Oleg Tistol - The Mythology of Happiness

FOREWORD

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Anna Lapshina

OLEG TISTOL: The Mythology of Happiness

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Paul Carey-Kent

LIST OF WORKS

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BIBLIOGRAPHY

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FOREWORD Anna Lapshina

It is with great pleasure that Salon Vert opens this new major solo exhibition for Oleg Tistol, who is regarded as one of the most important artists to emerge in contemporary Ukraine and the post-Soviet art world. We are very proud to be able to bring Tistol’s impressive body of work for the first time and in such depth to our audience in the UK. Living and working in the newly-created Ukraine, which has had only twenty years of independence in its recorded history of over a millennium, Tistol, as one of the ‘New Wave’ artists, has been inspired since the 1980s by the search for new visual language of artistic expression and national visual archetypes as socially influential phenomena at the time when his nation’s future, as well as its past, are reconsidered.

The ambition of The Mythology of Happiness is to give a wide overview of Tistol’s practice, largely unknown to the British public, offer a coherent and thought-provoking presentation of his major ‘themes’ and their stylistic diversity, as well as show his most recent works. Tistol has been creating art since the 1970s and the exhibited works span the last ten years of his practice.

The Mythology of Happiness represents Tistol’s ongoing three major series of paintings - ‘Mountains’, ‘Palm trees’ and ‘Food’. Each work was carefully selected to reflect his major ideas, to include iconic images and exemplify his painterly styles. These works address Tistol’s recent preoccupation with the notion of a search for heaven on earth, giving the main line of enquiry to this exhibition.

This publication marks Salon Vert’s first collaboration with writer and art critic Paul Carey-Kent. We are very grateful to Paul for his interest in Oleg Tistol, for his thorough research and ideas, without which this catalogue would not be possible.

We will also remain greatly indebted to the unfailing support of this project to Oleg’s wife and artist Marina Skugareva, who has assisted with translation and numerous email correspondences on the exhibition and this publication. Igor Abramovich and his gallery Art-Agent, Kiev, deserve great thanks for his ongoing and crucial support with every step of this project. We remain thankful to Irina Pasechnik for the design of this catalogue; to Colet Castano, Ollie Monaghan and Fannie Sophie Diehl at Salon Vert for their hard work in the organization of the show, and to our curatorial assistant Anna Zhurba. But above all, we owe the greatest debt of gratitude to Oleg for creating the works and entrusting them to Salon Vert.

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OLEG TISTOL: THE MYTHOLOGY OF HAPPINESS Paul Carey-Kent

Ukraine is the largest wholly-European country, and Oleg Tistol is its most-feted painter – yet he is hardly known in Britain. That may be due in part to Ukraine being one among many newly-independent Eastern European nations. Its two decades of independence have not been without its political headlines – the oil price disputes with Russia, the claims and counter-claims of skullduggery and crime between its presidents – but there is a limit to the number of national cultural identities for which we can find distinct space.

Tistol emerged as an artist in the USSR, when at just 16 he took part in the underground of the so-called ‘apartment’ exhibitions. In 1977, collaborating with artist Igor Talalaevsky, he organized the group ‘Gembich’ (which in Ukrainian means ‘Trouble’).

In 1987, together with Konstantin Reunov (aka Vinny), he declared the programme “A Resolute Edge of National Post-Eclecticism”, in which, says Tistol, “we announced the ‘struggle for the beauty of the stereotype’ - that is the transformation of Soviet and Ukrainian national stereotypes into positive archetypes of the dying Empire (Moscow as the Third Rome).” 1 The newness of Ukraine as a state formation is interesting for an artist, says Tistol, for “now is the time for the creation of its own national mythology and, possibly, for the laying out of new (better?) rules for life”.

Themes Tistol’s work does indeed relate strongly to issues of nationhood, tracking the development of his own identity alongside that of his country. It is not easy to pin him down in terms of painting style, and so it is that dual trajectory which distinguishes his work most clearly. Hence the common characteristics of the various themes he has investigated over the last twenty years: first, the choice of subjects with a pronounced double aspect, be it private / public; luxurious / basic; utopian / realistic; local / global; figurative / abstract; second, the role of those subjects as ‘stereotypes’; and third, their links to his own experiences.

The term ‘stereotype’ is a negative one, suggestive of being too predictable, too conventional. But just as poets may ‘rescue’ clich s through fresh use (one might look at Simon Armitage or John Ashbery for lively employment of that strategy in recent poetry), so Tistol aims to restore the ‘lost beauty’ of the stereotype by setting its conventional attractions in unconventional situations and combinations. An interesting recent parallel in art is Tom Wesselmann’s treatment of the stereotype, as it might well be called, of the American nude. Tistol’s strategy, perhaps, is at its clearest in his ‘Ukrainian Money’ project (in which Soviet designs are undermined, and yet revivified, by the imposition of the repurposed stereotypes of Ukrainian history [Money, 2001; Reunification, 1996-2010) and in the ‘National Geography’ series, which borrows illustrations of various ‘ethnic types’ in order to represent them as if the contemporary capitalist ploy of selling ‘local brands in a global market’ might be applied to people as easily as products [Spring is Coming, 1999; Chinese, 2010].

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All quotes from Oleg Tistol taken from email exchanges, 2011

Tistol’s overall strategy might be summarised as: set up antimonies through which to demonstrate how the personal and local can turn negative stereotypes into positive archetypes. I will consider how this plays out in the three major series represented in this exhibition: ‘Mountains’, ‘Palm trees’ and ‘Food’ – but will also aim to show that, although simple oppositions come to our immediate attention, matters are actually subtler and more ambiguous than that might suggest. Tistol is thematic, but he is not formulaic.

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Money (Ukrainian Money project), 2001, enamel on zinc-coated tin

Spring is Coming (National Geography series), 1999, oil on canvas, Henie-Onstad Museum, Oslo, Norway

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Reunification (Ukrainian Money project), 1996-2010, etching, relief printing

Chinese (National Geography series), 2010, acrylic on canvas

Tistol, incidentally, prefers the term ‘themes’ to ‘series’: that makes sense given that there is nothing sequential or developmental in his paintings of a common subject. The purpose of the repetition is, rather, to achieve maximum expressiveness. Consistent with that, Tistol sees none of the themes as completed, explaining that he “constantly moves from ‘Palm trees’ to ‘Mountains’ or ‘Money’, and so on, depending on the mood and the appropriateness at a particular moment”.

Mountains The mountains are probably Tistol’s most iconic paintings. Their primary contrast looks to be that between abstraction and representation: the distant vista of peaks is largely blocked off by a screen, or cancellation, of stripes. That corresponds with a counterpoint between, on the one hand the striving for a pinnacle which a mountain brings to mind, the ideal of upward movement, even so far as paradise; and on the other hand the blocking, or perhaps erasure, of the foreground elements, preventing us approaching the peaks, sending us back to mundanity.

The mountains, then, seem to work perfectly well in that straightforward way. Nor does any complication arise when traditional symbols replace or supplement the stripes (such as the Orthodox cross and the upturned rose, both of which Tistol sees as optimistic – he says the roses are falling from the sky like gifts). But then we learn that the mountains are not sourced at random. Rather they are taken from the typically Soviet pack of Kasbek cigarettes. So what is being blocked off isn’t so much an ideal as a debased version of the ideal, one already corrupted by its co-option into advertising.

That may make it seem even more relevant as a stand-in for communist regimes in practice. Smoking kills you, after all!

The advertising on a cigarette package, however, suggests pop art’s use of advertising in general and even (Robert Motherwell, Mel Ramos, Peter Blake) of the cigarette pack specifically. Perhaps the mountain stands for the western ideal, too; for a consumerism which may itself be corrupted, but which the newly ex-communist states would nonetheless like to get closer to enjoying. Furthermore, the mountain is the biblical Ararat, or sometimes Sinai, which have a resonance which connects to Tistol personally: “in 1987”, he says, “I was smoking Kazbeks and reading The Bible in my dacha. It became clear to me that the Mountain is a sacred symbol, regardless of its name, geographic location or means of representation”.

There is no separation here, then, between the personal and the political. In the light of Tistol’s television paintings, moreover, those stripes may remind you of the test cards which indicate there is no programming available [Colour-Bar Generator (Television series), 2005]. Even in the 1990’s, on one reading, the truth about the lower slopes of communism’s corruption of the ideal was not being reported adequately. And the new Waste Heap paintings show another type of corruption making up the mountain form itself: they are the results of mining in Ukraine. Therefore, a simple enough division turns out to have a number of divergent readings, thinking through which itself places the artist himself, and his intentions, at the centre of the work. It is much the same with the Palm trees.

Palm Trees The palm paintings vary, but most tee up a fairly direct contrast between leisure and work, between the other-worldly and the homely (palm trees appeared in Crimea only 100 years ago and for the majority of Ukrainians they remain exotic). The angle and cropping of the trees and the size of the canvases – much bigger than the mountains – create the sensation of sitting under one, sipping a cool drink in the welcome shade: the very stereotype of the holiday experience. And, parallel to the cigarette packets, the corporate world enters through titles such as ‘Hyatt Regency’ and ‘Intercontinental’,

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Television, 2006, oil on canvas

Sinai, 1987, oil on canvas

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Classwork, 2007, digital print on paper

which appear to reveal that these trees are not straightforwardly natural but the artificially enhanced locales of international hotel chains.

In the background of some of the works we see the personal stories which Tistol uses to differentiate those potentially generic trees and holiday experiences: pages from his daughter’s school notebooks [Classwork, 2007], a house he covets, a VAT tax return document. Tistol says he is “formulating a new stereotype of a national tree” – the non-native palm tree – “as a sign of broader consciousness, of preservation of national borders and a hope for a better outcome of history”. So the palms, too, are ambiguously poised between a critique of the past and hopes for a different future.

That connects to their role as one of Tistol’s personal symbols of heaven, the idea of searching for which interests him deeply. We can’t know for sure whether heaven exists, let alone what it looks like, but that makes it a tantalising subject for a painter.

It’s representative, perhaps, of the impossibility of ever concluding the search for perfection in art, for all that Tistol sees creative work as the state in which he comes to as close to heaven as is possible in reality.

Food That brings us, in turn, to food: perhaps the most fundamental source for potential paradise on earth, while at the same time being as everyday as possible. On a personal level, these classical still life paintings are a diary, albeit aestheticised, of what Tistol has actually eaten – the absence of breakfasts is because he rarely eats it! And if ‘you are what you eat’, then they are part of the creation of Tistol as a person and of his art in turn: they depict an aspect of what made them the paintings they are. Indeed, the active placement of a knife or fork doesn’t just imply the imminent consumption of the meal, but also stands in for the brush which created the ‘food’.

They’re also interesting for the three-fold viewing which they allow: we see the meal itself (as set out in the title / menu of each painting); the gestural application of paint as paint, and hence as abstraction of an expressionist tendency; and the playful pareidolian ambiguities which that expressive handling encourages – as faces most often, or as body parts or flowers.

That may sound a little Freudian, but – like Jackson Pollock, to go back to the expressionist depiction of the food – Tistol might be more naturally aligned to Jung.

The mountains, for example, may be seen as the visual instantiation of the archetypal form which underlies our striving for maximum advancement (Jung says it is always an image which brings the form from the collective unconscious into something which can be recognised by the conscious individual mind). As such, they may well represent the discredited ideals of communism, brought from the stereotypical past to the archetypal present of a new nation.

The regular circle-in-square composition of the meals also brings in characteristics of minimalism, calling to mind Tistol’s stated admiration for Donald Judd – whom he met in Moscow in 1990. Non-Ukrainians are reminded that one nation’s staple fare is another nation’s adventurous cuisine. Food makes a nation’s people, too. And its absence or restriction is closely associated with the USSR as an oppressive regime.

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Roland Barthes: ‘Mythologies’ (1957)

The question of how national food is perceived puts me in mind of Roland Barthes’ analysis of the layers of myth which are built into the everyday. One of the examples Barthes works up in ‘Mythologies’ is indeed of ‘Steak and Chips’. At the linguistic level, structuralists distinguish between the signified object (the steak) and its signifier (the arbitrarily associated word ‘steak’), which combine to form the sign which comes to mean ‘steak’. At the level of myth, the sign (steak) is itself the signifier, to which a new - and this time by no means arbitrary - meaning is added to make what Barthes

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The Mother of Cities (Natsprom series, with Mykola Matsenko), 2005, oil and digital print on canvas

Cleaning, 2011, digital print and oil on canvas

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calls the ‘signification’ of the myth. In the case of steak, it stands as meat in its pure state, its strength ready to flow “into the very blood of man” 2 - for “full-bloodedness is the raison d’etre of steak”, which “is in France a basic element, nationalised even more than socialised” and which effects “the best possible ratio between economy and efficiency, between mythology and its multifarious ways of being consumed”. An analysis of that sort strikes me as quite parallel to the way in which Tistol takes such subjects as mountains, money and TV (as well as food) and utilises their mythic aspects to new ends.

Style and Myth None of the above would be enough, though, if the paintings were dead on the canvas, and, as I mentioned, Tistol has no obviously recognisable style. Rather, he moves fluently between the various influences with which he plays in a manner he calls ‘Orthodox kitsch’. Tistol sees that as combining Ukraine’s folk traditions with the decorative flourish of its own distinctive historical take on the baroque. Beyond that, there are echoes of post-impressionism (strongest in the Palm trees), the Fauves (National Geographies), abstract expressionism (Food) and minimalism (Mountains – though they have their Ukrainian folk aspect, too) as well as pop art (in Mountains, and perhaps at its purest in the TVs) and conceptual practices (painting directly by way of negation onto Tistol’s own photographs). But there is a unifying factor – in the calm style with which those echoes are negotiated. Tistol does not aim at the flatness characteristic of pop art, but there again one does not feel there is any centrality to his semi-expressive brushstrokes. It is as if he has moved beyond the flat style to one in which he doesn’t disguise the brush stroke, yet somehow treats it as neutrally, as casually as a flat pop style.

Tistol’s practice also relates closely to photography. The ‘National Geography’ theme, along with most of his earlier work, used found photographs from old magazines and encyclopedias along with images from cigarette packs and bottle labels. More recently, Tistol has taken his own photographs as a starting point for his works, and by painting directly onto photographs, he sets up contrasts between reality as it is perceived on the surface and the implication of an underlying truth. That is also evident in his ‘Natsprom’ (‘National Industry’) series, in which the emptiness of the buildings photographed seems to be stressed, or else any occupants imprisoned, by the painting over of the windows [Mother of Cities, 2005].

The Mythology of Happiness also includes limited editions of Tistol’s recent ‘straight photographs’ depicting studio-based naked encounters with his wife and his cleaner (!), with a rough and tumble aesthetic which provides a comedic take on the tradition of artist and model and also exudes an earthy sexuality [Cleaning, 2011]. There is something of the spirit here of Tistol’s fellow-Ukrainian Boris Mikhailov – who, indeed, was himself tipped into a photographic career by being sacked from his engineering job when the KGB found nude photographs of his wife.

So, what comes out of applying this casually wide-ranging painting style to the exhibition’s three main themes – Food, Mountains and Palm trees – together, perhaps, with a smattering of rambunctious studio nakedness? That could be just the rounded combination needed for happiness – if only life were that simple. More plausibly, we are more likely to be dealing with a myth – or, perhaps, with what Baudrillard would call a ‘simulacrum’ of happiness. That is to say it is a ‘copy with no original’, insofar as the stereotypical elements of a happy holiday in the USSR are reproduced for changed circumstances as if to point up that the happiness of the original was mere propaganda.

Tistol’s search for Heaven may be doomed in advance - but the Myth of Happiness he is constructing in the attempt certainly makes for a stimulating limbo.

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LIST OF WORKS

Ararat, 2011, acrylic and oil on canvas, 40 x 188 cm

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Kazbek, 2011, oil and acrylic on canvas, 160 х 190 cm

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Ararat, 2011, oil and acrylic on canvas, 140 х 190 cm

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Ararat-28, 2006, oil on canvas, 45 x 100 cm

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Đ?rarat-29, 2006, oil on canvas, 45 x 100 cm

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Ararat-50, 2006, oil on canvas, 45 x 100 cm

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Ararat-45, 2006, oil on canvas, 45 x 100 cm

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Ararat, 2006, oil on canvas, 45 x 100 cm

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Roses-15, 2006, oil on canvas, 45 x 100 cm

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Waste Heap-3, 2011, digital print and oil on canvas, 105 x 200 cm

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Waste Heap-1, 2011, digital print and oil on canvas, 100 x 200 cm

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Ararat-09, 2003, oil on canvas, 45 x 100 cm

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InterContinental, 2011, acrylic on canvas, 200 x 150 cm

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Shore, 2010, acrylic on canvas, 200 x 140 cm

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Contre-jour, 2011, acrylic on canvas, 200 x 150 cm

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Hyatt Regency, 2011, acrylic on canvas, 200 x 150 cm

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The West, 2010, acrylic on canvas, 200 x 140 cm

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Nazareth, 2010, acrylic on canvas, 200 x 140 cm

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Hyatt Regency Taba Hights, 2011, digital print on fabric, 300 x 200 cm

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Notary, 2011, digital print and acrylic on canvas, 140 x 100 cm

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Tax, 2011, digital print and acrylic on canvas, 140 x 100 cm

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Ravens, 2010, oil and acrylic on cardboard, 59 х 175 cm

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Yalta-10, 2010, oil and acrylic on cardboard, 59 х 175 cm

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42

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‘Tushonka’ and Potatoes (Canned Meat), 2011, acrylic on canvas, 40 x 40 cm Meat Balls with a Side, 2011, acrylic on canvas, 40 x 40 cm ‘Deruny’ and ‘Kotlety’, 2011, acrylic on canvas, 40 x 40 cm Herring, 2011, acrylic on canvas, 40 x 40 cm

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Borsch, 2011, acrylic on canvas, 40 x 40 cm Meat and Bread, 2011, acrylic on canvas, 40 x 40 cm Tomatoes, 2011, acrylic on canvas, 40 x 40 cm Canned Meat, 2011, acrylic on canvas, 40 x 40 cm

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Meat Balls, 2011, acrylic on canvas, 40 x 40 cm

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Goulash, 2011, acrylic on canvas, 40 x 40 cm

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Duck, 2011, acrylic on canvas, 40 x 40 cm

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Stuffed Peppers, 2011, acrylic on canvas, 40 x 40 cm

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Turkey, 2011, acrylic on canvas, 40 x 40 cm

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Eggs & Bacon, 2011, acrylic on canvas, 40 x 40 cm

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The Food, 2000, oil on canvas, 100 x 100 cm

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‘Ukha’ (Fish Soup), 2000, oil on canvas, 85 x 85 cm

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2011 20 Years of Presence (Contemporary Ukrainian Artists 1991-2011), Modern Art Research Institute, Kiev, Ukraine Independent (New Art of the New Country 1991-2011), Mystetsky Arsenal, Kiev, Ukraine 11th European Festival of Nude Photography (FEPN), Arles, France Ukrainian Artists, Galerie Albert Benamou, Paris, France Space Odissey, Mystetsky Arsenal, Kiev, Ukraine, Interpretation of Memories (solo show), Black Square Gallery, Miami, USA

Oleg Tistol Born in Vradiivka, Nikolaev region,Ukraine, in 1960 Graduated from the Kiev Republican Art School in 1978 Graduated from the Lvov State Institute of Decorative and Applied Arts in 1984 Represented Ukraine in the 49th Venice Biennale in 2001 Works and lives in Kiev, Ukraine

2010 VozhdiЛєnіє, Ukrainian House, Kiev, Ukraine Restart, Modern Art Research Institute, Kiev, Ukraine 2009 Khudfond, Moscow Museum of Modern Art, Moscow, Russia Assortment, Ya-Gallery, Kiev, Ukraine 2008 Ukrainian Art Today, Museum of Russian Art, Kiev, Ukraine The Ideal Age, Collection Gallery, Kiev, Ukraine UBK (solo show), Collection Gallery, Kiev, Ukraine 2007 Reflection, Pinchuk Art Center, Kiev, Ukraine Classwork (solo show), Ya Gallery, Kiev, Ukraine Television (solo show), World Bank Building, Moscow, Russia 2006 Made in UKR, Zeh Gallery, Kiev, Ukraine A New Space, Pinchuk Art Center, Kiev, Ukraine Ararat-06 (solo show), Ya-Design Gallery, Kiev, Ukraine Television (solo show), Zeh Gallery, Kiev, Ukraine Television (solo show), ARTStrelka Projects Gallery, Moscow, Russia 2005 Reality Check, Cultural Center Ukrainian House, Kiev, Ukraine 2004 A Farewell to Arms, Mystetsky Arsenal, Kiev, Ukraine 2003 Natsprom (in collaboration with M. Matsenko), M. Guelman Gallery, Moscow, Russia The First Collection, Central House of Artists, Kiev, Ukraine 2002 National Geography (solo show), M. Guelman Gallery, Moscow, Russia Behind the Threshold, Central House of Artists, Moscow, Russia

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2001

1990

The First Ukrainian Project, 49th Venice Biennale, Venice, Italy

Intervals, Henie-Onstad Museum, Oslo, Norway Intervals, National Art Museum, Kiev, Ukraine Paintings, Atelier Karas Gallery, Kiev, Ukraine

The End of the Century, National Gallery of Iceland, Reykjavik, Iceland Horizontal Line, Beljaevo Exhibition Hall, Moscow, Russia Art in an Empty House, National Gallery, Bratislava, Czecho­slovakia In der USSR en Erbuiten, Stedelijk Museum, Amsterdam, Holland

1999

1989

Preventive Measures, Passage de Retz Gallery, Paris, France 20 Ukrainian Artists. End of the Century, Atelier Karas Gallery, Kiev, Ukraine

The Furmanny Lane, Petr Novitsky Gallery, Warsaw, Poland Eidos, The Youth Palace, Moscow, Russia A Resolute Edge of National Post-eclecticism, Kashyrka Exhibition Hall, Moscow, Russia Three Generations of the Post-Stalin Avantgarde, New Beginning Festival, Glasgow, Scotland

2000

1998 Accommodation, the Jesuit Gallery, Poznan, Poland Per Gynt, National Art Gallery, Tronheim, Norway

1988

1997

Soviart, The First Soviet-American Exhibition, Kiev, Ukraine

Photosynthesis, Artists’ Union Gallery, Kiev, Ukraine

1987

1996

Kiev-Tallinn, Polytechnic Institute, Kiev, Ukraine

Hermetic Forest, CCA at NaUKMA, Kiev, Ukraine Interphoto, International Photo Biennale, Moscow, Russia The Museum of Architecture, CCA at NaUKMA, Kiev, Ukraine

Collections:

1995 Kiev Art Meetings, Cultural Center Ukrainian House, Kiev, Ukraine 1994

PinchukArtCentre, Kiev; Stedelijk Museum, Amsterdam; Norton Dodge collection, USA; Museum of Moscow History, Moscow; Ministry of Culture of Turkey, Ankara; Christoph Merian Stiftung, Basel, Switzerland; Gradobank collection, Kiev; Ukrsotsbank collection, Kiev; VA-Bank collection, Kiev; Alpha Capital collection, Kiev; private collections in Switzerland, Great Britain, Denmark, Norway, Finland, Ukraine and Russia

Free Zone, Museum of Fine Arts, Odessa, Ukraine Alchemical Capitulation, flagship Slavutich, Sebastopol, Ukraine September, 17th, Brama Contemporary Art Center, Kiev, Ukraine The 22-nd Bienal Internacional de Sao Paulo, Brazil 1993 The Kiev Mohyla Academy, Kiev, Ukraine Europe’s Steppe, Center for Contemporary Art Uyazdovsky Castle, Warsaw, Poland 1992 Nine Days, St. Alban Tal, Basel, Switzerland Kosoi Kaponir, Kiev Fortress Museum, Kiev, Ukraine 1991 Wanderlieder, Stedelijk Museum, Amsterdam, Holland End of the Century Art, World Economic Forum, Davos, Switzerland Shared Earth, Peterborough Museum, Peterborough, United Kingdom An Act of Artistic Opposition, Central House of Artists, Moscow, Russia

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OLEG TISTOL

The Mythology of Happiness CURATOR: Anna Lapshina TEXT CONTRIBUTOR: Paul Carey-Kent EDITED BY: Anna Lapshina DESIGN AND TYPESET: Irina Pasechnik PRINT: ADEF-Ukraine PUBLISHED BY: Salon Vert, London This publication is produced to accompany the exhibition Oleg Tistol: The Mythology of Happiness at Salon Vert, London, November - December 2011

www.salon-vert.com Director and Curator: Curatorial Assistant: Artists Liaison: Exhibitions Liaison:

Anna Lapshina Anna Zhurba, Fanny Sophie Diehl Colet Castano Oliver Monaghan

Oleg Tistol is represented by Salon Vert (UK)

Š Oleg Tistol, images, 2011 All artworks are by Oleg Tistol No part of this publication may be reproduced or transmitted in any form or by any means, or stored in any retrieval system of any nature without prior written permission of the copyright holders.

Printed and bound in Kiev, Ukraine Salon Vert is registered in the UK as Salon Vert Limited (company registered number 7379003)