Art manager 7 2nd issue

№2 2013

„Art was what kept me challenged, and keeps me challenged to this day” David huang

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EDITORIAL EMOTIONS

FOR US THE ART IS ETERNAL!

h

ello, dear friends! here in front of you is the second issue of “Art Manager 7� - a toddler edition in the global media market! No matter how small we are in age for now, our dreams and intentions are big, bold and beautiful. Someone once said that a man is as big as his dreams. i guess the same goes for the media - they are as successful and important as the high are goals, they set for them selves. We have set high goals in front of us and strive to achieve them with love and devotion, and all that for the sake of you, our readers. We have embraced the idea of art, we found out ourselves in it and have wanted to prove once again, but in our own way, that it is eternal for sure, especially when it is valuable, loaded with positivism, filled with messages and created with love. From the classical examples of the old masters to the modern attempts of contemporary authors to break all limits, norms and canons of creating, Art has one main purpose and that is to wake up our senses, to deliver a spiritual delight and to provoke the willingness for improvement of the human spirit. There are a great number of valuable and infinitely talented artists in the

world. Some of them have already taken their places, others have to impose their names on the global cultural scene in the future, but each of them deserves our applause and respect for the courageous choice to be an artist and to create art. in this issue will experience again the various revelations, shared destinies, art spaces and intriguing destinations. This time we put the emphasis on italy as one of the cradles of renaissance art, which combines in a natural and memorable way the classics and modernity.

We believe that you will experience unforgettable moments, while you are traveling with us around the world, even if it is only mentally. We still believe that, for the spirit, which is thirsty for knowledge, there aren’t any time or space limitations. Bon voyage! Till the next issue!

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съдържание

04 News

10 In front of the lens of Philip Peynerdjiev

A unique exhibition of Bistra Vinarova in Sofia

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burano A colorful art piece in the heart of venetian lagoon

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From the golden hands of…

David huang A different person in the different world of Art

Аrt guide

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Аrt Make up Nadya In the land of make up

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ART EVENTS kina BAGOVSKA

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Creative revelations Wenli Liu In a journey toward herself

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Art boutique laboratorio FEDERICI

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Art museum UFFIZI

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44

Art muses

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Art gallery

FRANCOISE GILOT The pearl in the palette of Picasso’s muses

Аrt forums BAAF

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Art without standard Kseniya Simonova The Lady of the Sand

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арТ NEWS

The museum OF mOderN arT (МОМА) organizes exhibition of designer dante Ferrety

a uNiQue eXhiBiTiON

of Bistra Vinarova in sofia

These days the National Art gallery in Sofia /Bulgaria/ is hosting an exhibition of little-known but extremely talented artist Bistra Vinarova. The exhibition includes 200 paintings donated by the artist‘s son, letters and other documents from her personal archives. Organizers of that event are the National Museum of Fine Arts and the Bulgarian State Agency „Archives“ under the patronage of the Ministry of Culture. The exhibition entitled „Wealth of Bulgarian archives. The Art of Bistra Vinarova” represents one of the most - talented Bulgarian impressionist, who managed to establish herself as an artist in Vienna, and to devote reviews and poems from the notable artists such as Nikos kazantzakis and rainer Maria rilke.

daNish research

shows dangers of restoration techniques A recent study in Denmark showed that a commonly used method for restoration can damage oil paintings. Among the objects that are at serious risk, are some of the greatest masterpieces in the world. if a painting is treated with this commonly used restoration technique where works are strengthened by using a mixture of resin and wax, and if the work is at a relative humidity of over 60%, there is a serious risk that the canvas to shrink, which would be detrimental to the paint. The study was proved in the beginning of August in front of the royal Danish Academy of Fine Arts and restoration. it shows that the method used in many masterpieces, including works by rembrandt, Van gogh and the painters of the Danish golden Age, in some cases may cause much more harm than to preserve it.

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The Museum of Modern Art (MOMA) in New york will pay tribute to the unique creativity and will recall valuable moments in the life of the famous product and costume designer Dante Ferretti. The exhibition, which will be opened on the 28th of September and will continue until the 9th of February 2014 includes artifacts from the original movie props, over which had worked Ferretti. The exhibition is accompanied by movie program, which includes 22 films. All of them reveal the personality of Ferretti and illustrate his interests and inclinations to painting, sculpture, poetry, history.

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FROM THE GOLDEN HANDS OF‌

DAVID HUANG

A different person in the different world of Art

Being different sometimes is a hardest way to live in almost normal world, filled with almost normal people. But the essence of life mostly is hidden in the special kind of strength, which the human needs to overcome that difference and create from it a beauty and Art. David Huang is a different person with a great, rich inner world, which he engraves in his artworks. But who in fact is David Huang he will tell us in the next rows.

“I

‘ve always been a bit different from the crowd. I remember once as an adolescent in school being described by a teacher as a leader. At that time it completely baffled me because I was in no way trying to be a leader, nor was I leading anyone that I could see. With more maturity and

setting examples for others.

At my core I am an introvert, however, as a professional artist I have had to learn to be comfortable speaking with individuals and groups about my art and life as an artist.

I tend to be a very focused, patient person, giving all of my attention to the task at hand. I feel like these traits have served me well in the sort of art that I do. As an artist I tend to like doing labor intensive, meticulously crafted work. I work long hours day after day, shifting my attention from the actual making of work to the business aspects of being an artist. Yet, though I realize the business side is just as

any work done even though it was a full 10 hour day of work. What else can I say about myself as an artist? I find I am continually striving to do better. I am my own harshest critic.

What was the reason to go for art and when did this happen?

I was eleven years old when I decided that I want to make career as an artist. I stubbornly stuck to this for many many years before actually making it a reality.

Why did I decide this and why I worked so hard to make it happen is something I don‘t think I can answer with full certainty.

I think there were many reasons. It

“I make my living from my work which to me is the best „award“ I could get.” perspective I think I now understand what that teacher was seeing. I was definitely not a follower! I think my behavior still fits this pattern in general, though I tend to be more conscious of the fact that I can be

important as being an artist to maintaining my art career, I seem to always disregard it as work. By this I mean that if I spend 8 hours doing business work and only 2 hours in the studio during a day I don‘t feel like I got

was the support and encouragement of a middle school art teacher that really started me on this path. Prior to this I was just an average student in all subjects. Whether I actually was or not at that point, this

teacher made me feel like I was exceptional at making art. I liked that feeling of being good at something, and getting recognized for it, so I pursued it more delving deeply into study of how to make successful works of art. An interesting thing happened as a result of this. As my artistic abilities grew through learning to see, focus my attention on, and understand my artistic subjects, all the other subjects in school became easy for me. Art was what kept me challenged, and keeps me challenged to this day! I don‘t seem to get bored with it. I think another major reason I chose to be an artist was that I had the notion that it would go well with my introverted nature.

I thought I would be able just to hide away in my studio making art, and have no need to interact with many people. That idea certainly turned out to be a farce! Still I do get a lot of time working alone, just me and the materials, which nicely balances out all the human interaction, which are required for being a professional artist.

What inspires you?

I derive a certain amount of inspiration from forms and patterns I see in nature. Mostly my inspiration these days comes out of the process of making.

Frequently watching 7

FROM THE GOLDEN HANDS OF…

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the way the metal moves and the forms that result inspires other ways to manipulate that movement or play off the resulting forms. In the process of hammering out a design I usually see multiple directions for a piece could go to what would be interesting. For that particular piece I have to make a decision and chose just one direction to pursue, but it provides inspiration to try out other directions on future pieces which then usually brings several more ideas to try.

I probably should write them all down so I don‘t forget any, but I don‘t, so I do forget many of them. However, I feel like the best ideas are the ones I keep coming back to, or find myself steered back to, and thus they don‘t get lost.

is really all that impressive. I haven‘t won any major awards or had much in the way of significant solo exhibitions or major projects. I make my living from my work which to me is the best „award“ I could get.

What are the most important facts from your art biography and the unforgettable moments in it?

Honestly I don‘t feel like there is much in my biography that

I had a solo show titled „Vessels of Imagination“ at the Frederik Meijer Gardens and Sculpture Park in 2006. It was my first museum show of any significance.

Probably the most significant things are that I have been shown at the SOFA / Sculpture Objects Functional Art + Design/ exhibitions for many years till now, represented by various galleries. Current it is the William Zimmer Gallery that is representing me at SOFA Chicago. They also represented me at Art Palm Beach this year, which is another major international exhibition. I often take place in many festivals and crafts meetings

What are your future plans in art?

This is a bit of a challenging question for me too. in the next year i plan to focus primarily on working in my studio, producing a larger amount of work and new designs to supply my current galleries, and hopefully be able to take on a couple more that have been on my waiting list for several years. i will also be working in preparation for a solo museum show planned for the spring of 2014. Through all this i expect that my artwork will continue to be focused on the vessel making i‘ve been doing for the past 10+ years. i‘ve made a name for myself with this work, and more importantly, i don‘t feel like i‘ve even begun to exhaust the design possibilities that excite me.

it is hard for me to make plans for the far away future. Mostly this is due to what i see as the highly unstable future of world economies, and the intimately linked issues of declining energy and material resources. it would appear to me that all of us as a human species is on the verge of, if not already in, a period of massive, disruptive transition away from the industrial fossil fuel age. The implications of it all are way too much to get into here, but it‘s not too hard for me to imagine thаt the current social - economic system may soon will be changed entirely. To this change i have been preparing, investing in resources now that will reduce my need for income in the future. The biggest example

of this recently has been the installation of an array of solar panels that provide all my electric power. i should also note that if our current human culture collapses as it seems to be doing, and indeed the math says it must do at some point, this also means that something new must arise. This would provide fertile ground for artists and creative types to work and envisioning and remaking a new culture. So while it‘s not quite a fully fledged plan for the future, i‘ve been keeping my eyes open for opportunities that might arise to utilize my artistic abilities to make shifts, however small, toward a positive new human culture that better fits the physical realities of our planet.

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In front of the lens of

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PHILIP V E I J D R PEYNE

In search of the perfect landscape

Philip Peynerdzhiev is not just another photographer, who decided to travel around the world. he is truly in love with the nature and with those unforgettable moments, which man experiences only thousands miles away from home, chasing his dreaming picture. Philip admits that the gray humdrum of everyday life often comes in more for him, and the salvation from it he finds only in traveling around the world, on which he invariably leaves away with his favorite photo backpack.

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IN FRONT OF THE LENS OF

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hat was your reason to start dealing with photography and when did this happen?

All started in 2002 when i bought my first digital camera with 2 Mpix resolution. My need to buy it was caused by the fact that i traveled a lot around Bulgaria and the film in my little analog camera had quickly ended. Since then i am a kind of subordinated to the digital technologies.

Who do you accept as your teacher in making photography and why? i was lit for it by some friends. i’ve learned from them a lot of useful things, many of which i’ve subsequently expanded on my own. i’ve regularly followed the photographic websites, making overviews to the blogs of the major landscape photographers and reading the magazines with that topic. There is no particular person, who i can determine as my teacher. Practically my „teachers“ were people just like me, for whom the shooting „outdoor“ is the highest form of pleasure.

Where you can find your personal inspiration? i am truly inspired by the beauty of nature and the right time of its shooting. The landscape photography does not allow any kind of mistakes and always has punished photographer for his wrong decisions. unlike the studio photography, here you can not make the same images till you get the 12

required results. in the real nature everything is developing very fast and every moment is unique. i‘ve always liked that kind of photography, in which i respect and think of the weather, while it doesn’t do it for me.

There is a special kind of challenge and thrill in it. i wake up at least an hour and a half before the sunrise. Often it means

around 4-5 o‘clock in the morning in order to have enough time for getting to the pre-selected and well-researched location of my shooting. i think i became half a weatherman – i watch the weather forecast till the last second before my going out, i observe constantly the movement of the clouds from the computer and the phone, and if there aren’t any

clouds i never leave. The best time for shooting is before or after a storm. it regularly happens to me to go many times to the same place, until i make several successful shots.

The chance to have two identical pictures from the same spot, made over a period of time between their shootings, is almost negligible, because there is always some difference, even it is too small to be seen, but in fact that is what makes the picture better or worse. But at least all is about the light and the luck.

What is the perfect landscape for you?

The perfect landscape perhaps is only in my imagination. i am very critical as all and there is always something that is bothering me to like entirely my own photos.

The light is very strong for me, or very weak; there are too many clouds, or there aren’t any; may be it is too windy or i haven’t the proper perspective….

There are always subjective factors, that challenge me, but this is inevitably good for me.

Which is the most unforgettable moment for you as a photographer? i‘ve had many special moments, but they always have been associated with some interesting aspects of the weather – a thunderstorm over Vesuvius, a sunset over the rocky coast of Formentor (in Mallorca island), а yellow light above the village kamen briag, the mists of Meteora (greece). Once i went to shoot at a place

but make great shots, and there are others, who had received various awards, but they were not among those, who mostly worth to have them. i’ve created my own shooting style, which i call „Attractive realism“, but for me the most important thing is to make good shots and to deliver myself a real pleasure while i’m shooting.

“For me the most important thing is to make good shots and to deliver myself a real pleasure while I’m shooting.” about 50 km away from Sofia and i was able to enjoy the full spectacle of the weather – a soft sunset light, followed by sudden thunders, the sky had painted in amazing colors and had obscured in clouds, a strong, heavy rain had poured out, and because of it the nearest water pool, to which i stood, had began to spill away a fearsome noise, a strong wind had started

to blow and waves had covered the water, shortly after that the rain suddenly had stopped, a warm wind had blown around and everything became so quiet just like nothing had happened before. For my surprise all this fits in no more than 40 minutes. i succeed to document all this beauty, and manage to keep the technique comparatively dry.

Tell us more about the most - important facts in your art biography, which you would like to be available for our readers? i took place in more than 15 exhibitions and photo contests, 2 of which won, but i do not accept them as something mandatory or very important. There are too many people around the world, who do not have any awards,

If you allow us to lift up the curtain, behind which you are hiding your future creative plans, what will we find there?

My plans are limited to the chance for me to keep shooting whenever i get an opportunity to do that, and surely to visit the most significant landscapes destinations around the world, among which are iceland and the Nature parks in the u.S.A.

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ART GUIDE

BURANO A colorful art piece in the heart of venetian lagoon Burano is the most colorful place in the world. it remains a great painting itself, with all these brightly painted houses and the unique variety of their colors. in geographical aspect Burano is an island in the Venetian lagoon, in the northern part of italy. But if we want to be more correct, we can call it archipelago of four islands, linked by bridges between them.

Near Burano you can find Torcellu, another colorful place in italy, but not so bright like Burano.

Some historians say 14

that the island was probably settled by the romans, and in the 6th century was occupied by the people, coming from Altino. if you ask someone in Burano, how it was named, no one can tell you for sure what was the true reason. There are two stories, which are attributed to how this beautiful town obtained its name. The firs version says that it was initially founded by the Buriana family, and they gave their family name of the town. The other version is, that the first settlers of Burano came from the small island

The iMPOrTANCe OF BurANO rOSe MOre ONly iN The 16Th CeNTury, WheN The WOMeN, liViNg There, BegAN TO MAke A BeAuTiFul lACe WiTh NeeDleS.

of Buranello, which is 8 km on the south. Soon the small island became a nice, thriving place, which was under the administration of Torcello, and even had none of the privileges, which the island of Murano has. The importance of Burano rose more only in the 16th century, when the women, living there, began to make a beautiful lace with needles. it was something incredible, and of course people find a way to present it on the market via ruled by Venetia island Cyprus.

LIECHTENSTEIN SWITZERLAND

AUSTRIA

TrentinoAlto Adige

Valle D’aosta

CRO Burano

Piedmont

FRANCE

Emilia-Romagna

Florence

San Marino

MONACO

Marche Umbria

Rome One of the stories in Burano says that in 1481 Leonardo da Vinci visited the island. He went to the small town of Lefkara. There he had purchased a big piece of lace for the оА A fine lace soon became the visiting card of that colorful place.

It was exported across the whole

Europe, but in the end of the 18th century the trade with lace began to decline and had no chance to revive until 1872, when was open a special school, dedicated to the knowledge of lacemaking. That caused a new booming of the craft, but today only few women

still make handmade lace in the traditional manner, because it takes too much time to make something delicate like the lace, and of course it makes the product more expensive, but it is a real pleasure to bye yourself a gift like this.

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ART GUIDE Burano is a kind of paradise for the artists and romantic photographers. You can hardly find such colorful place in the whole world.

The colors of the small houses follow their own specific system, which was established during the golden age of its development. If someone, who lives

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there, wishes to paint his home, he mandatory must send a request to the local authorities, who will respond him by making notice of the certain colours permitted for that purpose here.

Burano offers you some interesting places to visit. Except the blooming flowers

on every window and terrace, and the beads of laundry hanging between the houses, here you can visit the Church “San Martino”, with its leaning tower and the unforgettable painting of Giambattista Tiepolo, named “Crufixio”, which he had painted in 1727. Other interesting places to visit

here are the Oratorio di Santa Barbara, The Museum and the School of Lacemaking.

Burano is a place, which can’t be described only by words. It has to be seen, felt and experienced personally. That is the only way to make a space for it in your heart. And it will be forever.

ART MAKE UP photo: Stefan Vasilev

Nadya In the land of make-up

Nadia Sivkova is young, beautiful and very talented lady. Her fine fingers are involved in more than one glamorous photo shoot for some of the most famous Bulgarian photographers. She defines herself as “One - man Orchestra�. The sense of art seems to be gushing from her and is filling her whole being.

How long you are dealing professionally with make up?

Quite professionally since 3-4 years.

Did you complete any special training or it is just a matter of innate talent and sense?

Even as a child I felt a strong desire to „lop“ myself and for dismay to my mother I’ve turned this hobby into profession. I‘ve always been interested in it, then I’ve finished second specialty in school for make up, but I would say that all my skills and knowledge I owe to the practice and to my desire to experiment constantly.

The make up for you is work, or actually a fun?

It is a pleasure! Undoubtedly! Everyone else around me thinks so, me too, but, sometimes it is not the greatest pleasure when you make 10 – hour long photos shoots in Kremikovci at -10 C outside…

Do you remember the first professional model, which you make up? You may be still keep a cover or a picture, which you look at sometimes secretly or just you’ve hung it on the wall in the living room?

The first known woman, for whom I’ve made a make up was Julia Jurevitch, as I could remember. I remember I felt quite important at that time. Actually at home on the walls I have more pictures from the backstage, which had captured unforgettable moments and they are very precious to my heart.

When we talk about the artistic make up, everyone has his own ideas about it and his personal experience. The interesting is whether art make up is more difficult matter than aesthetics one?

Certainly it is not more difficult, just a different „section“ in make up. It depends on whether this comes to person from within, and whether he needs to create this type of make up. In order for someone to do that, he must have studied some kind of art and have to deal with it for a while. It needs creative imagination, free hand and courage.

How long time it would take you to make from a random woman an Egyptian princess?

Less than 50 minutes.

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ART MAKE UP And what about making her looks like Yeti?

It will take me about a week.... I do not know for sure ... I have not tried it yet, but when I try I will know it for sure!

Do you experiment with yourself when you are working on new concepts and ideas?

If I have a specific idea, yes. I am from those people, who if want something, they want it at the moment and it just has to happens. I am also experimenting with myself, trying new products and techniques, when I want to know more about them and gain some security in their use and implementation.

You have an obvious resemblance with the singer Lana Del Rey. The small professional secrets help you to underline it, or actually you run away from it?

I do not think I have

photo: Oliver Dobbin

photo: Atakan Uzun

photo: personal archive

a resemblance to Lana. I do not know why people say that.

However, Lana Del Rey is gorgeous and I take it as a compliment. Maybe they all have likened me with her because I love everything, that can be called retro and wear such clothes and make up. In the case every woman with make up in style of 70s, flowers in her hair and red lips would look like her. But I look like this even before she became popular and I like it much.

Strong or light is the make up you choose in your daily life?

That may be every kind of make up. It depends on my feeling at the moment. My opinion is that everyone should look as he feels inside. Someone from the great designers said that the biggest mistake of the women that they separate their wardrobe on the casual and the official part.

I think it is the same with the make up. If I wake up at 8 in the morning and I want to wear red lipstick - why not! ...

You’ve quoted a well known designer, in this line of thinking do you have a guru in the make up?

In fact I haven’t! I love the variety. I enjoy the work of many from my colleagues. I like Megan Martinez and from my Bulgarian colleagues I mostly appreciate the work of Slav.

There are trends in all areas of our life.

Are there any in the artistic make up?

Yes, for example the minimalism goes seriously even in the art make up, where in general the strength and the brightness of the colors are the way of creation.

What is typical for the minimalism as a style?

In this style of make up is highlighted the natural perfection of the face. It is characterized with fine transparency and softness.

Is there anyone, who you will make up with pleasure, but he still does not know that?

I do not think so. In fact I am the lucky one with all these gorgeous people, who pass through my hands, and who I manage to transform.

For you personally can the makeup be accepted as an art?

Surely it is an art.

Moreover this is a fine art.

photo: Zlatimir Arakliev jewellry: Milko Boyarov

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ART EVENTS

KINA

BAGOVSKA between the sacred and the erotic in the Art

Kina Bagovska is from those artists, who besides their dedication to the art are a wonderful example for a person with multiple interests, civil position and a different approach to the creation process and presentation of art to the audience. We ask for her a few minutes before the opening of her exhibition “Sacred and erotic”, which before the submitting to her Bulgarian fans was presented in front of the lovers of art in America. Shared emotion or sincere excitement – you can find it alone in her words!

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Which is the crossing point between the sacred and the erotic in the Art and especially in your creations?

The crossing point is the woman. For me she is the basic of everything. The ritual of life begins and ends with her, because she is the source of creation.

She is the keeper of the family. i owe much, if not all to my mother and, of course, to my sister, whose music is able to inspire me to create all these beautiful images But the most important thing is that the woman has superior

strong potential and positive energy. i do not want to be looked at the woman just as outer appearance, but to be felt and appreciated her content and potential, , because she is not just a simple sex symbol, in which many try to exchange her.

There is a big dose of mysticism in your exhibition. For you the mysticism and the deepness in the Art make it more sellable, or they are a measure for its high level?

According to my observations there isn’t any artist, who does

The music is a kind of inspiration for Kina

not rely on the mystical, when he is looking for the parallel symbolism. if we look at the classicists i immediately think of goya, the surrealist Salvador Dali and the last but not at least Picasso, with his magical recreation of the eternal struggle with evil forces. All of them undoubtedly rely on the mystique, which makes them popular and marketable, but that means they are valuable.

When did you discover in yourself a spark of creativity and the deep need to be an artist?

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ART EVENTS The truth is that in the moment i realized i can paint, i had started to paint and do not stop to develop this ability. i am mainly led by a deep urge to do things better, looking for the new and the different in the art, which i create.

What you had received as an inheritance from your Bulgarian roots, and what gives you a living in a cosmopolitan city like Chicago, where you live now?

Chicago is a city where many nationalities live together.

The most wonderful thing is that here is allowed each nation to manifest its culture and art, which is suggesting the superimposition of many different cultural layers. in this way inevitably the person enriches himself, expands his opportunities and his personal horizons, and this makes him truly cosmopolitan. it is much more wonderful to look at the things from the high point, than from the close one, because the things invariably distort when you look at them too closely. i always try to look from the more open horizon. This ability seems to be innate for me, according to the fact i was born in the rhodope Mountains and i love to climb mountains, and i love much climbing mountains, i love to watch the beautiful landscapes from a high place. i believe that what lies in me as family memory inevitably reflects in my work, enriched by the cosmopolitan reality in which i live.

Which are the nearest creative horizons that you are watching toward?

My goal is to create more of my art, which to paid rituals and aesthetics in our life and to find expression in a wider european and global level. i expect the events in Moscow and Paris.

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A woman is in the heart of Kina’s art

„I am mainly led by a deep urge to do things better“ Exclusively attractive and emotional is the presentation of your exhibition. How was born the idea for that kind of presentation?

The concept of integrated art is something, that I am dealing with from a long time. Most of my shows

are the integration of my artworks with music, with dance or poetry. Such concepts are strongly tolerated in America. I had the pleasure to be honored twice with an award from the American Council for the Arts in Illinois. They sponsored

two of my exhibitions – the first one was titled „The Legend of bread“, including ritual dances, and the second one - including musical paintings. I sincerely believe that this is the vision of direct and indirect transmission of messages and

ideas in our world, cluttered with all that information and technology.

If you have to define just in one word what is the Art for you, what would be that word?

The Art for me is a kind of meditation!

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CREATIVE REVELATIONS

Wenli Liu In a journey toward herself Wenli Liu is from those artists, who re – discovered the art sparkle in her soul after having other different professional experiences and being far away from creation. Born in Beijing / China/ she had felt her great passion for drawing, which started to reveal itself too early, but Wenli chose to receive her education in both Engineering and Graphic design. Later all of this knowing had found out its expression in the rigorous structure of her paintings.

Several years from her life Wenli dedicated to being a journalist in Beijing and Đ´, after that she became a graphic designer in San Francisco. Being an artist in spirit she had lived and traveled many places in Asia, America and Europe, gaining her personal experience and study of eastern and western culture and history. After many years of building up her own fundamentals and feeding up her passion for fine arts, she now resides in Dallas / Texas/ working full time as a painter, living happy in the world of art..

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hat turned your attention into the art after your journalist career and you dealing with graphic design? When did it happen?

Fine art had been my biggest love and passion since I was a child. But everyone knows it is not an easy or a practical choice for a personal career. You need a lot of patience and courage, or may be some money support, to allow yourself to do that. After being journalist for a few years and managed to save up some money, I decided that I need to let myself go into the art journey, otherwise, I may regret for it forever. So, in 1998, I quit my job and stepped on my road toward my art study.

What you accept as a gift from the country, in which you were born in the sphere of art and creation?

I was born in China and when I was a child, my world was gray.

It was the communist China from the 70th, I don‘t know if you can imagine how it was like.

The only art we had contact with was our art education

book and the propaganda signs, which we had seen everywhere around. So if you ask me what I accept as a gift from that time and place, I can say it is the lack of art and depression, which actually burst out in my natural eagerness for beauty and art.

What inspires you to create your art works and what is your brightest memory, connected with it?

Beauty of the people around me and the world I am living

in – that is what inspires me to create my art works, and mostly the beautiful women, I can say.

They almost are including me (as I call myself - LOL), and in this way somehow painting makes the world thriving, interesting, colorful and sophisticated for me. I surely can not say what is my greatest memory, connected with my paintings, but I think the most important thing is that I am a woman, who always looks deep inside herself, and is trying to

“Art is not what you see, but what you make others see.”

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CREATIVE REVELATIONS see the reflection of me and the world there.

Which are the hidden messages of your abstract works?

My abstract works are a kind of expression of the visual harmony. in the same time they are my interpretation of the nature’s beauty, that surrounds me. i don‘t hide any messages behind my abstracts, they are only reflection of my view and my sense of the modern age i am living in.

Every artist has his own secrets of making great art. What are your secrets, I mean what kind of materials you use for creating your works?

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For my work i mainly use acrylic and oils along with many other substances, providing texture and items. All these materials endow my paintings with meanings and memories. My paintings are always a process of exploration, thus i always try to put in them more than just one certain appearance or emotion.

A human face has a special place in your paintings. What kind of faces you like to paint?

Do you need to feel something more above the evident? i like to paint faces, which have some of my feature in them. i can’t call it self portrait, but i feel i need to put myself into the figures i make, so in this

way i can connect with them directly. i need to show that the woman in my art works is concerned, pondered, cooled, and with full selfconsciousness.

Do you have any particular affinity to one concrete work of yours and what caused these emotions in you? yes, i have a favorite one, and it is “The lady in Blue Dress”.

This work reminds me ever what i should paint and how i should paint it. it grabbed a lot from my inner spirit, but that is what makes me sure that i can express more and more only from one point of view.

What are your creative hopes, dreams and plans, connected with the future? i am planning just to paint more and more, because i truly believe the more i create, the more i will be close to my real personality. i don‘t have any concrete plans, but if i do sometimes, it is only for tomorrow, and it is just a hope that i will make a better painting than the one i’ve made today.

ART MUSEUM

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UFFIZI GALLERY

The Italian paradise of Renaissance masterpieces

if

the renaissance means to you beauty, abundance and splendor, here you will reinforce your feelings and perceptions about it. The uffizi gallery is one of the most famous museums in the world, which offers the rich amount of unique artworks and masterpieces, some of them conserved within its walls. The biggest part of them presents the renaissance period in Art. This brilliant masterpiece of architecture is located in the heart of Florence and hosts art works by some of the greatest italian artists such as Botticelli, giotto, Michelangelo, leonardo da Vinci, raffaello and many others. The unique collection includes works from all centuries, but a largest part of it is linked with the period between the 12th and 17th

centuries. The uffizi gallery together with the Vatican Museums in rome are the two most important places, that have to be visited, if you go to italy.

According to the story, the uffizi gallery wasn’t created as a museum. it was built in 1560 by the order of Cosimo i de’ Medici – a first grand Duke

of Tuscany. The reason for his order was to house all the administrative and judiciary offices of Florence at that time.

The name of the gallery in fact comes from the italian word “uffizi”, which means “offices”.

The magnificent u-shaped building, which we still admire today, was designed by the artist giorgio Vasari,

The magnificent U-shaped building, which we still admire today, was designed by the artist Giorgio Vasari 31

ART MUSEUM

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with the special order of Cosimo. The great architect also built something special for his patron – he made the secret Corridor that joins the uffizi to the other great Florentine places like Pitti Palace, Ponte Vecchio, the church of Santa Felicita and many other buildings on the way from the palace to the Boboli gardens. The building of uffizi was finished by another great artist, Bernardo Buontalenti, who had taken that important work after theVasari’s death in 1574. in 1581 begins the real story of the gallery.

Francesco i de’ Medici, the son of Cosimo and a new grand Duke of Tuscany, had arranged a gallery with statues and other precious objects on the last floor of the east wing of the uffizi. But the heart of the original museum was and still is the octagonal room, called Tribuna. That hall is one of the greatest works of Bernardo Buontalenti. Finished in 1584, it represents the four elements and is richly decorated with marvellous marble, different kinds of precious stones and shells. Almost every member of the Medicy dynasty had his own contribution in the enriching of that unique art collection.

The good tradition was interrupted in the 18th century, when the power of Medicy dynasty became a

history. The gallery was opened to public later, in 1769, by the grand Duke Peter leopold.

During the nineteenth century the uffizi became one of the most visited and popular museum in the world, and it is still the same today. The art collection of uffizi

gallery is displayed in more than 45 halls, spread out between the first and the second floors of the historical palace, that houses the museum in our days.

The recent future of the ufizzi is focused on the project for a new exit from the gallery, which is designed by

the well know architect Arata isozaki. What will happen at least no one knows for sure, bit the one thing is almost clear, and it is the fact that, when the tradition meets the modernity, it is the unquestionable sign of the fortune that all the changes are for good.

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ART FORUMS

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B

AAF /Basel Ancient Art Fair/ is celebrating its 10th edition this year. From the 8th to the 13th of November Basel will become the most important destination for the top dealers in classical, Egyptian and Near Eastern antiquities.

The meeting will be held in the genteel atmosphere of the Wenkenhof – an elegant baroque residence in Riehen on the outskirts of Basel.

BAAF is a kind of high level meeting because of the traditional quota of leading world specialists in the sphere, gained together under one roof. Even being the largest event of that kind, the level of the participants particularly turns BAAF into the most important fair of its kind in the world.

All the participants there are members of the International Association of Dealers in Ancient Art (IADAA).

May be that is the reason for all of them to follow a strict code

BAAF

Art pieces from different ages under one roof

of ethics, concerning the authenticity and provenance of the objects that they sell. This year will bring together in the Wenkenhof 18 participants from Germany, France, the Netherlands, Switzerland, England and the USA. The organizers of that great event have shown undoubtedly their dedication to the quality in all its aspects not only in the choosing the objects for the exhibition, but also in the choice of location for the event. The Reithalle Wenkenhof is a kind of architectural jewelry, which provides a suitable and very impressive backdrop to the antiquities, which are displayed around.

The rolling park in the

English style, which surrounds the building looks like a picture of autumnal russets and browns that invites you for a gentle stroll.

Think about it! May be this November is the ideal time for you to visit Basel and feel the magnificence of the ancient art?

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ART WITHOUT STANDARD

Kseniya Simonova The Lady of the Sand

T

his is no ordinary story! This is a story for a young lady and great amounts of love, strength, talent and sand. Kseniya Simonova was born on April 22nd, 1985 in

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Evpatoriya, a small city on the Crimean peninsula, in the South Ukraine. Kseniya was born and grew up with love, in a creative family, with an obvious affinity toward the art. Since her early childhood she had painted,

had drown, had designed and there was no doubt that she will enter the Volkoff’s Artistic School of Evpatoriya, one of the best schools in Ukraine, where she graduated from with the highest scores.

Being an artist by soul, kseniya has another great passion – the poetry and the literature. At school kseniya made a scientific research on english folk poetry, especially those from the 15-16 centuries.

After getting awards on this research, she made poetic translations of ukrainian folk songs into english. She translated also some poems from the masters — William

Shakespeare, robert Burns, george Byron and others into russian and ukrainian. in addition to it all kseniya made

the translation of the American hymns into russian and the ukrainian hymn into english, and receives a special Diploma 37

ART WITHOUT STANDARD

for all these works.

In 2002 she has made unexpected choice – she began to study Psychology and graduated four years later from the Taurida National University with Red Diploma and the best scores at course. During her study in the University, Kseniya entered Ukrainian Academy of Printing on the Graphics Department and graduated in 2008, proving her Diploma Project with a 6-month baby in her hands.

She got the highest scores in the Academy for her unique project «Chocolate» - a bilingual magazine which then became her own business project.

In 2007 Kseniya got married to Igor Paskaru, being a mother of their son Dmitry and a brilliant artist in the same time.

She worked hard some years, being a part of 38

a «Crimean Riviera» glossy magazine, drew and painted many art pieces, danced hip-hop twice a week in her beloved dance studio, went to a gym and took lessons on boxing and Russian fighting.

The most important thing is that she had lived for the art, it was her air. Kseniya sais, that if someone tights her hands she would probably draw with her legs. Since November 2007 Kseniya and her husband Igor Paskaru established a glossy magazine «Chocolate» which was edited in two languages — English and Russian. All materials there were original and specially made for this edition.

But in autumn 2008, during the crisis they had to freeze the magazine.

After that lost, Kseniya was yearning for something new and different, which to fill

with that emptiness, she had felt inside. The idea of making a sand performance came not to Kseniya, but to her husband. Firstly, Kseniya took some sand from the beach. But she understood soon that the sand was too uncomfortable for sand . Then she tried with a river sand, but it also did not fit. Igor spent many days sitting at the computer looking for the proper sand in the Internet and finally he found it. There was a group of geologists selling a special volcanic sand but it cost too much. Igor had to sell all the printing

equipment which was in the office of his magazine to buy only 3 kg of the sand. But it was the real beginning of the Sand Fairytale.

Kseniya began practicing drawing with sand, spending four to five hours a day in a small dark room in a house they’ve rented. It was a hard time for the young lady – she was a full

– time mother in the day, and at night she became a sand artist, creating magical scenes with that ordinary material. But to realize the essence of sand animation, which was based

in constant transformations the images, she had to rebuild her sight and start seeing all objects surrounding her in sand.

The insight finally came to her one night. After that long night the dawn came and the true inspiration entered her brain.

Kseniya felt like someone had opened a second sight in her eyes. In the dark spots she began to see new faces and stories.

Soon came the great success in «Ukraine’s got talent”, with her brilliant sand stories, many exhibitions, lots of new ideas, different kind of inspirations, many awards and charity acts.

But the greatest gift was the love of all the people around and the happiness of being a loving woman and mother. It was the story of the Sand Lady. Isn’t it like a dream come true?

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ART BOUTIQUE

“laboratorio

FEDERICI�

Frames, made with love and respect for the great art

What was the feeling when you became the leading person in Laboratorio Federici? What were you thinking for?

At first I thought it was a great oportunity to show my skills to myself and to all the others around. I was thinking how to give the workshop a new orientation, while trying to understand the big meaning of a globalized world. When I just start to run the workshop I already was in the air all that would came over our old world. I am talking about the 40

emerging countries of south Asia, which have actually almost changed the way of making market and business in the last 20 years. I thought I had to face their challenge and to try with new production with new materials and new ways of manufacturing. In fact I wanted to keep the same exclusive high quality of designing and framing, but with a lower cost, and all that was possible just with finding new ways of producing, more adaptable to our times.

Who was your teacher in the craft?

I had various teachers during my training. The very first of them was my father, who is a great Gilder and for my luck he still collaborates for the workshop. He had no secrets from me, and I have to say that was probably my first advantage to anybody else.

He gave me the oportunity to train myself in the huge space of the workshop since I was a kid, and when I carved my very first frame in the summer of 1983. One of the masters -

carvers in “laboratorio Federici” - Alberto Zaniboni, had tought me how to carve frame decorations on soft wood. The other very important teacher of mine was Ariano Zaniboni, the brother of Alberto. i actually spent much more time learning about carving with Ariano, becouse Alberto past away when i was 18. Those were my primary teachers but i had many others beside them, becouse i keep learning everyday from anybody, who knows anything about wood, carving or framing. So i think any craftman around is very usefull. even my collaborators do teach me more new

„Frames just were recorded in the history, trying to make some masterpieces staying alive forever, like the great paintings of the best old masters!“ and useful things every day, becouse i am very open to other opinions and to other way of proceeding.

i think is the one i framed for Sebastiano ricci. it is actually a group of paintings, united in one huge frame, which actually Which is the most became the roof in significant picture, for a hall of the Berlin which you made the Museum State frame? (gemaldegalere). even The most significant if it is not the most picture, for which important painter, i’ve made a frame, whose work i framed, it is significant to me with all that huge work i had to do for the сframe. you can imagine it, because i am talking about a carved, gilded and laquered frame of about 7 meters long and 3 meters wide, containing 7 artworks of Sebastiano ricci. i had carved it all by myself, day after day, seeing how meter by meter of carving coming out from a insignificant piece of

wood. The wood was getting an artistic shape and day after day on the floor of the workshop was really possible for me to build the huge frame, containing all these decorations. That was one of the best experiences in my working life!

Tell us more about the masterpieces, which were framed in your workshop since its establishing? i know from the stories of my teachers about frames, made for the works of raffaello, Caravaggio, Picasso and many other masters in painting.

What i remember clearly, is particularly a frame that we made for a Picasso painting, owned by a private japanese client. it was 41

ART BOUTIQUE a nice 17th century french frame, entirely carved and gilded with 23 K gold. Of course I remember the huge frame for the 7 tables of Sebastiano Ricci. I remember also a beautifull 17th century emilian frame, made for a painting of Raffaello. As some of the mentioned above painting are owned by private collectors of important persons, I can’t be

more precise, because the private clients are in this case kind of jealous. I remember many frames made for Salvator Rosa. The list of my memories is huge, but it is actually just a list of very important names, as I really can’t give much more details than this.

I can talk about the beautifull 18th century salvator rosa frames, made for few Matia Stomer’s works. These

last frames were made for the Gemaldegalere – Staten Museum of Berlin.

What means the frame for you and do you have a favourite model?

Frames for me mean my entire life! My way to express myself, my way to be alive in the real world of every day, where everyone try to survive and to live in his best

„I thank frames for giving me the oportunity to be what I have been and what I am!“

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way. I thank frames for giving me the oportunity to be what I have been and what I am! Without them I surly will be another person, maybe better than what I am now, but not the same.

Frames mean for me my special moment, in which I can be myself, creating and thinking!

They mean as well a kind of way, which helps me to overcome the majority of my

problems and to solve them.

Frames just were recorded in the history, trying to make some masterpieces staying alive forever, like the great paintings of the best old masters! My favorite frame model is the code 010 of my website, which is a 17th century emilian frame, very carved and very baroque. i like it because it is very difficult to make it and because it reminds me to for a great painting of raffaello, which i framed with it.

Do you have your own dream, connected with your work, and what is that dream?

My dream is to work in the future mostly for foreign companies all over the world in the field of antique interior design for different hotels, theaters and other places like these. recently i made 40 frames for a very luxury and exclusive florentine hotel built in antique style.

The frames were a part of the interior. i would like to be chosen for my skills in this kind of work from many companies all over the world and especially from companies, operating in emergent country like the Middle east countries and South east Asian countries. i really like the energy, the power and the great respect that comes out from this workshops, where people from everywhere cooperate to create a new and significant globalized world!

THE STORY IN BRIEF

*Federici Workshop was born in Bologna in 1905. Oreste Federici was the first owner of the Workshop. Federici was endowed with great ability in the practice of Decorative Frames Design and woodcarving. he devoted much of his life to the study of antique frames, designing and the observation of the original models found in most important italian art galleries.

Among the best works he made there are painting frames and mirror frames for the residence of the king Vittorio emanuele iii.

*After the death of Orestes Federici, in 1956, Alberto Zaniboni became the new owner of the Workshop. At that time Zaniboni was 50 years old. he was full of experience in the field of decorative design frame and woodcarving. Among the most important works he made there is a sixteenth century emilia frame for a raphael painting commissioned

by the British Museum of london in 1960.

Beside that there are three carved and gilded emilia frames for the historical Museum of Art in Vienna commissioned over 70th years of the 20th century. he also had produced many huge 18th century Venetian and emilian mirror frames for various noble families from all over italy.

*in 1982 was the time for Antonio gurrieri to be the new owner of Federici Workshop.

Antonio had specialized in carving and especially in the practice of gilding with sheets. he had got the commission for monumental gilding works, including the gilding of the ceiling of the „Pale de la Culture in Algiers“ in 1983, the huge decoration of the portal of the king hussein jordan residence in 1984, the furnishing decoration for the yacht belonging to the Sheikh of Brunei in 1991. The most prestigious work he got was to make a score of frames for such important painting as those of Batoni and Masolino right after the fall of the Berlin Wall. The frames were ordered by The National Museums in Berlin, whose specialists had

discovered some old master paintings, which were kept in the west side of the city. During 1990 to 2001 Antonio gurrieri framed more than 30 paintings for The Museums.

*in 1999 Massimiliano gurrieri gained the prestigious role of being the new owner of the Workshop. his father retired leaving the task to make the huge carved, gilt and lacquered frame containing seven paintings of Sebastaiano ricci for The National Museums in Berlin. Massimiliano made them brilliantly. in 2000 he framed a painting of Prospero Fontana for the same museum. in the same year he was commissioned by the Metropolitan Museum to make a frame for „il gonfalone“ painting of Artemisia gentileschi. in 2003 the Patriarch of Venice commissioned to him thirty Venetianstyle oval frames for some of his paintings. Since 1999 Massimiliano gurrieri is entirely committed with making frames for art galleries and private clients from cities all around the world. his main goal is the prosperity and development of Federici Workshop.

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ART MUSES

FRANCOISE GILOT

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The pearl in the palette of Picasso’s muses

hen we talk about the great art, we must be sure, that we have to talk about love, passion, pain and lots of broken hearts.

There are some unforgettable love stories, hidden behind the curtain of the splendor and the glory, that all admirers can see.

The love stories are the salt of 44

our lives, especially when in them are involved great artist like Picasso. Francoise gilot is from those women, who can’t be ordinary or grey. She was a young painter when she met Picasso in Paris.That strange meeting had happened when the artist was about sixty two years old and, but the young Francoise was just twenty one.

Picasso saw gilot for the first time in a restaurant in the

spring of 1943. At that time Picasso had a relationship with the yugoslavian photographer Dora Maar, who had documented many from the Picasso‘s paintings.

Dora Maar was devastated to learn that Picasso had left her because of his choice to be with the much younger artist Francoise gilot.The young lady had felt in love with the artist and soon she moved to live

with him. They spent together almost ten years. Picasso and Francoise never had married, but they had two nice children.

Claude and Paloma were the greatest creations in that love story. During these ten years Francoise and Picasso stayed close to one another. They worked together. Gilot was much more than just Picasso‘s lover - she was a mother, organizer, muse, conversation partner, hostess, artist, and an art critic. Eleven years after their separation, Francoise wrote in collaboration with the art critic Carlton Lake the book “Life with Picasso”. It was her essence of those extraordinary years, filled with many intimate and astonishing revelations about the greatest man in her life, his work as an artist, his thoughts and of course his close friends - Matisse, Braque, Gertrude Stein and Giacometti.

That unique story was sold in over than one million copies and was translated in dozens of languages. Picasso had made unsuccessful trying to stop

its publication, but when he failed with that, he cut all his links with Claude or Paloma and refused to see them ever again. When Francoise was substitute by Genevieve Laporte, she left Picasso. Later she married the American vaccine pioneer, Jonas Salk.

After the end of her love story with Picasso, Francoise came back to her paintings, then she was appointed as the Art Director of the scholarly journal „Virginia Woolf Quarterly”. In 1976 she became a member of the board in the Department of Fine Arts at the University of Southern California. From 1980s till 1990 she had designed a variety of costumes, stage sets and masks for many productions at the Guggenheim in New York. In 1990 she was awarded as a Chevalier de la Légion d’Honneur for being a great part of the Art in France.

Francoise Gilot is bright star in the sky of muses, but she never was in someone’s shadow, even when that was is a great Picasso.

Gilot was much more than just Picasso‘s lover - she was a mother, organizer, muse, conversation partner, hostess, artist, and an art critic.

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ART GALLERy

PhotograPher: PhiliP Peynerdjiev

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ART gallery

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Photographer: Philip Peynerdjiev

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ART gallery

DAVID HUANG

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DAVID HUANG

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ART gallery

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Artist: Wenli Liu

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ART gallery

Artist: Wenli Liu

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