ArtGuideEast Sept-Oct 2012

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0gms Sofia 2B Budapest 35m2 Prague A.M. 180 collective Prague acb Budapest Ad Astra Kuřim Agency Art.ru Moscow Aidan Moscow AL St. Petersburg Alkatraz Ljubljana Alma Riga AMT Kopjar d.o.o. Zagreb AMT Project Bratislava Anaid Art Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova St. Petersburg APA Budapest Appendix2 Warsaw Arhipelag Cluj-Napoca Ari Kupsus Budapest ARKA Vilnius ARKA Vladivostock ARKA Moscow Arskontakt Prague Art Agent - Igor Abramovich Kiev Art de Lux Kiev Art-Boulevard Sevastopol Artdepoo Tallinn Artgentum Leonid Lerner Moscow Artinbox Prague Artnewscafe Plovdiv Artpool Budapest ASA Art Sarajevo ASA art St. Petersburg Asymetria Warsaw Atelier Bucharest AVS-Art Kiev B55 Budapest Barbarian-Art Moscow Bastart Bratislava BB Cracow BB Wroclaw Bereznitsky Kiev Black Boksz Sarajevo Boris Georgiev Varna Bottega Kiev Brucie collections Kiev Bulart Varna BWA Warsaw CAC Vilnius Caesar Olomouc Calina Timisoara Centrális Budapest Centre fro Contemporary Art Sarajevo Charlama Depot Sarajevo Collection Kiev Collegium artisticum Sarajevo Colors Art Bucharest Czarna Warsaw D137 St. Petersburg DEA ORH Prague Deák Erika Budapest DOM Warsaw Dovin Budapest DOX Prague Duplex/10m2 Sarajevo Dvorak Sec Prague Elena Vrublevskaya Moscow Entrance Prague Equrna Ljubljana ETC Prague Evergreen Sarajevo Faur Zsófi Budapest Faur Zsófi - Krisztina Palace Budapest Foksal Foundation Warsaw Forrás Budapest Fotograf Prague Fotografic Prague Fotografija Ljubljana Fotoloft Moscow Frolov Moscow Futura Centre Prague Galeria 19 Bratislava Gandy Bratislava Garage Moscow Glamour Cluj-Napoca Glaz Moscow GMG Moscow Godot Budapest Gregor Podnar Ljubljana Grinberg Moscow Három Hét Budapest H’art Bucharest Haus Tallin Heppen Transfer Warsaw Hit Bratislava Hunt Kastner Prague Ideas Belgrade Inda Budapest Innoart Szentendre IPC Sarajevo Iragui Moscow Ivan Bucharest Izolyatsia Foundation Donetsk Jaroslava Frágnera Prague Java Sarajevo Jecza-Ross Timisoara Jeleni Prague Jirji Svestka Prague K.A.S. Budapest Kapelica Ljubljana Kapsula Ljubljana Karas Kiev Karlin Studios Prague Karousel Bucharest kARTon Budapest Kibla Maribor Kiev Fine Art Kiev Kisterem Budapest Knoll Budapest Kogart Budapest Kolo Kiev Kolonie Warsaw Kolo-Zaspy Kiev Kontra Akcija Zagreb Kontseptsiya Minsk Kontura Zagreb Kressling Bratislava Krokin Moscow Krokus Bratislava La Femme Prague Laboratorio Prague Langhans Prague Lazarev St Petersburg Le GUERN Warsaw Leica Prague Lena Roselli Budapest Lessedra Sofia Leto Warsaw Lietuvos Aidas Vilnius Little Yellow Bucharest LOKAL 30 Warsaw Lumen Budapest M17 Kiev Makláry Fine Arts Budapest Marat Guelman Moscow Marina Gisich St. Petersburg Marisall Zagreb Meet Factory Prague Melenia Bucharest Millennium Prague Miroslav Kraljevic Zagreb Mission Art Miskolc Mission Art Budapest Molnár Ani Budapest Mono Budapest Moscow House of Photography Moscow Mystetska Zbirka Kiev Nebo Kiev Neon Budapest NextArt Budapest NF Ústí nad Labem Nova Bratislava NT-Art Odessa Open Moscow Open Arts Foundation Plovdiv P74 Ljubljana PANEL contemporary Budapest Paperworks Moscow Pecka Prague Photographer Moscow Photon Ljubljana Photoport Bratislava Piekary Poznan PIES Poznan Pinchuk Art Centre Kiev Pintér Sonja Budapest Plan B Cluj Platán Budapest Pobeda Moscow Polina Lobachevskaya Moscow pop/off/art Moscow Posibila Bucharest Preporod Sarajevo Primus Livov Prinz Prager Prague Prodajna Belgrade Profile Foundation Warsaw Program Warsaw Propaganda Warsaw Prospekt Bucharest Raster Warszawa RecycleNest Bucharest Regina Moscow Regina Red October Moscow Rigas Riga Roman Petrovic Sarajevo Roza Azora Moscow Ruarts Moscow S Prague Sabot Cluj sam 83 Tremosna Sariev Plovdiv Savicko Art Vilnius Skolska 28 Prague Škuc Ljubljana Space Bratislava SPZ Prague Starmach Cracow Starter Warsaw Stella Art Foundation Moscow Stereo Poznan Svit Prague T Bratislava Tatiana Mironova Kiev Temnikova & Kasela Tallin the Chemistry Prague Tifána Riga Trafo Prague Triptych Kiev Triumph Moscow Tsekh Kiev Vaclav Spala Prague Várfok Budapest Vartai Vilnius Vector Iasi Vernon Prague Via Art Prague Viktoria Samara Viltin Budapest Vintage Budapest Virág Judit Budapest Visconti Ljubljana Vitosha Art Sofia Volker Diehl Moscow Vostochnaya Moscow Vovatanya Kharkov VP-Studio Moscow Winzavod Moscow XL Gallery Moscow Y gallery Minsk YA Kiev YA Dnipropetrovsk Zachęta Narodowa Warsaw Zak Branicka Krakow Zdenek Sklenar Prague Zderzak Krakow Zona Zagreb Zorzini Bucharest ZPAF Krakow Zvono Belgrade 0gms Sofia 2B Budapest 35m2 Prague A.M. 180 collective Prague acb Budapest Ad Astra Kuřim Agency Art.ru Moscow Aidan Moscow AL St. Petersburg Alkatraz Ljubljana Alma Riga AMT Kopjar d.o.o. Zagreb AMT Project Bratislava Anaid Art Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova St. Petersburg APA Budapest Appendix2 Warsaw Arhipelag Cluj-Napoca Ari Kupsus Budapest ARKA Vilnius ARKA Vladivostock ARKA Moscow Arskontakt Prague Art Agent - Igor Abramovich Kiev Art de Lux Kiev Art-Boulevard Sevastopol Artdepoo Tallinn Artgentum Leonid Lerner Moscow Artinbox Prague Artnewscafe Plovdiv Artpool Budapest ASA Art Sarajevo ASA art St. Petersburg Asymetria Warsaw Atelier Bucharest AVS-Art Kiev B55 Budapest Barbarian-Art Moscow Bastart Bratislava BB Cracow BB Wroclaw Bereznitsky Kiev Black Boksz Sarajevo Boris Georgiev Varna Bottega Kiev Brucie collections Kiev Bulart Varna BWA Warsaw CAC Vilnius Caesar Olomouc Calina Timisoara Centrális Budapest Centre fro Contemporary Art Sarajevo Charlama Depot Sarajevo Collection Kiev Collegium artisticum Sarajevo Colors Art Bucharest Czarna Warsaw D137 St. Petersburg DEA ORH Prague Deák Erika Budapest DOM Warsaw Dovin Budapest DOX Prague Duplex for 10m2 Sarajevo Dvorak Sec Prague Elena Vrublevskaya Moscow Entrance Prague Equrna Ljubljana ETC Prague Evergreen Sarajevo Faur Zsófi Budapest Faur Zsófi - Krisztina Palace Budapest Foksal Foundation Warsaw Forrás Budapest Fotograf Prague Fotografic Prague Fotografija Ljubljana Fotoloft Moscow Frolov Moscow Futura Centre Prague Galeria 19 Bratislava Gandy Bratislava Garage Moscow Glamour Cluj-Napoca Glaz Moscow GMG Moscow Godot Budapest Gregor Podnar Ljubljana Grinberg Moscow Három Hét Budapest H’art Bucharest Haus Tallin Heppen Transfer Warsaw Hit Bratislava Hunt Kastner Prague Ideas Belgrade Inda Budapest Innoart Szentendre IPC Sarajevo Iragui Moscow Ivan Bucharest Izolyatsia Foundation Donetsk Jaroslava Frágnera Prague Java Sarajevo Jecza-Ross Timisoara Jeleni Prague Jirji Svestka Prague K.A.S. Budapest Kapelica Ljubljana Kapsula Ljubljana Karas Kiev Karlin Studios Prague Karousel Bucharest kARTon Budapest Kibla Maribor Kiev Fine Art Kiev Kisterem Budapest Knoll Budapest Kogart Budapest Kolo Kiev Kolonie Warsaw Kolo-Zaspy Kiev Kontra Akcija Zagreb Kontseptsiya Minsk Kontura Zagreb Kressling Bratislava Krokin Moscow Krokus Bratislava La Femme Prague Laboratorio Prague Langhans Prague Lazarev St Petersburg Le GUERN Warsaw Leica Prague Lena Roselli Budapest Lessedra Sofia Leto Warsaw Lietuvos Aidas Vilnius Little Yellow Bucharest LOKAL 30 Warsaw Lumen Budapest M17 Kiev Makláry Fine Arts Budapest Marat Guelman Moscow Marina Gisich St. Petersburg Marisall Zagreb Meet Factory Prague Melenia Bucharest Millennium Prague Miroslav Kraljevic Zagreb Mission Art Miskolc Mission Art Budapest Molnár Ani Budapest Mono Budapest Moscow House of Photography Moscow Mystetska Zbirka Kiev Nebo Kiev Neon Budapest NextArt Budapest NF Ústí nad Labem Nova Bratislava NT-Art Odessa Open Moscow Open Arts Foundation Plovdiv P74 Ljubljana PANEL contemporary Budapest Paperworks Moscow Pecka Prague Photographer Moscow Photon Ljubljana Photoport Bratislava Piekary Poznan PIES Poznan Pinchuk Art Centre Kiev Pintér Sonja Budapest Plan B Cluj Platán Budapest Pobeda Moscow Polina Lobachevskaya Moscow pop/off/art Moscow Posibila Bucharest Preporod Sarajevo Primus Livov Prinz Prager Prague Prodajna Belgrade Profile Foundation Warsaw Program Warsaw Propaganda Warsaw Prospekt Bucharest Raster Warszawa RecycleNest Bucharest Regina Moscow Regina Red October Moscow Rigas Riga Roman Petrovic Sarajevo Roza Azora Moscow Ruarts Moscow S Prague Sabot Cluj sam 83 Tremosna Sariev Plovdiv Savicko Art Vilnius Skolska 28 Prague Škuc Ljubljana Space Bratislava SPZ Prague Starmach Cracow Starter Warsaw Stella Art Foundation Moscow Stereo Poznan Svit Prague T Bratislava Tatiana Mironova Kiev Temnikova & Kasela Tallin the Chemistry Prague Tifána Riga Trafo Prague Triptych Kiev Triumph Moscow Tsekh Kiev Vaclav Spala Prague Várfok Budapest Vartai Vilnius Vector Iasi Vernon Prague Via Art Prague Viktoria Samara Viltin Budapest Vintage Budapest Virág Judit Budapest Visconti Ljubljana Vitosha Art Sofia Volker Diehl Moscow Vostochnaya Moscow Vovatanya Kharkov VP-Studio Moscow Winzavod Moscow XL Gallery Moscow Y gallery Minsk YA Kiev YA Dnipropetrovsk Zachęta Narodowa Warsaw Zak Branicka Krakow Zdenek Sklenar Prague Zderzak Krakow Zona Zagreb Zorzini Bucharest ZPAF Krakow Zvono Belgrade

VOL.2. Sept - Oct 2012

bi-monthly gallery guide in the CEE region

RADAR - PUBLIC BENEFIT ASSOCIATION FOR CONTEMPORARY EUROPEAN ART

Putin FC series by Bela Doka

Hungarian photography has been traditionally among the best since the beginning of the 20th century. After its golden era, in the last decades of the past century Hungarian photographers were no longer able to reach such international recognition.

Recently Hungarian photography is gaining new impetus and there are

many new photographers becoming known to wider and wider audience.

Bela Doka is one of the heirs of the great past of Hungarian photography.

He combines applied photography with artistic work and the result is a homogenous oeuvre of socially sensitive topics with an easily identifiable attitude. Different applied work attracted different

themes to his lens. His series of photographs shot in Cuba, Moldova, Romania, Burma and Russia all give visual reference and evidence of the atmosphere of an ongoing transition and present groups of clearly distinguishable character. All his images show deep understanding and a certain attachment to the models thus giving a subjective and intimate feel to all his images. He quests for the human factor, he wants to demonstrate with his work the innermost hopes and fears of a human being. His most intimate series -The Sundays of Life -uses the same insider approach, as in Doka wants us to believe that all the photographs in the series are snapshots.

PUTIN FC follows this path. Similarly to his previous series, PUTIN FC, apart from depicting an existing social phenomenon goes well beyond documentarism. These staged photographs all have a unique atmosphere. It is a series of portraits depicting students in the suburbs of Moscow. What is special in them is that they are all members of a fan club with an average age of 18 years devoted to Putin. They idolise their president as a saviour of their country. His private life provides a rolemodel for these young boys and girls, he embodies the ideal politician, the strong sportsman, the perfect husband and exquisite father-figure for them.

Amidst posters and other devotional items for Putin, the admirers just pop out of the vivid mixture of colours, textures and objects. In a whirl of cultural references and traces of past and present Putin stands as the only solid item one can relate or stick to. Christ combined with the framed picture of Putin, the Sleeping Beauty-like girl with the Newsweek on her chest act like a big melting pot of our times. The photographs have an emotional or sometimes even romantic overtone where Putin acts in the quotidian setting as the Almighty ruler of and above their lives. The composition of these pictures follows

FREE

Bela Doka © FC Putin Yulia 2011

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Viennafair reborn

Bela Doka © FC Putin 2011

The two young new artistic directors Christina Steinbrecher and Vita Zaman have arrived from different directions to unite their forces and innovate the seven year-old Viennafair. The extended new name suggests a totally new approach. Art Guide East asked the directors about the fair’s mission and perspective in the CEE region.

European Month of Photography

Doka is represented by Faur Zsófi Gallery Budapest. This Hungarian gallery

Dear Reader, Welcome to ArtGuideEast (A.G.E.), the most comprehensive art guide of the Central and Eastern European region (CEE).

This issue will be different from others in the past year, as we have made some significant changes in the content.

From now on we are going to focus on major events, happenings and art news of the region in the printed publication so it will look and feel more like a newspaper than a single listings guide. This time we are focusing on three big events: Viennafair (Austria), Mediations Biennial (Poland) and the European Photomonths.

You might wonder what is going to happen with the listings then? We believe free listings are important, especially in our region and in these hard times, which is why we are going to publish a yearbook (which fits better inside a bag than our paper) where our forever growing list of contemporary art institutes will have the chance to be listed for free, and it will also offer an opportunity to magazines, schools and other related companies to promote themselves in Europe affordably. For more information about how to get listed or how to advertise in our yearbook, coming out in the middle of the autumn season, please visit our new website or contact our team.

Ourfree offers to you do not stop here: on our new website you may upload your venue details and upcoming exhibitions with only a few clicks. We would be delighted to have your comments, opinion, pictures, ideas on contemporary art or about our journal and work on our social media pages.

As the new director of A.G.E., I assure you that these changes are just the beginning of something new and contemporary.

ArtGuideEast is determined to follow the latest trends in contemporary art and media, and to become the TREND others would like to follow in the near future.

Yours Sincerely, Zsuzsi Fieszl

www.artguideeast.com

Tina Kaplár

International co-operation in photography? Of course, nothing could be more self-evident! Even 165 years ago when the photographic procedure was first present in Paris, it was already part of a European

Christina Steinbrecher Born in Kazakhstan in 1983, she graduated with a Master degree in Contemporary Art at the University of Manchester in 2007. Before Viennafair she was the artistic director of Art Moscow (2009-2012) and the Central House of Artists in the Russian capital. She was the curator for the Sputnik Art Foundation and director for the Innovation Prize at the National Centre for Contemporary Art, also in Moscow.

and users were free of national narrow-mindedness. Since then the

exchanging information and experience, to the interplay of learning and teaching, and to the encouragement of creativity. The “Month of Photography” takes up this good tradition: may it be one brick of the House of European Culture in the 21st century.

Thomas Friedrich † ( founding member of EMOP )

Austria Viennafair - The New Contemporary International contemporary artfair focused on the CEE region.

20.- 23. September 2012 Web: www.viennafair.at

Hungary Budapest Design Week „Slow Design” – is the slogan of Budapest Design Week this year.

It means slowing down and filling your life with content and profundity.

28. September – 07.

October 2012 Web: www.designhet.hu

Café Budapest The festival offers varied programmes for lovers of contemporary art: music, dance, theatre, film, photography.

5.-14. October 2012 Web: www.cafebudapestfest.hu

Czech Republic Tina b Fest Contemporary art and creation festival in Prague with over 100 artists from around the world.

17–31 October 2012 Web: www.tina-b.eu

on emerging directors and new trends in contemporary cinema.

7.-18. November 2012 Web: www.liffe.si

Russia Art Moscow Art Moscow is the largest contemporary art fair in Eastern Europe. It was founded in 1995 and today is one of the major art events in Russia.

19.-23. September 2012 Web: www.art-moscow.ru

Are you organising a high profile contemporary art event? GET LISTED FOR FREE - send an e-mail to artguideeast@gmail.com

Slovenia Ljubljana International Film Festival (LIFFe) Specialised competitive festival that features an overview of contemporary world film production, but also focuses

Editorial and staff contributors: Editor- in- chief: Tina Kaplár, Editors: Dóra Pelczer, Beáta Mesterházi, Noémi Ferenczy Copy editing: Zsófia Karetka Design: Ágnes Vas Contributors: Judit Szalipszki Directors and publishing: Publisher: Pál Szilágyi, RadaR Public Benefit Association for Contemporary European Art

VZ: As Christina mentioned, the East is very interesting but also West Coast US galleries will be the target for the next edition, as already some galleries from Turkey have excellent links with LA. The West Coast indeed shows a unique artistic climate.

VZ: There is no wrong reason to collect art. Art is a very flexible category of activities – there are different collecting strategies and ideas, ongoing conflicts between different groups - our task was not to take clearly stated positions but to enter into dialogue and explore.

The Art Vectors Investment Partnership, which is a fund with 1 million euro at its disposal for the acquisition of works displayed during the fair (managed by Edelbert Köb, previously director of the Museum of Modern Art of Vienna), will surely trigger further acquisitions…

CS: We surely hope so.

VZ: It will set a good example and hopefully we will attract similar initiatives in the future.

Managing director&Head of sales: Zsuzsa Fieszl Finance: Bálint Kovács Address: Király utca 51 , 1077-H Budapest, Hungary Web: www.artguideeast .com Contact : artguideeast@gmai l .com Printed by Pauker Nyomda Kft . Baross utca 1 1 -15, 1047 Budapest, Hungary Director: Gábor Vértes ISSN 977-2062-785002 Copyright RadaR – Public Benef it Association for Contemporary European Art 2012 ArtGuideEast is a bi-monthly contemporary art journal and professional periodical focusing on

ly looking into the east and working closely with the east European market.

We further underline this position by our own CVs and knowledge. Indeed Vita and I understand eastern European mentality and have great experience as professionals.

With the new ownership Viennafair becomes a true bridge and platform for exchange and encounters of collectors and artists.

Walking around the city you feel that the city is already embracing this role, it is only natural to reflect this in the context of the fair.

VZ: Contemporary society, and the art world in particular, is undergoing profound transformations that result from the shifting economic and cultural power sources.

We are living in a very exciting time when we have to reconsider the role and in the shape that the so-called Western culture, or even European culture, will play and will define itself by. We try to reflect these concepts and phenomena in the contents of the fair. In that regard, our backgrounds are very important as we are able to function as cultural polyglots, moving between different narratives, psychologies and traditions. Indeed the idea is that Viennafair will become a cultural hub, a kind of culture bazaar in a positive way that stimulates,energizes and enters into dialogue between the scenes and the players from these shifting contexts. Historically, the Ottoman Empire paused outside the walls of Vienna, for me personally this encounter and the conversation of Islamic cultures and Europe as defined by Christian tradition is very interesting and goes beyond geographic presentation, into exploration of differences in aesthetic and philosophical fields.

The motto ’The New Contemporary’ could be interpreted in several ways. Does it mean a focus on a new region or aon emerging artists and art scenes, or does it suggest the aim to unify contemporary art scenes?

CS: We are looking not to exclude. The New Contemporary is meant as a platform for East and West and not East only as it was indicated before. We are also looking into working with

Vienna Quintet, a special exhibition of artists from Azerbaijan, Georgia, Kazakhstan, Ukraine and Belarus presents the latest developments in the contemporary art scenes of the former Soviet Union. The exhibition is organized in close cooperation with curators and art institutions from these countries.

Moreover, as previously mentioned, Vienna Sonic, which synthesizes interconnections between fine arts and music, will be creat-

Vita Zaman Born in 1976 in Lithuania, she studied Creative Curating at Goldsmiths College and photography at the Royal College of Art in London. Between 2002 and 2008, she founded and led the IBID projects in London and Vilnius. She became director of the Pace Gallery in Chelsea in New York in 2008.

Art Moscow will be held at the same time as Viennafair this year. This might have influenced applications and it may cause the Russian and other Eastern European collectors to be divided between the two options.

How can you balance this rivalry situation?

CS: I was working with Art Moscow before and we are not looking to become competitors. The time overlap is only this year, it is an exception and we will not overlap next year.

We strongly advise Russian clients to visit

How do you plan to find balance between the traditionally contemporary art detesting city of Vienna and Viennafair’s new ambitions?

CS: Vienna is well known for the contemporary scene that is well established and its institutions. If you look at our program, it’s a balanced layout.

VZ: To detest contemporary art is also contemporary – Vienna has a great tradition and engagement with culture. We aim to find the points of interest that attract music, film and dance lovers too.

What impact do you think a successful fair can have on the CEE region?

How do you see the perspectives of Viennafair? What are the key ingredients for a long lasting art market?

CS: We expect a positive impact for the CEE region. An ownership structure that also includes players from the East European market is reason for confidence from that side.

We are working with all key ingredients: stunning galleries, conversation program, strong VIP program and one on one handling of VIP and new formats to make Viennafair an outstanding place.

As a fair we are working to create experiences so that all participants return and make the fair a not-to-miss appointment.

“I feel the motto was about plurality and intercultural relations, hybridization of traditions, about looking at currently unfolding narratives that come from anti-modern tradition, renaming them as contemporary.”

Poland Audio Art Festival (Krakow) The festival not just presents individual artists from all over the world but also other non-audio art events extending the whole image of the art based on sound.

16. – 25. November 2012 Web: www.audio.art.pl Mediations Biennale (Poznan) Art fair that focuses on contemporary art where 150 artists present their work.

9 September- 9 October 2012 Web: www.mediations.pl

IMPRESSUM

CS: First of all, we have secured the most exciting Austrian and Eastern galleries. Viennafair has always had around 30% of east European galleries, we continue with that tradition but also include different formats to showcase interesting markets.

3

CS: There are several approaches to art collecting. Most common is still that people genuinely love art and enjoy a conversation about art. In the course of the crisis, people are also looking to invest into save havens and are increasingly looking at art as such.

An art fair is a fair that has to respond to the requests of various groups, collectors, artists, institutions, art professional, critics and others.

The tasks of Viennafair are wide-range.

network, and it could only triumph because its investors, promoters

progress achieved in photography has been linked to the principle of

Events guide 2012 autumn

VZ: Again I feel the motto was about plurality and intercultural relations, hybridization of traditions, about looking at currently unfolding narratives that come from anti-modern tradition, renaming them as contemporary.

Contemporary is an almost impossible term, as well as “new’, so we tried to play with this obsession also in our curatorial decisions of creating certain sections of the fair like Vienna Live that really reflected on these notions.

Previously, Eastern European galleries had only a marginal role at the fair, but by looking at the numerous exhibitors from the region and taking into account your mission statement, it will definitely change this year.

For those who have already been to Viennafair before, what novelties do you offer compared to the previous years? What are the greatest challenges for the new Viennafair?

went outside the activities of the fair. We really wanted to represent Vienna as the main source of inspiration and attraction and create personal, small scale, and unique activities and networks for collectors visiting. We want Vienna fair to be marked in the calendar of the international fair jet set as a unique occasion not to be missed.

Participants arrive mostly from the CEE and SEE regions, but there are also galleries from the USA,the UAE and Turkey. What are your future target regions? Will you keep your focus on Central Europe or do you plan to reach out to further markets as well?

CS: We have seven galleries from Turkey and Viennafair sees a strategic geographic partner in Turkey with its active gallery and collector scene.

Collectors and gallery owners shall associate with Viennafair the most exciting galleries and projects from that region. We also went further east and have signed a gallery from Iran – Shirin Art Center.

To go further east - as with Vienna Quintet - is one of our planned strategic moves.

Vita Zaman Photo: Slava Filippov

Doka’s aim was to present the phenomenon of fanatism as detachedly as possible. It raised questions in him that he wanted to share and pass over. Questions that might be more relevant nowadays than ever Someone might find this kind of devotion banal or funny. It might be frightening for others. One thing is sure: we can not pass by this phenomenon without noticing it. Doka’s aim was to present the features of fanaticism as detachedly as possible. It raised questions in him that he wanted to share and pass over. Questions that might be more relevant nowadays than ever.

has a special focus on contemporary photography and is also the publisher of a series about Hungarian contemporary photographers. This autumn he will be exhibited at Noorderlicht Festival in Groningen and with Faur Zsófi Gallery at Fotofever in Brussels.

Christina Steinbrecher Photo: Slava Filippov

that of the romantic paintings of the 19th century, with the same expression of the nonchalant melancholy on the faces of these young girls.

Zsuzsi Fieszl

According to the fair’s manager, you were hired for your expertise for Central, Eastern and South-Eastern Europe, and the fact that the two of you combine these both biographically and as curators was important. Both of you are of former USSR origin but now, Christina, you arrived from Moscow, and Vita, you came from New York City. This fact already represents a symbolic bridge between the art scenes of the eastern and western hemispheres. Will Viennafair become a bridge or mediator between the two regions? Will it be able to unify art markets of the west and the east?

CS: Viennafair has over the years positioned itself as a fair that is strong-

Austria and the abundance of creativity here.

We are looking to include and reflect new developments in the art market at the fair.

We have developed a format for the fair where visual artists work with local sound artists and Ars Electronica this year.

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.

ing a unique acoustic identity for VIENNAFAIR The New Contemporary. Musicians, sound designers, and acoustic artists are invited to help shape the side program and to participate in the process-oriented acoustic design of the particular zones of VIENNAFAIR The New Contemporary.

In order to attract new and young audiences, we have developed Vienna Studio. By attending Vienna Studio, students get to experience the market, which is an important factor in the development of their careers and a sustainable practice, and will be able to hear the opinions of seasoned professionals first-hand. For the nonart student it will offer an insider’s view and valuable first-taste of the art scene.

VZ: Indeed we were very eager to have an unexpected selection of galleries – a focus on Turkey is important to us, as well as some key Russian positions, a strong selection of Polish and Baltic galleries and of course the best Austrian galleries are in the fair, all of which is very exciting.

Our curated section, Vienna Quintet is really addressing this fascination with the East in general, but this time it is more focused on the Caspian region. Next year we would like to focus on Iran, too.

The biggest challenge for Viennafair was to create a great collectors program that

Art Moscow and contemporary art events to acquaint themselves with contemporary art.

WehavesignedsevengalleriesfromRussiasome of which are going to participate in both fairs.

VZ: I hope they will visit both fairs.

The fact in the current economic and cultural situation, a millionaire of Russian origin, Sergey Skaterschikov, has invested into an art market in Central Europe with incredibly high ambitions, means encouragement for the other players of the art business. Has it already created a more positive business environment or can its impact only be measured after the fair?

CS: Sergey is incredibly well informed about tendencies in the art market. This year the art industry forum will take place in the framework of Viennafair. The forum will discuss new trends and e-commerce in the art market.

VZ: It has added a totally new level of discourse to do with international developments in art and art distribution and it is a very exciting occasion to work with Sergey.

Skaterschikov highlights the similarities between stock exchanges and art markets.

Should we think about works of art from now on as luxury commodities on which buyers and sellers want to make profit of and the art fair itself acts like a commodity exchange?

VZ: We believe that Vienna and Viennafair can become a very important place for the region, especially if we open up to other cultural disciplines, collaborate with educational institutions and start collector networks and activities that span outside the one-off event of the fair and acts as an ongoing social and cultural platform

Tina Kaplár

5

4 „Links the real space of the art fair with the virtual realm of the online world and represents a central program point of VIENNAFAIR The New Contemporary”.

That is how the website (www.viennafair.at) describes Viennaclick, which is one of the five projects of the fair.

I asked Christina Steinbrecher, artistic director of VIENNAFAIR about this interesting new initiation.

What

is

the

concept

of

Viennaclick?

The art world changes with the rest of the world. The Internet is used extensively for communication as is an essential tool for all aspects of the art world. Art entrepreneurs have popped up on the Internet and sell and promote art and art events online. Vienna Click is a plaform to showcase online products to collectors, museum audience and artists in a fair set up.

Who is your target audience?

Traditional art audience that is interested to learn about Internet formats. Also audience that is not yet firm with the Internet and how art is presented there and how they can make efficient use of it.

Have you got any plans with it in the future?

In 2012 it will be only a small section with three companies presented that way, going forward we want to have all main players present and to integrate online and off-line activities.

VIENNAFAIR The New Contemporary deals with Central and Eastern European art this year, and Vienna Talks follows its lead. For four days Vienna will become a real bridge between Western and Central Europe, just how it suppose to be in the first place. During this time, CEE art will not just have the opportunity to show itself to the world, but to start a discussion about its changing role from a global perspective as well.

On the second day, Turkey will be in the center of attention. The forum will consist of three panels where the Turkish art scene will be examined through a discussion on institutions, on collecting and on curating.

The event’s moderators are Nazli Gurlek (curator of the “DIYALOG”: Art from Turkey) and Arsalan Mohammed (Editor in chief of Harper’s Bazaar ART ARABIA).

22 September will be Russia Day in Vienna Talks where the must of Russian art scene

Krišs Salmanis Knock Knock, 2012 Courtesy Alma Gallery, Riga

Zone1 has been a part of Viennafair for many years.

It is a very successful format, with galleries -especially with young ones - and visitors. It is a good way of introducing artists to a new audience with a solo show.

A young artist gets 20 square metres of exhibiton space in well-known galleries, a

Haim Sokol Rabies, 2010 © Anna Nova Art Gallery, Saint Petersburg

Galleries were invited to apply by the artistic directors and a professional committee selected the participating galleries. After that, it is up to visitors and connoisseurs to decide if the work of art will be added to the canon.

Even if these projects do not always end in sales, they have met positive reactions. It is important to present an artist with caution and care, especially if they are young or still relatively unknown, and Zone1 provides this opportunity.

Galerie Lisi Hämmerle is showing the Djinni in a Bottle project, young art that uses the most up-to-date 3D technology; Projektraum Viktor Bucher presents Daniel Leidenfrost, well-known for his stage photography; and Andrae Kaufmann is

presenting drawings and objects by Bettina Krieg. Florian Neufeldt is showing new works at the Zone1 stand of Gallery Opdahl. The subject of money plays a significant role in Carlos Aires’ installation in Zone1, which is being presented by Mario Mauroner Contemporary Art. Figge von Rosen Galerie are making their entire stand available for Velena Popova. Roomfilling sculptures by Gregor Gaida can be expected at the Parrotta stand in Zone1.

Polina Kanis was already present in Vienna this year at the group show Russian Renaissance. Her videos will be presented in Zone1 by Galerie Glance. Finally, the Alma Gallery will be presenting Latvian Krišs Salmanis.

Noémi Ferenczy

VIENNAFAIR The New Contemporary and Art Vectors Collection combined efforts to fill a gap in the Central and Eastern European contemporary art scene. In the coming five years, a minimum of one million Euros will be available annually for purchases of art pieces exhibited by galleries participating at Viennafair.

Sergey Skatershikov, a Russian art entrepreneur, initiated Art Vectors Investment Partnership to give investors the opportunity to participate in the creation of a sophisticated art collection.

When I read this piece of news in Viennafair’s press release, the first word that popped into my head was “finally”. Finally, somebody is investing in the CEE art scene.

I hope that the advisory committee will be able to put together a collection that draws a fair outline of Central and Eastern Europe and its changes after the fall of the USSR. The home of this future collection hasn’t been decided yet; at the moment AVC is planning a public touring exhibition consisting of the obtained works as well as pieces borrowed from museums and institutions. I wish the collection good luck, and we will see each other in five years.

Viennafair info Opening hours: Thursday 20th September 2012 11 a.m. - 7 p.m.

Friday 21st September 11 a.m. - 9 p.m.

Saturday 22nd September 11 a.m. - 7 p.m.

Sunday 23rd September 11 a.m. - 6 p.m.

Tickets Ticket categories: 20.-23. September 2012 Price p. p.

Day ticket for adults € 18.00 Reduced day ticket (students up to 27, scholars, seniors) € 9.00 Reduced day ticket for clients and employees of main Sponsors € 12.50 4 day ticket € 29.00 After-Work-Ticket Thursday / Friday starting at 4 p.m.

Free entrance for children under 14 Address Messe Wien, Hall A, Entrance A Messeplatz 1 1020 Wien

great opportunity, especially alongside already known exhibitors. This year’s motto of the exhibition is “The New Contemporary”, which is particularly relevant to the above mentioned works.

Gregor Gaida Attaboys, 2011/2012 Courtesy Parrotta Contemporary Art, Stuttgart

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Collection On The Horizon

The collection will be composed of Central and Eastern European artworks made after the fall of the iron curtain. Over time the collection aims to expand gradually and to become one of the most important art collections within the expanded CEE region.

The first day Vienna Talks will put the focus on Vienna Quintet, a special exhibition with artists from Azerbaijan, Georgia, Kazakhstan, the Ukraine and Belarus. The architects of Viennafair, Christina Steinbrecher and Vita Zaman will moderate the discussion. Each country will get 30 minutes to represent their countries contemporary art and how it did change over these last years in parallel to the countries cultural and political transformations.

Bea Mesterházy

Zone1 - The newest

will be represented by curators, directors, collectors of the main institutions, museums and auction houses. The audience will have the opportunity to learn about different Biennale models in Russia and across Europe, about corporate initiatives in contemporary art and how this form of business fits into the art world. Foundations and Institutions will be discussed in 30 minutes panels as well.

Finally, the last day’s conversation will be about COLLECTING, an event organized

by ERSTE. Collecting in the Baltics, Collecting in pre-market countries, Private collections and Models of collecting, these are the panel titles, which will give the audience an elaborate picture of the means and ends to art collections in Central and Eastern Europe.

Sergey Skaterschikov Photo: Manfred Burger

Introducing CEE Gives Vienna Click Something to Talk About

Sári Stenczer is based in Budapest and works as a freelance curator and art critic of contemporary art mostly in the Hungarian and French non-profit art scene. Photography has always been part of her curating and critical work. Currently she curates thematic group shows in diverse media, concentrating on the topic of social criticism and the present situation of Hungarian politics or even on broader problems of today’s society.

What do you think photography means in Hungary today?

I do not think that photography is seen from the same point of view in an entire country, as it is a complex, multi-faceted phenomenon and as such can be approached from multiple directions. Let’s see the most decisive ones: if we consider photography in the context of art history, after the recent successful exhibitions (Capa, Munkácsi, Kertész), then we may perceive it as a manifesto of national achievement; if we look at the history of Hungarian photography in the last century, then first of all it represents substantial, but unfortunately barely unfolded documents; and if we value it through the effort of contemporary photographers then it is obviously a collection of diverse records of our period, almost immediately spread out through Internet. So principally with the wired world our attention right now is turning towards contemporary photography in a chaotic and undisciplined way.

You said in an article in 2008: “It becomes clear that it is not our photography itself that has not been keeping up to date with current trends but rather its precise elaboration, comprehension or understanding which of course hardly works today in Hungary, since it is governed by a solely self-referential and self-celebrating elite. ”

As someone who used to live abroad for a long time how do you think Western Europe sees Hungarian contemporary photography? Can you see Hungarian contemporary photography beyond our borders?

Despite every problem, there are lots of contemporary Hungarian photographers who exhibit or take part in residency programs abroad and they are quite successful. Just to mention some names from the emerging generation: Gabriella Csoszó, Krisztina Erdei, Lilla Szász and Tamás Dezső, Péter Puklus, Gábor Arion Kudász, Ádám Magyar or Miklós Surányi…. And I can hardly forget Balázs Gárdi – who became one of the world’s most promising photojournalists. So I do not think that this is a bad position, but I am almost sure that this is possible because of the engaged work of the artists themselves.

Even though there are some personalities, like Gabriella Csizek (Hungarian House of Photography) or Mihály Surányi (Nessim Gallery) who work a lot for the international success of these photographers and to further the advancement of Hungarian contemporary photography or we can mention Zsolt Petrányi as well, the former director of the Kunsthalle of Budapest who also promoted photography in the Western world.

But these are individuals (as me) working alone and without a continuous subsidy so the appearance they generate is fractional and is not enough to make a persistent presence in the international art scene.

Here we have to mention the private galleries as well. With the exception of Vintage Gallery (who exhibit on well-known art fairs outside Hungary mostly twentieth century photographs) the spaces who present contemporary photography are in mutation: Nessim Gallery closed its space and organizes exhibitions in other art institutions, Lumen Gallery is undergoing a complete transformation – it is mostly because the art market of contemporary photography is not profitable yet. Luckily there are some commercial galleries that promote photography alongside with other medium: Zsófi Faur, Godot or the Inda Gallery.

The non-profit art scene is small, beside

the Studio of Young Photographers there exist other, not medium-based initiatives that organize exhibitions or theoretical lectures in Budapest, and a new, associative gallery will open under the name of ph21 initiated by the Visual Communication Department of Budapest University of Technology and Economics. All this means that there is will and voluntary capacity today, but these spaces should concentrate more on finding their international analogues and building up exchanges with them.

you make is where you direct people’s eyes.

How do you think the situation of Hungarian photography might change in the near future?

Unfortunately without financial support and the recognition of common interests nothing will change.

But photography is always changing. It is the eye of the future that analyzes the past

What are the strong suits of Hungarian photography?

That we have plenty of amazing photographers! And one of the outcomes of the problems mentioned above, which is independence. We can take this ironically or seriously but surely with the lack of strong subsidies and the rarity of photo-collectors artists do not have chance to into a commercial system. Hungarian photographers mostly work for themselves and for the public in order to express their engagement.

What are its weaknesses?

The fact that young, talented Hungarian photographers cannot make a living out of what they love doing.

You take part in many portfolio reviews.

What do you think about the new generations? Are there changes in how they see photography and in how they take pictures?

It has been long since I was invited for a review. Mostly because I do not take advantage of them but for sure the new potentials of the digital image partly transformed the regard of the new generation. Considering that for some years I am not specifically interested in photography as a medium but much more following socially engaged and political themes – which often uses photography, as it is substantially political.

It can denounce power structures, contest inequalities, and reveal injustice, which is an extremely important quality in Hungary right now. Let’s say that I am searching for the critical position of the photographic medium in contemporary art.

Because I agree with Wim Wenders’ famous phrase: the most political decision

and is also constructed by it – photography alters, because it follows us by tracking the changes of our everyday lives: our various acts, contexts and identities. This dynamic process is mutual and determines our imagery of the world and of ourselves, so it is important to recognize that as today’s actors it is our responsibility whether a modulated, qualitative science of theoretically embedded photography will exist in the future.

Nowadays we can hear about the new Museum of Photography, planned to be built in the following years in Budapest – I really hope that this initiative will serve for the development of scientific researches and raise a new thoughtful, collaborative generation to put photography to its rightful place.

If you have any thoughts about the subject, please leave your comment on our

website, in the “Comments” section.

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Next in the series: Czech Republic Dóra Pelczer

Ádám Magyar © Stainless, 03621, 2010

Sári Stenczer © Selfportrait

Central and Eastern European photography used to be celebrated internationally. CEE gave photographers to the world like Robert Capa, André Kertész, Joseph Koudelka, Jan Saudek, Alexander Rodchenko or Brassaï. The CEE region is still very proud of these extraordinary photographers, but we have to ask: what about the present? What happened to photography in this part of Europe? As an art magazine we feel obliged to start a discourse about contemporary photography in the CEE region. In the spirit of this, we decided to publish an interview in every issue with a photography professional from each country. In this issue we asked Sári Stenczer about the state and condition of Hungarian photography today.

No, but I see the situation much better now than at the time, when I was living in Paris.

In Hungary we are used to work individually so much that a continuous common critical dialogue can hardly exist neither about the history, the perception or the evaluation of photography. There were several initiatives to change this attitude, but none of them worked for long-term.

For a real change, what we need is first of all a comprehensive understanding of photography, which appears in graduate education – as art and as one of the most important tool of social sciences as well. It has to be taught with a clear and deliberated program that considers its proper and technical history, its evolution side by side with media and natural sciences, with the information society, and in a broader sense its interactivity with science, literature or art history. This is a longer process that needs theoretical and photobased publications, discourses and dialogues – not only on the Internet but also in printed books and in real public spaces – where we can confront with photographs as objects.

This is a question of money and an understanding of common interest and is possible with the collective work of science universities, photo-based institutions and independent professionals as well – both from theoretical and practical side.

Tamás Dezső © Night Watchman , 2009 Budapest

Let’s start a debate about contemporary photography!

An interview with Sári Stenczer

7

Do you see any changes since then?

Lilla Szasz © Blina Shifrova Veterane de la II. Guirra Mundial With the support of ACAX - Agency for Contemporary Art Exchange, Department of Ludwig Museum, Hungary

6

Photo One

by One: Hungary

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dOCUMENTA(13) is not an exhibition, we may say tritely paraphrasing Magritte.

‘It’s like an exploded museum’ – as artistic director Carolyn ChristovBakargiev puts it. ‘A state of mind’ – Bakargiev continues. Or did she turn the city of Kassel to a skansen?

An open-air museum where every door hides new (and sometimes distant) cultures, regions, times, places, spaces and (hi)stories. dOCUMENTA is a wonderland in a certain manner as an almost unseen/unfelt sense of equality impregnates it: the education program seems to be as important as the exhibited artworks, research is as central as presentation, women are almost as many as men. There is no distinction between humans, objects and dogs and no explicit hierarchy between geographical regions. But more precisely, what are those regions that are in the corners of Carolyn ChristovBakargiev’s mind? When, at a lecture preceeding dOCUMENTA,she was listing the areas from where artists were invited to this years’ Kassel top showcase of art, Europe and North America were the last ones in the line. Beginning with the Far-East and continuing with Southeast Asia, we already feel that those who look at dOCUMENTA with a focus on the CEE region may easily be disappointed: after years of interest in artistic positions of the post-Social region, the emphasis is sliding towards current conflict zones. (Notwithstanding

the presence of key works such as Czechoslovak Radio 1968 from Tamás St.Turba.) dOCUMENTA aims to rewrite and reconsider Eurocentric positions both in exhibition making and viewing and to overstep the “westernernized” framework of art production and consumption. Now its horizon is somewhat broadened over the edges of Western consciousness forming a symbolic axis of Kassel, Kabul/Bamiyan,

artists present in the Kassel show are hardly brought around in cities and stadiums in chariots and are less loudly celebrated than the gold medalists of the Summer Olympics, we still do count how many artists of our countries are on view at dOCUMENTA (13) much like we keep track of how many gold medals our home nation won at the Olympics.

Alexandria, Cairo and Banff. The country that is most represented, proportional to its population, is Lebanon with 6 artists including Walid Raad and Rabih Mroué.

Christov-Bakargiev invited ten artists from Afghanistan, four from Pakistan, ten from Africa and the highest number of female artists ever shown at dOCUMENTA (13). But do we really experience the participation ratio as something competitive? Though the

the synergies between art and science, art and politics, art and other knowledges. It elegantly cuts itself adrift from the world of the art market – with a curator who doesn’t use Apple products because she doesn’t like the company’s politics. CCB writes in the mission statement that ’dOCUMENTA is driven by a holistic and non-logocentric vision that is skeptical of the persisting belief in economic growth’. Clear. But

dOCUMENTA is a platform that reveals

TINA B. Contemporary Art Festival in Prague is a showcase of quality contemporary art by artists from around the world. The Festival will bring to Prague art that not only has an aesthetic dimension but is also meaningful on an emotional level. The seventh year of the festival has set its goal high: to get the inhabitants and tourists of Prague in a positive mood. The artists invited to take part in TINA B. 2012 will use their works to invoke positive emotions, smiles, and feelings of happiness in viewers. The festival aims to distract people, at least for a short while, from their everyday worries and allow them to relax

despite standing off from the commercial sector of the art scene, dOCUMENTA has an almost unquestionable effect on the value of the works on display, it strengthens their commercial positions as their prices immediately double – at least.

Most artists’ ranking goes up on pages like artfacts.net, even if participation for some of them is a real investment as they do not get any fees for their presence and many of the works come into being thanks to funds channeled into the project by commercial galleries, public and private sponsors as was the case with the vast installation Ghost Keeping of István Csákány (albeit the total dOCUMENTA budget of €25.6m.) Though we should not be mistaken by the fact that a great proportion of the artworks/projects are performative nor yet ephemeral, buyers may then be less welcoming towards them as they can hardly be transformed to marketable pieces of art. Here I would refer to the Hypnotic Show by Marcos Lutyens (in collaboration with Raimundas Malašauskas and Sissel Tolaas), the Sanatorium of Pedro Reyes, Amy Balkin’s Public Smog installation and the deformed sculptures of objects that were damaged during the Lebanese Civil War (1975–90).

Another key question here is the impact of dOCUMENTA on the art world in terms of zones of interest – is the emphasis on non-Western practices strong enough to enhance the thirst of the art market?

As Cristina Ruiz in The Art Newspaper writes with a US focus, artists and regions represented in dOCUMENTA, Manifesta, La Triennale and the Kiev Biennial narrowly overlap with those present in the most important art fairs. Charismatic authorship of an artistic director then may not be convincing enough to divert the still Western-based regionality of the market.

Judit Szalipszki

Photo: Anna Juhász

8

Empire of the states of mind