, but the lack of knowledge and

experience does not allow photographers to

You probably review many portfolios. What

work in the framework of contemporary pho-

do you think about the new generations?


Are there changes in how they see photog-

What do you think are its weaknesses?

raphy now compared to the ways in which

The primary weakness is the lack of infrastruc-

photography was viewed for example 10-15

ture, not only in photography, but in the cul-

years ago?

tural sector in general, and of course the lack

laboration with Natalia Anisimova, director

Of course, there are many updates, mutations

of the art market. We have individual photog-

© Dorin Goian / Gipsy girl

and newly appearing forms in photography

raphers, but we can’t talk about a photo com-

A roma girl from a poor family, 28 children

that were not popular 10-15 years ago. On the

munity. It has, unfortunately not developed.

from 3 different families living in a 2 bedroom

one hand there is the use of computer tech-

©Tatiana Fiodorova:

In the 80s there was a popular and famous

apartment in Soroca, Moldova 2009

nology and the use of new methods while on

Sublime Object of Ideology, 2009



1 9 B r atis l ava 2 1 R i g a 2 6 B u c h a re s t 41 8 B u c h a re s t 0 g m s S of i a 3 5 m 2 P r a g u e 3x 3 L i b e re c A P a n evė ž ys A . M .1 8 0 P r a g u e a c b B u d a p e s t Ad A s t r a Ku ř i m Ag e n c y A r t M os cow Ag r a A r t Wa r s aw A i d a n M os cow A i u r a r t B u c h a re s t A k a d e m i j a v dA V il n i u s A l S a i nt- P ete r s b u rg A l i s B u c h a re s t A l k a t r a z L j u b l j a n a A l m a R i g a A M g P r a g u e A M t p ro j e c t B r atis l ava A n a C r i s te a C l u j – N ew Yo r k A n a i d B u c h a re s t A n c a p o te r a s u B u c h a re s t A n d re i a n a M i h a i l B u c h a re s t A n n Ki ev A n n a n ova S a i nt- P ete r s b u rg A n n A r t B u c h a re s t A r h i p e l a g C l u j A r k a Vl a d i vos to k A r s Aevi S a r a j evo A r s ko n t a k t B r n o A r t d e p o t S a r a j evo A r t M a r ke t V il n i u s A r t re . 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P r a g u e Fa i c a B r atis l ava Fa u r z s ó f i B u d a p e s t F F Ló dz F i n e A r t M os cow Fo k s a l Wa r s aw Fo to g r a f P r a g u e Fo to g r a f i c P r a g u e Fo to g r a f i j a L j u b l j a n a Fo to l o f t M os cow F p s W Wa r s aw Fre t a Wa r s aw Fro l ov M os cow Fu t u r a C e n t re P r a g u e g a l a te e a B u c h a re s t g a n d y B r atis l ava g a r a g e C e n te r M os cow g a r y ta t i n t s i a n M os cow g a te P r a g u e g e l o s M os cow g i s i c h S a i nt P ete r s b u rg g l a z M os cow g M g M os cow g o d o t B u d a p e s t g o l d a r t B u c h a re s t g re g o r p o d n a r L j u b l j a n a – B e r li n g r i n b e r g M os cow g u e l m a n M os cow H ’a r t B u c h a re s t H a u s Ta l li n H e p p e n tr a n s f e r Wa r s aw H e s t L j u b l j a n a – M a r i b o r H i t B r atis l ava H u n t K a s t n e r P r a g u e i d e a s B e l g r a d e i n d a B u d a p e s t i r a g u i M os cow i va n B u c h a re s t i zo lya t s i a D o n et s k J a ro s l ava Fr a g n e r a P r a g u e J ava S a r a j evo J e c z a T i m is o a r a J e l e n i P r a g u e J i r i sve s t k a P r a g u e – B e r li n J u s k u s V il n i u s K a b i n e t M os cow K á l m á n M a k l á r y B u d a p e s t K a p e l i c a L j u b l j a n a K a p s u l a L j u b l j a n a K a r a s Ki ev K a r a s Z a g re b K a ro l W i n i a rc z y k V i e n n a K a ro u s e l B u c h a re s t K a u n o Fo to g r a f i j o s K a u n a s K a u n o l a n g a s K a u n a s K h a n k h a l a ev M os cow K i b l A M a r i b o r Ki s te re m B u d a p e s t Ko d l P r a g u e Ko g a r t B u d a p e s t Ko l o n i e Wa r s aw Ko n s t a n t O r a d e a Ko n t s e p t s iya M i n s k Ko n t u r a Z a g re b Ko r n e r s Ki ev Ko u r n i kova M os cow K re s s l i n g B r atis l ava K ro k i n M os cow K ro k u s B r atis l ava Ku d a N ovi S a d Kyiv F i n e Ki ev Ky t k a P r a g u e l a Fe m m e P r a g u e l a b o r a to r i a M os cow l a b o r a to r i o P r a g u e l a n g h a n s P r a g u e l a s a n d r- a r t M i n s k l a te r a l C l u j l a z a rev S a i nt P ete r s b u rg l a z n i a G d a n s k l e g u e r n Wa r s aw l e i c a P r a g u e l é n a & r o s e l l i B u d a p e s t l e o n i d l e r n e r M os cow l e o n i d s h i s h k i n M oscow l e s s e d r a S of i a l e to Wa r s aw l i e t u vo s A i d o V il n i u s l i t t l e ye l l ow B u c h a re s t lo k a l3 0 Wa r s aw l u m i e re b ro t h e r s M os cow l u x f e r P r a g u e M K h a r kov M 17 Ki ev M a d l ’ B e l g r a d e M a g m a Sf. G h e o rg h e M a g n u m A r s M os cow M a r i s a l l Z a g re b M a s t a t s t va M i n s k M e d i u m B r atis l ava M e e t Fa c to r y P r a g u e M e i s s n e r P r a g u e M e l e n i a B u c h a re s t M e n o n i s a V il n i u s M e n u t i l t a s V il n i u s M i h a i n i c o d i m B u c h a re s t– Los A n g e l e s M i l l e n n i u m P r a g u e M i ro n ova Ki ev M i ro s l av K r a l j evi c Z a g re b M i ro s l ava Ku b í k a L ito my š l M i s s i o n A r t B u d a p e s t M o n o B u d a p e s t n a d j a b r y k i n a M os cow –Zu r i c h n a u t i l u s K r a kow n av r á t i l P r a g u e n ex t A r t B u d a p e s t n F Ú s tí n a d L a b e m n ova B r atis l ava o p e n M os cow o p e n B r atis l ava o s toya Wa r s aw p74 L j u b l j a n a p á l M i e rc u re a C i u c pA n e l c o n te m p o r a r y B u d a p e s t p a p e r wo r k s M oscow p a s s a g e L j u b l j a n a p e c k a P r a g u e p e l e s e m p i re C l u j p e ro n P r a g u e p h o to n L j u b l j a n a p i e k a r y P ozn a n p i e s P ozn a n p i n c h u k Ki ev p i n té r s o n j a B u d a p e s t p l a n b C l u j – B e r li n p M Z a g re b p o b e d a M os cow p o l i n a lo b a c h ev s k aya M os cow p o l s w i s s Wa r s aw p o p/o f f/a r t M os cow – B e r li n p o s i b i l a B u c h a re s t p r i n z p r a g e r P r a g u e p ro d a j n a B e l g r a d e p ro e k t Fa b r i k a M os cow p ro f i l e Wa r s aw p ro m e n a d e Vl o re

A pASSion For uS , An i nVeStM ent For you

p ro p a g a n d a Wa r s aw p ro s p e k to V il n i u s p ro u n M os cow p u b l i c r o o m S a r a j evo Q u a d ro C l u j r a s te r Wa r s aw r e c yc l e n e s t B u c h a re s t r e g i n a M os cow – Lo n d o n r e m o n t B e l g r a d e r e m p ex Wa r s aw – C r a cow – S o p ot r i g a s R i g a r i n g Z a g re b r o m a n p e t rovi c S a r a j evo r u A r t s M os cow s P r a g u e s a b o t C l u j s a m 8 3 T ře m o š n á s a r i ev P l ovd iv s a te l i t B r atis l ava s i m u l t a n T i m is o a r a s i z R i j e ka Š ko l s k á 2 8 P r a g u e Š k u c L j u b l j a n a s o f a D r u s ki n i n ka i s o g a B r atis l ava s ovc o m M os cow s p a c e B r atis l ava s pz P r a g u e s t a r m a c h C r a cow s t a r te r Wa r s aw s te l l a A r t M os cow s te re o P ozn a n s v i t P r a g u e t B r atis l ava te m n i kova & K a s e l a Ta l li n te r r a e c o g n i t a V il n i u s t h e C h e m i s t r y P r a g u e t i f a n a R i g a to b a c c o 0 01 L j u b l j a n a t r 3 L j u b l j a n a tr a f a č k a P r a g u e tr i u m p h M os cow ts e k h Ki ev Ú j K r i te r i o n M i e rc u re a C i u c u p p e r tow n M i n s k vá c l ava Š p á ly P r a g u e va r t a i V il n i u s ve r n o n P r a g u e v iA A r t P r a g u e v i c to r i a S a m a r a v i l t i n B u d a p e s t v i n t a g e B u d a p e s t v i r á g J u d i t B u d a p e s t v i s c o n t i L j u b l j a n a v l t avi n P r a g u e vo s to c h n aya M os cow Wa n n i e c k B r n o W i n z avo d M os cow X B r atis l ava X l M os cow X X P a n evė ž ys X X l Lo u ny „y ” M i n s k ya D n i p ro p etrovs k ya Ki ev z a c h e t a Wa r s aw z a k b r a n i c k a B e r li n zd e n ě k s k l e n á ř P r a g u e – L ito my š li zd e r z a k C r a cow ze t a T i r a n a zez u l a B r n o zo n a Z a g re b zo r z i n i B u c h a re s t z pA F i s - k a C r a cow zvo n o B e l g r a d e

executiv by:

benefit Association for Contemporary european Art

re p re s e n te d by r a d a r



work often liberates the artist from the dog-

curves were drawn onto the paper model

matic approaches that are habitually adopted

with various coloured pens. After about 5-10

cial applications are explored in an ingenious

over years.The exploration of ideas becomes

minutes of drawing time the paper cut forms

and creative way.

less weighed down by the ego and the desire

were folded into popup sculpture that spa-

to conform to a consistent artistic practice.

tially extruded these fascinating forms on the

Balint Bolygo is an artist working with time

The often resisted field of searching for com-

paper folds. The result was a unique artwork

based sculpture and explores the process of

mercial take on artistic practice is also side-

every time from a multiple design, through a

KINETICLAB is an experimental collaboration

making from a science and engineering per-

stepped. The debut project for Kinetic Lab

process that was not only on show but was

between Balint Bolygo and Elod Beregszaszi,

spective. His kinetic contraptions use every-

was at East London Design Show in December

open for the public to participate in.

exploring potential applications for kinetic

day forces to investigate space, mark making

last year. Bolygo and Beregszaszi have liter-

Kinetic Lab aims to explore the potential of

forms of expression encompassing the fields

and time, and reveal a new perception of our

ally combined their artistic practice to create

single sheet rigid foldable (popup) structures

of Art, Design & Commerce.


an interactive platform on which the public

as a kinetic form that can be customised to

were given an opportunity to be directly in-

client and site specification. The possibilities

East London Design Show Shoreditch Town Hall London 6–9th December 2012

Elod Beregszaszi runs Popupology Design

Kinetic Lab was created by two Hungarian

volved with the ‘act of making’ the artefact.

of applying kinetic paper structures to art, in-

Studio to explore all aspects of paper manipu-

born artists who both grew up in the UK. Their

Beregszaszi’s pre-cut paper templates were

terior design, fashion and even architecture is

lation, concentrating on single sheet foldable

artistic paths crossed at the end of 2012 when

mounted on Bolygo’s Pendulum Harmono-

enormous. Kinetic Lab has exciting opportu-

structures utilising the technique of Origamic

they saw common threads running through

graph, drawing mechanism. By interacting

nities lined up in London and are working on

Architecture. He has set up a unique business

their work and the potential to explore new

physically with the weights in motion, unique

new ideas and projects planned to be show-

where the boundaries of art and its commer-

domains within their practice. Collaborative

mathematical patterns known as Lissajous

cased during 2013.

Kinetic Lab ©

Berlin Introduced AGE asked Zak Branicka Gallery, Berlin Is it worthwhile representing Central and Eastern European artists in Berlin? What are your experiences? Does the fact that you are not a “Berliner” gallery make you unique? Yes, it is definitely worth it! Although there

Vlatka Horvat, Beside Itself

Roman Opałka, Octogon

exhibition view at ŻAK | BRANICKA,

exhibition view at ŻAK | BRANICKA,

are many high quality institutions and galler-

2011, Berlin,

2011, Berlin,

ies in Berlin, the percentage of them repre-

Copyright and courtesy ŻAK | BRANICKA

Copyright and courtesy ŻAK | BRANICKA

CEE countries is fairly low.

What do you think are the main differences

In fact, we are not really concentrating on the

Are there any other galleries who are on the

between German and Eastern European art-

Western market only. We still work very often

forefront of the CEE region? Do you work to-

ists? Is there any difference at all?

together with many Midlle- and Eastern Eu-

gether sometimes?

There are certainly differences. For one, CEE

ropean collections and museums. The same

Yes, there are a few very good galleries here

artists have a very close connection to his-

applies to curators from the CEE.

in Berlin that represent the CEE region be-

tory and include and refer to historical mate-

What do you think about the art scene in

lot more affordable than in all these other

sides us. Very good examples are Galerija

rial in many of their works. They also work

Berlin? Would you change your location for


Gregor Podnar and Gallery Plan B. We do not

extremely conceptually and many of them

example to Cologne, Paris or London? Are

necessarily collaborate on exhibitions but we

experiment with a diverse array of media

these markets different at all?

are good friends and share thoughts about

instead of just focusing on one medium.

At this moment, we would not want to

2012, Berlin, Copyright and courtesy ŻAK |

the market and especially the situation in and

Technically speaking, the artistic education

change to Cologne, Paris or London. The


around Berlin.

given to CEE artists had a very high stand-

only location we would consider would be

senting and supporting art and artists from

Józef Robakowski, Der Linie nach exhibition view at ŻAK | BRANICKA,

Do you feel that there is an increasing or de-

ard, which has given them expertise in their

New York, for example. Berlin, for us, is still

What were the biggest changes in the last

creasing interest in artists coming from Cen-

respective fields.

the perfect spot in Europe since we are still

3-5 years in Berlin on the contemporary art

tral and Eastern Europe?

You are more focused on targeting the West-

very close to the CEE region and are also

scene? Were there any significant changes?

Over the course of the last five years, we have

ern world – do you still have a connection to

closely connected to the general European

For us, the most significant change in the last

been working closer and closer with an in-

CEE galleries, collectors and curators? (Am

market. We go to fairs in Paris, London, and

few years was that art from the CEE region

creasing number of German and international

I right when I presume that your market is

Cologne (either with a booth or just visiting),

received a lot more attention within the con-


more Western?)

which gives us a much better opportunity to

temporary art scene. Collectors and curators,

connect to the people there. In this case it

as well as the general public’s interest in-

is not necessary to also have an exhibition

creased noticeably. This means for us that we

space on site. The American market is a dif-

as a gallery, and our effort in promoting art

ferent thing though.

from the CEE countries is finally visible and

Do you think there will be a Berlin Art Forum

highly appreciated within the contemporary


art scene in Berlin and abroad as well.

We don’t know. Which cities do you think are your biggest

More about Zak Branicka:

competitors? (Berlin vs London vs Paris vs

NY etc.)

Joanna Rajkowska, Born in Berlin

Gorgona, Please Attend

We can’t really speak of competitors. All of

exhibition view at ŻAK | BRANICKA,

exhibition view at ŻAK | BRANICKA,

these cities are completely different. In Ber-

2012, Berlin,

2013, Berlin,

lin you are still closely connected to the art-

Copyright and courtesy ŻAK | BRANICKA

Copyright and courtesy ŻAK | BRANICKA

ists. Furthermore, rent and living are still a

AGE art tips for April: Berlin Gallery Weekend



Introducing Ádám Magyar

The image comes first. By this I mean that

I am turning to film now. Somewhat more

interview by Bálint Ferenczy, art historian

no matter what device the light is going

than a year ago, I made a slow motion video

through, the resulting image has to be genu-

with the support of Optronis. This video was

ine photography. The camera can be ana-

intended to be an illustration for my Stainless

Adam, as far as I know travelling is very

siency, our temporary existence, the drama of

logue or digital, yet it‘s no more than a de-

photo series and an experiment between still

important in your life, and also essential in

coming in and going out of the world as we

vice. If you find that your concept requires

photography and motion picture. The video

your artistic approach. Did you know what

know it, the flow of existence and human lives

a different technology, that’s what you need

reveals dimensions in time that I can hardly

you were looking for when you started trav-

being overlapping chapters in it. The ques-

to use, and if the technology needs some ad-

wait to explore more.


tions are the same. What happens between

justments, you make those adjustments. The

entering and exiting this flow? Can we leave

bottom line is really simple. Each concept

Everything that was unfamiliar. I just wanted

any trace behind? Do we have a genuine

needs the right device. If any choice is wrong

to know what the world has to offer. First it

choice when deciding which track we follow?

in the process, the end result will be nothing

was simple curiosity, which then grew into

more than a try.

More about Ádám Magyar: and To have a look at his photos now, visit

experiments like what happens if I keep re-

Do you find the digital/technical part of

turning to the same place or decide to spend

your work ideologically important, or this

Finally tell us about what do you find chal-

months at one spot.

special, self-built camera is just a tool/de-

lenging right now? Do you have any new

vice to achieve your goal?

projects in mind?

the Faur Zsófi Gallery stand (H7) at Art13 London!

How did you actually learn photography? I’m a self-taught photographer. I started with documentary photography using analogue technology and spent years in the dark room. There was a point however, when I realized, I just cannot convey my message this way. That’s when I started to build my own cameras and unconventional camera systems, using industrial cameras. You are going to exhibit three different series at Art13 London (Squares , Urban Flow and Stainless). Should they be viewed as a continuous – linear development in your artistic approach? Being on the go, commuting, or so to say travelling is omnipresent in all these works. Please tell us more about them. I never thought about them this way, but of course none of them would exist without the other, and I speak about the same things in all of them. I’ve always been intrigued by tran-

Picture by Beatrice Schachenmayr


by Izabella Fekete

‘Networking and a Pinch of Luck’ published in Passages, there is no magic formula for success, but there are a few strategies worth noting. Let us begin with some numbers. Gerhard

John Curtin Gallery, Australia

Richter, the 80-year-old German artist, currently holds the title of the most expensive living artist at auction, with a painting sold

and not marketed at leading fairs they can-

Money of course is another issue, but the main

at Sotheby’s in London in 2012 for $34.2 mil-

not sell for high prices and of course, no one

question remains: how to deploy the available

lion. In the meantime visual artists in Germa-

wants to exhibit or buy cheap art. Another

sources? Supporting independent project

ny earn a very modest average of 1000 EUR

issue is the lack of purchasing power on the

spaces and affordable studios is crucial, but

per month. High-earning artists in Eastern

part of the wider public, as well as a shortage

project grants and studio fellowships seem

Europe are even harder to come by. In Hun-

of contemporary art collectors in the CEE re-

to be very effective as well. Grants and art-

gary for example prices are still below the

gion. In addition, potential art buyers in Hun-

ist in residence programs also help to make

European standard. Established Hungarian

gary are not necessarily educated in the arts

the transition abroad. These programs bring

artists, provided that they are represented

but tend to come from the world of business

young artists to important centers – Berlin,

by an internationally recognised gallery and

and it is a major challenge to convince them

New York or London – and ensure that they

can reach the Westerns collectors via art

of the investment value of contemporary

make contact with the local art scene.

Izabella Fekete

fairs and auctions can expect to sell mid-size


As Basting concludes, young artists are more

Picture by: Petra Kovacs

works for 5-7000 EUR at most, while larger

While galleries obviously play an important

strongly challenged than previous genera-

scale works rarely cost more than 10.000

role in making artists known, it is the artists’

tions to develop an appropriate individual

EUR, and since galleries can only afford to

responsibility to make sure that they are dis-

strategy. Since there is no royal road to suc-

Many feel the calling, but only a few are cho-

attend one or two fairs a year, this results in

covered. Anselm Stalder, an artist and the

cess, but rather a variety of paths, in navigat-

sen: that is the cruel reality of the arts. Being

selling very few pieces if any at all. On the

director of the Fine Art department at the

ing those paths the most important quality is

an artist remains a dream job for many, yet

other hand a mid-size painting by a young

University of the Arts in Berne, believes that

intuition – and a pinch of luck.

only a lucky few can make a living from their

artist, sold under the same very lucky cir-

art students should abandon the idea of a

art alone.

cumstances, usually runs at best between

life centered primarily on self-expression.

Is there a recipe for success for talented

1–3000 EUR.

“What’s important is to be open to discover-

young artists just starting their career? Does

Curator Bálint Ferenczy of Faur Zsófi Con-

ing new things that enhance one’s own expe-

career planning work in a field undermined by

temporary Art Gallery in Budapest articu-

rience, while finding forms that also take into

Izabella Fekete is a freelance curator in

a variety of factors that are hard to estimate

lates that the reason for young Eastern Euro-

account the potential role of the public.” The

contemporary art and the host of a radio

or impossible to control? How do young art-

pean artists not selling for standard European

awareness that art creates a communicative

show and blog focusing on contempo-

ists manage on the art market, and how does

prices has three components. First of all, they

situation should already be present during a

rary visual art and its relevant interdis-

fame translate into economic terms?

rarely have the chance to exhibit at prestig-

work’s creation.

ciplinary issues. She is board member of

The short answer to these complicated ques-

ious Western galleries or art fairs, and to be

Another important point in building one’s

CentrArt Association, an atelier of young

tions is that when trying to achieve success

seen and discovered by curators who would

portfolio is to choose the right gallery for

Art Historians. She graduated from the

on the art market, talent is just not enough.

consider their works for further exhibitions.

representation, as it is almost impossible to

Courtauld Institute of Art in London and

The days when young geniuses working in

As a consequence their prices mirror this nar-

correct the mistake of landing in the “wrong

is currently working as research assist-

obscurity were discovered by influential gal-

row exposition to art professionals, collectors

segment”, in galleries that are not counted

ant at the Museum of Fine Arts in Buda-

lery owners are long gone and art-world ex-

and the public. Furthermore, if a work is sus-

among the trendsetters. This also means

pest (HU). She is open to collaboration

perts agree: young artists need to network

piciously cheap, collectors and curators tend

ending up in galleries which are not attending

on projects that transcend artistic and

and actively draw attention to themselves. As

not to consider them at all. Since they are not

international fairs thus stripping artists from

disciplinary boundaries.

Barbara Basting puts it in her article entitled

connected to the hubs of contemporary art,

international exposure.

About the author:


New Wave Photography 2013 LONDON Now in its second year, New Wave Photogra-

but she is clearly undaunted by digital manip-

phy will be showcasing fine art photography

ulation. Her use of textures and tone mapping

from Central and Eastern Europe at the Crypt

creates an oil paint-like surface on which she

Gallery, London from 19th – 27th April. The

composes her images.

exhibition recognises the rise of contemporary photography from Central and Eastern

Polish artist, Maciej Boksa epitomises the am-

Europe, showing a broad selection of artists

bition of the exhibition showing some very

from the Czech Republic, Poland, Slovakia

bold, abstract photographs. His series Doors

and Hungary.

of Perception takes the viewer on a journey through the microscopic world of reflections.

The historic catacombs of St.Pancras church,

The artist uses digital manipulation to intro-

also known as the Crypt Gallery prove to be

duce liquid surfaces which pour out into the

a perfectly contrasting venue for this experi-

gallery space.

mental exhibition. The photographs on display satisfy and confound expectations of

Lomography (a unique analogue camera

Eastern European photography and in the

technique) also makes a welcome appear-

same time they introduce us to a number of

ance at this exhibition. Hungarian artist Reka

genuinely talented artists.

Koti proves that this technique still has impact through some haunting, fashion inspired im-

The exhibition demonstrates photography’s

ages. Another artist who proves her painting

close relationship with painting and it’s im-

credentials by showing minimalist figurative

portance as a fine art medium. Work by Slo-

photography at its very best.

vakian artist Veronika Otepková prove that digital photography can be both refreshing

Youthful enthusiasm is perhaps the most ob-

and classically beautiful. Her work draws in-

vious theme from this exhibition and while

spiration from historical events and poetry

the viewer will be struck by the diversity and

boldness of the works, it is clear that Eastern European photography is once again a force

About the organiser

to be taken into account.

United Creativity promotes fine art photography from Central and Eastern Eu-

© Maciej Boksa: Doors of Perception

© Reka Koti: Driftwoods

2010, Digital photography

2011, Lomography, 50 × 50 cm

The opening night will be on Thursday 18th

rope. The exhibitions introduce art en-

April with the exhibition running from 19 th -

thusiasts to contemporary photography

27th April at the Crypt Gallery, London (oppo-

as well as provide an opportunity to buy

site Euston train station). The entry is free.

affordable art within the gallery space.

After the London event, New Wave Photogra-

For more information please visit: www.

phy will move to Krakow where the exhibition

will continue from 13th June - 29 th July.

“Debut done” Interview with Vita Zaman, artistic director of Viennafair the New Contemporary by Tina Kaplár You were appointed to the position of artistic director of Viennafair without any prior first hand experience of the Viennese art scene. It was of course a deliberate choice by the management to appoint someone who brings a fresh eye and sees the big picture. Now with almost a year’s experience how do you evaluate the local and the regional art scene? I am still very excited about young artists in Austria – it was really a process of discovery, I did a lot of studio visits and got to know quite a few artists that are not even represented by Austrian galleries but have a very active approach. I feel that there is a next generation

Roman Tyc: Heavy Sugar

of young Austrian artists that will be impor-

2011, mixed media, © dvorak sec contemporary, Prague (Viennafair 2012)

tant internationally. I was researching “School of Happiness” exhibition idea and was quite

was quite different – in comparison to Poland

sider positions do not exist – the art word is

Vita Zaman. Born in 1976 in Lithuania, she

surprised how even without long conversa-

it felt quite provincial. Now, as I am typing the

a forever shifting plateau, one is never quite

studied Creative Curating at Goldsmiths

tion we clicked with the younger generation

text, I am on a way to Albania, then Croatia,


College and photography at the Royal

of artists and they had some very generous

Romania, Kosovo. So this will be my first real

College of Art in London. Between 2002

contributions to the concept.

encounter with the regional art context.

projects in London and Vilnius. She be-

The regional art scene is complex and uneven

What is the recipe to change an outsider

came director of the iconic Pace Gallery

– I have just returned from Poland and was ab-

position into an insider one in such a short

in Chelsea in New York in 2008. Since

solutely surprised and inspired how the coun-


2012 she has been the artistic director of

try’s art situation developed in the last ten

Viennafair The New Contemporary to-

years – with about 20 young galleries, confi-

Curiosity! One has to be interested in people

gether with Christina Steinbrecher.

dent young artist and a strong group of local

and what they are doing and disregard exist-

collectors. When I visited Hungary the feeling

ing hierarchies. Also I think that insider / out-

How has Viennafair benefited from your previous work experience in New York and

and 2008, she founded and led the IBID

London? It gave me enthusiasm as the key attitude towards any working context and confidence in my ideas. continues on page 16


planning to expand Viennafair’s focus in

What will be Viennafair like this year? Any

other directions?

new initiatives?

Actually we are continuing to look carefully

It will be even more popular, energetic, rel-

into the Middle East and bring the most in-

evant, bizarre and unexpected. The theme is

teresting positions. But also to invite younger

happiness – even more – the school of hap-

artist led initiatives and start – up galleries

piness, happiness as a discipline of changing

from the region to the fair.

one’s perception and finding positive aspects in any situation, how art can enrich our lives

you studied photography at rcA as well.

in very concrete ways and help us realize our

one of this region’s strengths lies in its pho-

humanity, art not as an alienated avant-garde

tographic past and future potential. have

position but as an evolutionary extension of

you gained some new insights into this

society’s need for reflection communication


and exchange. It is both a critical self-examination of what art market and an art fair is

My studies of photography allowed me to re-

and a positive contribution and intervention

alize how much I love painting. But speaking

to these conditions.

about photography – one of my latest discoveries was a young gallery in Warsaw fo-

Viennafair blog seems to be fairly viral, has

cused on young artists who use photography

it been aimed to become a major online fo-

in a very specific and personal way – Galeria


Czulosc led by Janek Zamouski and Zuzanna Koszuta.

We hope so – we would like to make it an

nicolas grospierre: the bank - Mini Safe

extension of the fair and a real knowledge

2011, photography, mirrors, aluminium, © BWA Warszawa (Viennafair 2012)

you share the position of the artistic direc-

and information exchange platform for the

tor with christina Steinbrecher, do you have


how did Viennafair 2012 fulfil your expecta-

how has the art scene and the city of Vienna

distinct roles or how do you share tasks on

tions? how do you evaluate its strengths and

reacted to the new impetus of the fair?

a daily basis?

They loved it!

We just figure things out organically – it is re-


to end it on a more personal note: what do you like the most in your new job and your

It was a great sparkly start, but the trans-

new base?

ally an amazing working relationship as we

formation of a weak art market or rather an

Viennafair differs from the other art fairs in

understand each other’s ideas intuitively and

I like the spontaneity, unpredictability and

attempt to develop an art market is a grad-

its focus. Vienna can be regarded as a gate

probably argued only twice – and that was

mobility of the job – the fact that I meet the

ual process strongly interlinked with the

to the leading art scenes in the West. do you

about logistics. Christina wanted to go glo-

most interesting people from my generation

economic processes. Our main goal is to de-

have plans for the integration of the entire

bal (Art Basel Miami Beach) and I wanted to

as well as witnessing the work of the legends

velop greater audiences, especially amongst

cee art scene ? last year galleries from

travel super locally – Art Market Budapest.

of culture.

younger generation, for the fair.

turkey and iran came to Viennafair. Are you

…more than a gallery …more than a publisher

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ArtGuideEast March-April 2013  

bi-monthly contemporary art guide of the Central and Eastern European region. Featuring Art13 London and Art Paris.