ARTGUIDEEAST Albania
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
Belarus
Ana Cristea Cluj – New York Anaid Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova Saint-Petersburg AnnArt Bucharest Arhipelag Cluj
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.
Bosnia-Herzegovina
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
Bulgaria
– Wroclaw Belart Minsk BlackBOX Sarajevo Bochenska Warsaw Boris Smoje Sarajevo Bottega Kiev Brucie Collections Kiev Bulart Varna BWA Warsaw Caesar Olomouc
Croatia
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
Estonia
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
Hungary
Prague Gelos Moscow Gisich Saint Petersburg Glaz Moscow GMG Moscow Godot Budapest Goldart Bucharest Gregor Podnar Ljubljana – Berlin Grinberg Moscow Guelman
Kosovo
Moscow H’art Bucharest Haus Tallin Heppen Transfer Warsaw Hest Ljubljana – Maribor HIT Bratislava Hunt Kastner Prague Ideas Belgrade Inda Budapest Iragui Moscow
Latvia
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
Lithuania
Zagreb Korners Kiev Kournikova Moscow Kressling Bratislava Krokin Moscow Krokus Bratislava Kuda Novi Sad Kyiv Fine Kiev Kytka Prague La Femme Prague Laboratoria
Macedonia
Moscow Laboratorio Prague Langhans Prague LaSandr-art Minsk Lateral Cluj Lazarev Saint Petersburg Laznia Gdansk Le Guern Warsaw Leica Prague Léna & Roselli
Moldova
Moscow Luxfer Prague M Kharkov M17 Kiev Madl’ Belgrade Magma Sf. Gheorghe Magnum Ars Moscow Marisall Zagreb Mastatstva Minsk Medium Bratislava MeetFactory
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
Montenegro
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
Poland
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
Romania
Zagreb Pobeda Moscow Polina Lobachevskaya Moscow Polswiss Warsaw Pop/off/art Moscow – Berlin Posibila Bucharest Prinz Prager Prague Prodajna Belgrade Proekt
Russia
Fabrika Moscow Profile Warsaw Promenade Vlore Propaganda Warsaw Prospekto Vilnius Proun Moscow Public Room Sarajevo Quadro Cluj Raster Warsaw Recyclenest
Serbia
Cluj Sam83 Třemošná Sariev Plovdiv Satelit Bratislava Simultan Timisoara SIZ Rijeka Školská 28 Prague Škuc Ljubljana Sofa Druskininkai Soga Bratislava Sovcom Moscow
Slovakia
The Chemistry Prague Tifana Riga Tobacco 001 Ljubljana TR3 Ljubljana Trafačka Prague Triumph Moscow Tsekh Kiev Új Kriterion Miercurea Ciuc Upper Town Minsk
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
Slovenia
Prague Vostochnaya Moscow Wannieck Brno Winzavod Moscow X Bratislava XL Moscow XX Panevėžys XXL Louny „Y” Minsk Ya Dnipropetrovsk Ya Kiev Zacheta Warsaw
Ukraine
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. Jan – Feb 2013 bi-monthly contemporary art guide of the CEE region by RadaR
ARTIST SHOWCASE
riods are manifest in her work, her oeuvre
Judit Reigl and Simon Hantaï
purpose in itself, change and the succession
remains a coherent whole. Far from being a of new periods in her work have always arisen from new questions arising in the wake of addressing a painterly problem, driving her to find a new answer. The result of uncompromising honesty and energy, her paintings emanate the same power and freshness even half a century after they were created, attesting to the fact that true art always remains topical and timeless. Her oeuvre, spanning six decades in an on-going dialogue with the major art tendencies of the era, stems from a sphere of thought focused on escaping all constraints that would limit the individual to any single field, breaking free of the boundaries imposed by space and time. Such a tendency of perpetually transgressing borders – be they geographical or formal – makes her work particularly modern. Judit Reigl was a student at the Hungarian Academy of Fine Arts in Budapest between 1941 and 1946. She travelled to Italy in 1946 on a two-year scholarship to Rome, but owing to the altered Hungarian political situation, she was forced to return to Hungary in 1948, before the full two-year term was over. Before long, she realised that in a Hungary locked up behind the Iron Curtain, artists could not work freely, either. Following eight failed attempts to flee from the country, she finally left Hungary illegally in 1950, and after a long journey lasting for several months, she arrived in France, where she has lived and worked since. Her initial works created in Paris under the influence of Surrealism attracted even the atten-
FREE
Judit Reigl: Outburst
tion of the “Pope of Surrealism”. Impressed by
1957 oil on canvas 91 × 115 cm, Kalman Maklary Fine Arts©
Reigl’s paintings, André Breton spoke of the young painter in superlatives, predicting “the
ArtGuideEast is dedicated to represent
from contemporary galleries in the CEE
Judit Reigl
fulfilment of immense things” to her. He invited
and promote contemporary art
region. This time we chose Judit Reigl
1923 Kapuvár, Hungary –
Judit Reigl to exhibit at l’Étoile Scellée, the
from the Central and Eastern European
and Simon Hantaï as one of the leading
Judit Reigl is an autonomous artist constantly
gallery of the Surrealist movement, where 14
region. In our new series, Artist Showcase,
artists of Kalman Maklary Fine Arts,
pushing her own limits and always ready to
of her paintings were showcased in late 1954.
we would like to introduce featured artists
Hungary.
renew. Even while clearly distinguishable pe-
continues on page 2
www.artguideeast.org
What’s On JAN-FEB BULGARIA
Hunt Kastner
What: Advent Exhibition
Viltin Gallery
When: 06/12/2012–19/01/2013
Where: Széchenyi u. 3, Budapest, H-1054, Hungary
Where: Kamenicka 22,170 00 Praha 7,
Inda Gallery
Czech Republic
Where: Király utca 34. II/4,
Tue–Fri 12–6 pm, Sat 11am–5 pm
Where: 22 shipka str, Varna,9000,Bulgaria
Opening times:
Budapest H-1061, Hungary
Web: www.viltin.hu
Opening times:
Tues–Fri 1–6 pm, Sat. 2–6pm
Opening times:
What: DRAWING. OK
Mon–Sat 1–7 pm (by appointment)
Web: www.huntkastner.com
Tue–Fri 2 pm–6 pm
When: 11/12/2012–26/01/2013
Web: www.bulart.com
What: The Earth Turns and All Things
Web: www.indagaleria.hu
What: ecology of memory/random project
Slip Away,
What: Bagatelle – Ádám Szabó
When: until 01/30/2013
curated by Edith Jeřabková & Jiří Kovanda
When: 12/12/2012–25/01/2013
Bulart Gallery
CZECH REPUBLIC
When: 16/01/2013–16/03/2013
Leica Gallery Prague
Faur Zsófi Gallery
Opening times:
LATVIA Riga Gallery Where: 20 Aspazijas blvd.,
Where: H-1114 Budapest,
LV-1050, Riga, Latvia
Where: Školská 28, 110 00 Praha 1,
25. Bartók Béla Road, Hungary
Opening times:
Czech Republic
Opening times:
Tue–Fri 12 am–6pm, Sat 12 am–5pm
Where: Poupětova 1, Prague 7,
Opening times:
Mon–Fri 12–6pm, Sat 10 am–1 pm
Web: www.riga-gallery.com
Czech Republic
Mon–Fri: 8 am–9 pm, Sat–Sun: 2 pm–8 pm
Web: www.galeriafaur.hu
What: VALUES –
Opening times:
Web: www.lgp.cz
What: Borbála Blahó:
selection of best artworks in 2012
Mo 10 am–6 pm,
What: FRAME012 –
Minden rendben / All is Well
When: 21/12/2012–31/01/2013
Wed–Fri 11 am–7 pm, Sat–Sun 10 am–6 pm
International Photographic Competition
When: 10/01–08/02/2013
Web: www.dox.cz
Winners Review
What: The Jonas Mekas exhibition
When: 1 1/01–10/02/2013
Dox Centre for Contemporary Art
POLAND
Studio of Young Artists’ Association
Galeria BB
Where: Rottenbiller u. 35. H-1077 Budapest,
Where: Garbarska 24 str. 31-131 Kraków,
Where: Štefánikova 43a(second floor,
Hungary
Poland
Where: Krizkovskeho 10,
entrance from the courtyard),
Opening times:
Opening times: Mon–Fri 12–6.30 pm
130 00 Prague, Czech Republic
150 00 Praha 5, Czech Republic
Tue, Thu, Fri 10 am–6 pm, Wed 12 am–8 pm,
Web: www.galeriabb.com
Opening times:
Opening times:
Sat 12 am–4 pm
What: Marta Wojciechowska: hand
Tue–Fri 1–6pm, Sat 2–6pm
Wed—Sat 2 pm—7 pm
Web: http://studio.c3.hu
made by Wojciechowska
Web: www.drodovagallery.com
Web: www.svitpraha.org
What: éhes szajha morog I. – the SYAA’s new
When: 17/12/12 – 31/01/13
What: Zenit Hotel – Vaclav Kopecky
What: Two Hands and a Head, Özlem Altin,
members’ exhibition I.
When: 16/11/2012–26/01/2013
Esther Kläs, Eva Koťátková
When: 10/01–26/01/2013
When: 24/01/2013–22/04/2013
Drodova Gallery
Futura Center for Contemporary Art Where: Holečkova 49, 150 00 Praha 5,
SVIT Gallery
When: 5/12/ 2012 – 26/1/2013
HUNGARY
Műcsarnok/Kunsthalle
IMPRESSUM
Where: Dózsa György út 37., Budapest,
Editorial and staff contributors
H-1146, Hungary
Editor-in-Chief: Zsuzsi Fieszl
Opening times:
Editor: Beáta Mesterházi
Czech Republic
B55 Gallery
Opening times:
Where: 1055 Budapest, Balaton str. 4.
Tue, Wed, Fri–Sun:
Contributors: Emese Mucsi, Luka
Wed–Sun 11am–6pm
Hungary
10 am–6 pm, Thu 10 am–9 am
Knezevic-Strika, Katerina Malotinova
Web: www.futuraproject.cz
Opening times:
Web: www.mucsarnok.hu
Marketing: Sarolta Ács, Beáta
What: Touch
Tue–Fri 12–6 pm, Sat 10 am–1 pm
What: Another Hungary – Imre Bukta
Mesterházi
When: 11/12/2012–24/02/2013
Web: www.b55galeria.hu
When: 10/11/2012–10/02/2013
Design: Pauker Printing Co.
continued from page 1.
treated the canvas as a living substance, al-
the period covered by the volume was largely
Publisher: Pál Szilágyi,
lowing the work itself to create the compo-
unknown even to the most knowledgeable
RadaR Public Benefit Association
Before long, however, the artist left Surrealism
sition. In 1982, he represented France at the
experts. The majority of the paintings in-
for Contemporary European Art
behind, and already in 1957, she exhibited her
Venice Biennale. Despite the success of his
cluded in the book belonged to the hidden
Finance: Bálint Kovács
works in the company of Simon Hantaï, Sam
Venice exhibition – or precisely because he
treasures of private collections, and this was
Address: Király utca 51,
Francis, Wols and Hans Hartung. By the mid-
found it difficult to cope with such a sudden
the first occasion for which their owners gave
1077-H Budapest, Hungary
1960s, Reigl had become one of the major rep-
success – he withdrew from the art scene al-
permission for publication. The preparation
Web: www.artguideeast .org
resentatives of European abstract art.
most overnight. He only resumed his artistic
of the second volume, devoted to the pliage
Contact: pr@artguideeast.org
Reigl’s works are included in the leading pub-
activities following twelve years of silence,
lic collections of the world: she has a special
in 1994, when he cut up and fragmented his
Printed by Pauker Nyomda Kft.
room in the Centre Georges Pompidou at the
old canvases to create new compositions out
Baross utca 11-15,
moment, works on diyplay in Musée d’Art
of them. Over sixty of his works are housed
1047 Budapest, Hungary
Moderne de la Ville de Paris. Her works are
at the Centre Georges Pompidou and Musée
Director: Gábor Vértes
featured in the permanent exhibitions of ma-
d’art moderne de la Ville de Paris, and many of
jor American museums, such as the Museum
his paintings are included in major French col-
ISSN 2062-7580
of Modern Art, the Solomon R. Guggenheim
lections. His works can also be found in major
Copyright RadaR – Public Benef
and the Metropolitan Museums in New York,
collections worldwide, such as at the Museum
it Association for Contemporary
the Albright Knox Gallery in Buffalo, NY, and
of Modern Art and the Solomon R. Guggen-
European Art 2012
the Museum of Modern Art in Houston, as well
heim Museum in New York, the Tate Modern
ArtGuideEast is a bi-monthly contem-
as the Tate Modern in London.
in London, and the Vatican Museum. In 2013,
porary art journal and professional
the Pompidou will present a large-scale retro-
periodical focusing on Central East-
spective exhibition of his works, thus render-
ern Europe. All the published data is
Simon Hantaï
ing homage to one of the most influential art-
informational compiled and examined
1922 Bia, Hungary – 2008 Paris, France
ists of the second half of the 20th century. In
carefully.
Simon Hantaï studied at the Hungarian Acad-
his native country, Hungary, in 2007, Kálmán
ArtGuideEast, RadaR or any other
emy of Fine Arts in Budapest. In spring of
Makláry Fine Arts organised the first exhibi-
1948, he received a twelve-month scholarship
tion presenting Hantaï’s works together with
Simon Hantai: Painting
to study in Paris, where he eventually decided
those of Judit Reigl, a fellow artist also living
1957, oil on canvas, 175.5 × 137.5 cm,
to stay. Under the influence of Surrealism,
in France. Continuing to devote its energies
Kalman Maklary Fine Arts©
the canvases he painted during his first Paris
to the artist’s oeuvre, the Budapest gallery
years were filled with organic vegetal forms,
presented Hommage à Hantaï as a tribute to
works created after 1960, is underway. Both
reserved. Furthermore all rights of
fantastic creatures and biomorphic figures.
the artist in September 2008, two weeks af-
volumes are authored by Ágnes Berecz, an
alteration, updating, revision or erasion
The young Hungarian painter was noticed by
ter Hantaï’s death. In 2011, Hantaï’s paintings
outstanding expert on Simon Hantaï’s work.
of any data is reserved.
André Breton, who organised Hantaï’s first
from the period between 1949 and 1959 were
Centre Georges Pompidou presents the long-
All sorts of information and picture
solo show at l’Étoile Scellée, the exhibition
presented at the same venue. In autumn 2012,
awaited Simon Hantaï retrospective exhibi-
in ArtGuideEast is published with
space of the Parisian Surrealists, in 1953. In
the gallery came out with a publication filling
tion as a tribute to the artist in May 2013.
the approval and the permission
the mid-1950s, he broke with the Surrealist
a gap, entitled Hantaï 1949–1959. This 300-
group. Following a few years of experimen-
page book, devoted to the first decade of the
Kálmán Makláry Fine Arts
tation, in 1960 he found the technique that
artist’s work in France, created a stir in the
Falk Miksa utca 10, H-1055 Budapest,
was to bring international recognition for him:
professional circles at its Paris presentation
Hungary
pliage. Hantaï creased and folded the can-
in September 2012. While the artist has be-
Tel.: +36 1 374 0774 / +36 30 492 2862
vas before painting it, and when it was dry,
come recognised as one of the most signifi-
www.kalmanmaklaryfinarts.com
he unfolded and flattened out the fabric. He
cant innovators of modern art, his work from
kalmanmaklaryfinearts@gmail.com
Directors and publishing
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
of the holders of rights.
3 LONDON’S MOST EXCITING NEW ART FAIR LAUNCH IN A DECADE GALLERIES 2013
2902 Gallery Singapore / Akinci the Netherlands / Albemarle Gallery UK / Artspace UAE/ UK / aye gallery China / Jack Bell Gallery UK / Boers-Li 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 Berlin|Frankfurt Germany / Dark Matter Studio UK / Deweer Gallery Belgium / Domobaal UK / Eleven UK / FaMa Gallery Italy / The Fine Art Society Contemporary UK / Flowers UK/USA / FOLD Gallery UK /Galleria Fumagalli Italy / Gajah Gallery Singapore / Gazelli Art House UK/Azerbaijan / Geukens & De Vil Belgium / Michael Goedhuis UK / HackelBury Fine Art UK / Hakgojae South Korea / Haunch of Venison UK/USA / Purdy Hicks Gallery UK / Kashya Hildebrand Switzerland / Michael Hoppen Gallery UK / Rebecca Hossack Art Gallery UK/USA / Jealous Gallery UK / Amelia Johnson Contemporary Hong Kong / Ivo Kamm Switzerland / Robin Katz Fine Art UK / Kleinschmidt Fine Photographs Germany / Pearl Lam Galleries China/Hong Kong/Singapore / Lazarides UK /Leehwaik Gallery South Korea / Levy Galerie Germany / Diana Lowenstein Gallery USA / maerzgalerie Germany / Kálmán Makláry Fine Arts Hungary / Laura Mars Germany / John Martin Gallery UK / Meshkati / Austin Desmond UK / Metro Gallery Australia / Galerie Van Der Mieden Belgium / Galerie Minsky France / Galerie du Monde Hong Kong / Anna Nova Art Gallery Russia / Alexander Ochs Galleries Berlin | Beijing Germany/China / October Gallery UK / The Outsiders UK / Paragon Press UK / Galerie Paris-Beijing France/China/Belgium / ph-projects Germany / Pifo Gallery China / Everard Read South Africa / Riflemaker UK / Ronchini Gallery UK / Rossi & Rossi UK / Galerie RX France / Galerie Vincenz Sala France/Germany / Richard Saltoun UK / Art Sawa UAE / 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 / Workshop | Michela Bruzzo Italy / XVA Gallery UAE / ZieherSmith USA / Galeri Zilberman Turkey / Zipper Galeria Brazil / Jerome Zodo Contemporary Italy / Faur Zsófi Gallery Hungary
YOUNG GALLERIES
16th Line Russia / Aando Fine Art Germany / Magda Danysz Gallery France/China / Eb&Flow UK / Galerie E.G.P. France/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 / Hidde van Seggelen Gallery UK / Gallery SoSo South Korea / Maria Stenfors UK / Salon Vert UK / Viltin Galéria Hungary
LONDON FIRST
Aranapoveda 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 / Galerie Tatjana Pieters Belgium / rahncontemporary Switzerland / Scaramouche USA / Temnikova & Kasela Estonia / Yeo Workshop Singapore/UK / Galerie Zimmermann Kratochwill Austria/Philippines
NOT-FOR-PROFIT INSTITUTIONS
DCA Editions 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
www.artfairslondon.com Follow us on Twitter @Art13London | Like us on Facebook.com/Art13London
Olympia Grand Hall 1 3 March 2013
represented by RadaR
www.artguideeast.org
K I N E T I C A KInETICA ART FAIR 2013
5
Because of the need to be precise with my kinetic creatures, I don’t really use ready-made elements. I want to be in touch with the form
GEnERAl InFO
Concessions and children under 16:
and to have total control of every little me-
(Thursday 28 February – Sunday 3 March)
£12 at the door / £10 in advance.
chanical ingredient. A few years ago I would
Opening times:
All ACCESS TICKET
fun, but limited the size and complexity of my
Wednesday 27 Feb: Morning press pre-
Includes fair, talks and performances: £16
creations. A while ago I started to use more
view – times 9 am – 12 pm
in advance, £20 on the door
modern technologies, but still staying close to
Wednesday 27 Feb: Collectors opening
Concessions and children under 16:
the soul of my works. Every time when I cre-
event - 4.00 pm - 6.30 pm
£15 on the door / £12 in advance.
ate a new object, every time it is a prototype.
make every little element by hand. It was great
When the piece is ready, it becomes alive and
Wednesday 27 Feb: PV opening event. 6.30 pm - 9.30 pm
ART FAIR FAMIly TICKET
Thursday 28 Feb: 10 am – 8 pm
Art Fair day entrance only:
Friday 1 March: 10 am – 8 pm
2 × adults & 2 children (Under 16)/£40
does not need any more words.”
Saturday 2 March: 10 am – 8 pm Sunday 3 March: 10 am – 6 pm location
All ACCESS FAMIly TICKET Includes fair, talks and performances:
András Mengyán: lézer
2 × adults & 2 children (Under 16)/£55
(Laser animation)
Ambika P3, 35 Marylebone Road (opposite terrelationships of the ingredients in space
Baker Street Tube), London, NW1 5LS.
Free for age 5 & under
vIP lAunCH EvEnT (limited availability):
For Kinetica Art Fair Tours
incorporating ingredients in relation and al-
£25 (advance sales only)
Bookings must be made no less than two
ternatives.
weeks before the fair, for more informa-
Measuring the propositions of the responses
and time. It influences me to think about the
FAIR TICKET
tion email: info@kinetica-museum.org
Art Fair day entrance only:
Website and ticket booking:
£16 on the door / £12 in advance
www.kinetica-artfair.com
led to me one of a solution that I call:
Piotr Jedrzejewski: MMM01 2008 ©
“VISUAL SPACE POLYPHONY”. (SIMULTANEOUS SPACE VISION.) “Visual Space Polyphony” means independ-
“If you can’t find something to excite you at
–
Kinetica you probably don’t have a pulse” (daily Telegraph)
His most importat exhibitions from the last
ent events that happen in space and time
Giant Wave sculpture by Matthieu
few years:
simultaneously and subsequently, and articu-
Schönholzer
•
Temptention Machines – 2008 – Zone of
late together consonance. For the reason that
Actual Art – Łódź Art Center
I can express stereophonic in visual I had to
Wroclaw’s Design Exhibition – 2008
find and involve such notions, which can sup-
–
Kinetic contraptions by Piotr Jedrzeiewski
–
Installations of kinetic jewellery from
•
Kinetica is the only Art Fair in the uK devoted
Jenny Lee, Myia Bonner and Mark
– Hochschule fur Bildende Kunste
port my responses.
to kinetic, robotic, sound, light, time-based and
Bloomfield
Braunschweig
Without being completeness I should men-
Design – Antydesign – 2009 – Museum of
tion some notions such as: stereometry, po-
Arhitecture – Wroclaw
lyphony, simultaneity, transparency, segmen-
„Wroclaw nie do Poznania” – 2010 – Old
tation, multi-dimension, multi-viewpoint of
Brewery – Poznan
vision and layers.
Kinetica Art Fair 2012 – 2012 – Ambika
These notions are involved in my works sepa-
Gallery London
rately and/or together. Since the philosophic
Bazaar Art Jakarta 2012 – 2012 – Hilton
and intellectual approach is characteristic for
Pacific Place Jakarta
me, for this reason I apply abstract (geomet-
He is also a resident artist of the
rical) form language to express my ideas. It
new media art, science and technology. The fair presents installations, sculptures and also
–
MAD Museum – Kinetic works from the
•
new Museum
live perforances, presentations and daily pro-
•
gramme of talks. For the first time it will feature a live and online auction as well this year.
ARTISTS FROM THE CEE REGIOn
•
The event is organised by the Kinetica Museum since 2009 and takes place at Ambika
PIOTR JEdRZEJEWSKI
P3 multi-disciplinary arts space. Last year the
He was born in Wroclaw – Poland in 1964 and
fair presented the work of more than 45 gal-
has been living and working there ever since.
leries and art organisations from countries
He graduated The Academy of Art and De-
Mechanical Art& Design Museum in
doesn’t mean the exclusion of the possibilities
like Czech Republic, Taiwan, Singapore, Ja-
sign in Wrocław in 1989, where he studed in-
Stradfort Upon Avon
that I occasionally apply thematic (descrip-
pan, Switzerland, Serbia, Poland, Hungary,
dustrial design. That is when he started mak-
Bulgaria, USA, Norway, Netherlands, Italy,
ing kinetic sculptures. After the graduation
AndRÁS MEnGyÁn
Korea, India, Greece, Holland and UK all in all
he started working in the Industrial Design
(A22 GAllERy, BudAPEST)
showing more than 400 artworks.
Department of the Wroclaws Academy
He was born in 1945 in Békéscsaba, Hungary.
In 2013 the 5th Kinetcia Art Fair will be held
Over the years, he has created many kinetic
He attended the Academy of Applied Arts in
from 28th February to 3rd March, and the
objects which he presented on different oc-
Budapest and has an MS degree. Between
theme of the feature exhibition and events
casions and which served various purposes.
1973–81 he was teaching form and space stud-
programme is ‘Illusion and Reality’. The fair
Sometimes they were classified as systems
ies at the academy. In 1981 he spent a year in the
has 30 confirmed exhibitors so far, three of
art, analytic abstraction, sensibilism or indus-
US and coming back to Hungary he became a
them are from the CEE region.
trial art. However, what he has always wanted
director and professor of the Institute of Basic
to do was to present “his objects”. He has nev-
Training of the Hungarian Academy of Applied
Highlights of exhibitors this year include:
er been very much concerned how his work
Arts in Budapest. In 1990 he has become the
–
Light installations from Artgiro and John
would be classified which is why he has never
Head and professor of the Institute of Basic
Popadic
been a part of any trend nor were he a mem-
study program of the Norwegian Academy of
–
Kinetic sound works from Alex Allmont
ber of any artistic group.
Visual Arts and Design in Bergen.
–
1960’s Op works by Italian kinetic artist
He has been participating and lecturing in
Alberto Biasi
domestic and international exhibitions, semi-
A kinetic ‘tree’ from contemporary French
nars, symposiums and conferences. Number
artist Laurent Debraux
of critics, report, interview and publications
A life-size ‘Galloping Horse’ made of light
describe his activity in fine art, in design and
by Remi Brun
in education. His works can be fined in muse-
Narrative mechanical flipbooks by Wendy
ums and in private collections.
Marvel and Mark Arnon Rosen
Main direction of his activityes: Form and
–
Holographic works by Andras Mengyan
space theory. Paintings, sculptures and multi-
My works based on thoughts and principles.
–
Kinetic work from Indonesia by Edwins
media environment (installation) creation.
To discover and understand thoughts and
– – –
• •
tive) form language, which depends on the
–
An ‘Ocean of Light’ by Squidsoup
Piotr Jedrzejewski: The Clock
–
Smart & interactive wearables by
2007 ©
Rainbow Winters
– – – – –
András Mengyán: lézer (Laser animation)
principles get priority to me, since this pro-
Gallery
–
place and my intentions.
About his work of art:
vide possibilities for personal visual respons-
“In my recent works I have been trying to find
es, and for extension and richness of my vis-
the answers for two questions:
ual vocabulary. In my view it means, that the
Illusion & perception glass & mirror works
Piotr Jedrzejewski about his creations:
a. How (if at all) is it possible to grasp expe-
principles can be converted into any thoughts
by Jonty Hurwitz
„Since I was a little boy I always loved creating
rience about the simultaneously perceived
and can be transformed in any professional
Mechanical contraptions by American
machines that were fulfilling absurd functions.
environment in their many layers, changing
expression way.” (András Mengyán)
artist Aaron Kramer
One day a good man told me that I can bring
qualities and aspects? – and
Sensory light installations by Aether &
them to life under the heading of Art. Recent-
b. Whether there is any way to record this si-
His most important solo exhibitions:
Hemera
ly, I have visited a painter. I have noticed his
multaneous experience visually? – and
1984. István Király Museum,
Architectural models and 4D projections
workshop full of tubs, paints, canvasses, ea-
c. Whether the three dimensional base used is
from AAD LAB
sels. My workshop looks completely different.
appropriate to comprehend it?
1985.
Műcsarnok, Budapest (H).
Programmable Architechture by Kensuke
There are tools everywhere, instead of paint,
Since various things happens at the same
1994.
Hennie Onstad Kunstmuseum,
Hotta
I use screws, nails, pins, cogs. Mechanics and
time in space and time and they have con-
Technological circuit mandalas by
kinetic structures are my media, and with
tinuous change, this preview an approach
1995.
Leonardo Ulian
those I express what is in my mind.
that I should take consideration of the in-
2003. Kiscelli Museum, Budapest (H).
represented by RadaR
Székesfehérvár (H).
Hövikoden (N) Műcsarnok Budapest (H).
www.artguideeast.org
‘To be a teacher is my greatest work of art’
of a realization of a non-formal educational project, SPAC’s (People’s School for Contem-
international discourse of art and social theory
tory of the institutional artistic mediation since
porary Art) in Cluj. During their six-week work-
The Art of Mediation –International sym-
is being interpreted in a local, Central European
the 1920’s, explained the difference between
shop they focused on the events happened in
posium on the relation of critical peda-
context. The members of the office usually
the mainstream and the experimental ways of
December of 2010 in Cluj, when approximately
gogy and contemporary art
work in different mediums together with artists,
the pedagogical artistic practice in our time.
three hundred Roma people were evacuated
Tranzit, Budapest, Hungary
experts and students during their critical
One good working public art project from the
from their homes, by the municipality, to the
practice. The Art of Mediation and the related
English context was presented by Jenna Gra-
suburbs near the landfill and a chemical waste
documentary exhibition about the project
ham, the versatile colleague of the Serpentine
stations from five kilometers to the nearest bus
Since the turn of the Millennium the spread
were the closing events and the conclusion
Gallery in London. The Edgware Road Project
stop. They shot films, made propaganda flyers
of art projects with pedagogical intention has
of
pedagogical
tried to bring together people who live and
and other reflections on this case and became
become a trend nowadays. Artists and cura-
program (Artists at Schools), which was based
work in the neighborhood of the selected area
real mediators among the people concerned.
tors often organize socially engaged educa-
on
different
with artists to explore, activate and imagine
tional programmes beside or instead of mak-
organizations, Tensta Konsthall in Stockholm,
futures for Edgware Road. One of the found-
ing exhibitions in and outside the boundaries
The Latvian Centre for Contemporary Art in
ers and members of the Romanian tranzit.ro
You can read the full version of this article here:
of art institutions. During these events, they
Riga, and tranzit.hu in Budapest. The Hungarian
bureau, Attila S. Tordai spoke about a success
www.artguideeast.org
collaborate with numerous social groups.
part of this pilot project was implemented in
Their creative activity is being utilized in a lot
different ways in three Hungarian schools by
of ways: transacting communal happenings,
four Budapest based artists (Lilla Khoór-Ágnes
seminars, workshops; managing thematic li-
Szabics, Zsolt Keserue, Péter Szabó).
an
international
collaboration
critical
between
three
Emese Mucsi
braries and reading spaces or leading democratic minded free-schools and lectures.
The two-day-long symposium took place in
These kinds of projects expose suppressed
Budapest at the independent cultural open-
social problems to the public many times,
space of Krétakör, a Contemporary Art Center
and/or help relieve them through their own
and Production Company. More than ten lec-
method. Meanwhile these practices, they cre-
turers coming from seven different countries
ate the sensible audience of the future for
shared their teaching methods, practices and
arts namely their own public.
publications with the professional audience
The Art of Mediation, an international symposi
and each other on the subject of alternative
um organized by the Hungarian tranzit.hu
art mediation.
office in October 2012, also can fit in this trend. Tranzit.hu is a non-profit intellectual workspace
Maria Lind, director of the Sweden Tensta Kon-
(supported by Erste Stiftung) where the current
sthall in Stockholm, after reflecting on the his-
Photo by Hajnalka Tulisz
Photo One By One: Serbia
oftenly in magazines like Neon, Dazed and Confused and in many other print and web publications.
Interview with Luka Knezevic-Strika, member of the Belgrade Raw How do you see, is there a real market for contemporary photography in the Central and Eastern European region? No, there is not. You probably take part in many portfolio
Cat on a mat
reviews from either the reviewer or the pho-
Belgrade Raw©
tographer side. What do you think about the new generations? Are there changes in how
exception being the Goethe Institute that
they see photography now then for example
has a nice collection of German photogra-
10-15 years ago?
phers) and the bookstores don’t get a lot of
There is not really such an institution here.
new books because the demand is low and
Also, I think it’s not such a good idea gener-
they can’t justify stocking a bunch of high-
ally, seeing how high a percentage of these
priced titles to collect dust. During a Photo
events are organized as primarily business
Fair event Belgrade Raw organized in August
ventures.
at the Rex Cultural Center, there was an Ad Hoc Photobook library, composed of books
How do you think the situation of Sebian
from our and our friends’ personal collec-
photography might change in the near fu-
tions, aimed at highlighting this lacking and
ture?
offering a one-day fix to all intereted. We
I hope that more independent initiatives will
also presented works from a milimyriad of
form (like the Center for Photography that re-
younger photographers at the event. Most of
cently started or the Periskop Platform that
the shows of the emerging scene have to do
shows regular slideshows of various authors)
something with Miroslav Karic, this youngish
and that the official institutions which obvi-
curator who seems to be involved in count-
ously failed at its proclaimed mission will lose
less projects all over the visual arts spectrum
all their ground and leave the space for the
(and most that I’ve had the chance to check
agile newcomers. If this happens, and I’m sure
out were no-nonsense). There was the Pho-
to an extent it will, there is a future to look
Luka Knezevic-Strika
todocuments exhibition and simposium, or-
forward to.
Freelance photographer based in Belgrade, specialized in documentary photography.
ganised at the Salon of the Contemporary
Also has an active artistic career, solo as well as a part of the photo-collective Belgrade
Arts Museum, which presented a very re-
Raw. He has exhibited in Serbia, Montenegro, Austria, Germany and Sweden.
freshing view on documentary photography in an artistic context. Photography also figured strongly at Donumenta in Regensburg,
What do you think photography means in
see Serbian contemporary photography be-
at the show of the new generation of Serbian
Serbia today?
yond your country’s borders?
contemporary artists. I guess that the most
It’s this way of creating images with a camera.
As far as contemporary photography goes,
visible after all are these girl - the new gen-
You can use them formultiple purposes – ar-
things here are just getting started. It’s hard
eration of socialites, most of whom studies
tistic, commercial and many other.
to even look at good work in person locally,
art, both here and abroad and who use pho-
not even in books, since there aren’t any li-
tography to document their inner lives and
Little digger
braries with a good collection (one noteable
their rich social circles. These photos feature
Belgrade Raw©
Well, that sounds like a definition. Can you
my printing company
with colour
heart
All-inclusive print services
PAUKER HOLDING 1047 Budapest, Baross utca 11-15. +36-1-272-2290 | www.pauker.hu
7
IMMORTAlITy InTRO In contemporary Czech photography we cannot overlook strong influences of conceptual trends and tendencies examining photographic media itself. One of the examples is Jiří Thýn – an artist whose laboratory research of photographic images is evaluated so positively that he has been nominated for prestigious Jindřich Chalupecký Award in two consecutive years. Already in 2011, the exhibition called Mutating
bers of Bratrstvo worshipped the techniqual
medium in Rudolfinum Gallery in Prague pro-
brilliance of contact copies from large-size
voked discussion about the status of photog-
negatives and posed questions about human
raphy and its role in the contemporary art. A
soul, life and death.
well known fact is that the fall of the commu-
The photographer Ivan Pinkava (1961) is very
nist regime and its aftermath in the 90´s ended
often associated with Václav Jirásek, the
a long-term isolation from the development
most distinctive member of Bratrstvo group.
abroad and Czech artist were suddenly allowed
Pinkava is an author, who accents existential
to devour the previously „forbidden fruit“ un-
issues and maintains traditional approach
restrictadly. The hunger for anything new and
and coherent artistic conception coming
Ivan Pinkava: no Title
free grew even stronger with the arrival of dig-
out from techniqually perfect form of black
2010 ©
Ivan Pinkava: dogma American university Museum at the Katzen
2010 ©
ital technologies and a wave of experiment-
and white photography, despite the current
raphers, but is also an author who has created
– passing time, imperfection, traces of pain,
ing with computer manipulations. Relieving of
trends which tend to be rather conceptual.
visual languague which is easily recognizable
closeness and loneliness, humanity and ani-
a painful and bounding history led to radical
His activity in the context of temporary non-
and convincing to international audience.
mality, contention of good and evil. The faces
tendencies to cut from everything traditional,
emotive scientific movements seems to be
Pinkava is affraid of a society, where there is
of the photographed people give the impres-
including even the analogue process.
similar to the the activities of Bratrstvo group
no place for anachronism, a society, where
sion of absentmindedness, evoke the feeling
The Artistic group Bratrstvo stood up against
in 90´s. At the time when photography scien-
everything is strictly modern, and therefore
of ecstasy, meditation, dream or perhaps even
this one-way stream. Their tendentions took
tifically examines borders of its own empti-
monocultural.
situation of experiencing the Last Judgement
the right opposite direction, paradoxicaly
ness, Pinkava does not stop pouring strong
This thesis corresponds with the running
– people devotedly waiting for judgement,
backwards to the atmosphere of the 19th cen-
contents into the form.
exhibition called Remains at American Uni-
confessing and exposing their imperfection
tury. In the era massively focused on manipu-
Ivan Pinkava is considered to be not only one
versity Museum at The Katzen Arts center in
and wounds in silence and hope.
lated reality and creating illusions, the mem-
of the most important contemporary photog-
Washington D. C.
The Remains exhibition emphasises Pinkava´s
Introducing Ivan Pinkava´s artwork to the pres-
contemporary art work. It´s noticable that
tigious space of Washington gallery is regard-
biblical and mystical figures such as Cain and
ed as an outstanding success completed by
Abel, Ismael, Noe, Satyr, Narcis etc. disap-
the fact, that his photographs carry important
peared and the author is more focussed on
values. The exhibition presents the author´s
the face of a present-day human. He doesn´t
work of the last fifteen years. There are over
use the historical stylizations any more, but
sixty photographs, and about twenty of them
rather individual figures as speakers for the
are in a large format. Acording to the author,
whole human race.
the name of the exhibition refers to cultural re-
The presence of the human element can
mains and cultural icons of the past.
be sensed even from abandoned things in-
Pinkava pronounced a concern about possi-
stalled into minimalistic spaces creating a
bility that our culture has reached its height
kind of theatrical scenes with a sacral touch.
and we will just recycle. Petr Vaňous, the cu-
The author works with non-living things the
rator of the exhibition, pointed out that the
same way he does with human models. An
American audience was interested in the cul-
ordinary matress is changed into the gener-
tural backround encoded in his pictures. Per-
ally valid symbol of a place where people live
haps, exigency and the intensity of his visual
their pain and pleasure, of a place where life
statement could lead us to connections with
begins and ends.
existential heaviness of the past comunist re-
From the reactions of viewers, who visited
gime, but at the same time the urgency of his
the exhibition, follow, that they have under-
photographs has remained unchanged until
stood Pinkava´s message which connects
now. The meaning is probably hidden in an-
and exceeds all cultures. They primarily no-
other dimension.
ticed precise form and attached contents
The author has been creating photographs for
refering to Being, emptiness, but also to
almost thirty years. In the everchanging cul-
hope. Some of them even talked about the
tural context, he makes photographs valid in
somatic feelings they felt when looking at
any time, photographs that are beyond pass-
Pinkava´s pictures.
ing time. Pinkava rids his models of indicia of a
This is the outstanding mark confirming that
certain period of time and breathes into them
Pinkava´s images comunicate across all cul-
the fluidum of immortality. The portrayted
tures, that they turn our attention to what
people own just their body, very often na-
we feel and towards what we are the remains
ked, free from attributes of ownership. In this
of -at the time when not just photography,
case the nakedness leads rather to far more
but also culture of humanity defends its own
intimate revelation of soul in which we can
status.
feel something human, touching us globally
represented by RadaR
Kateřina Malotínová
www.artguideeast.org
8