in, side - throughout
BOSI CONTEMPORARY
in, side - throughout Aimée Burg, Tamar Ettun, Mónika Szi ládi Curated by Naomi Lev
BOSI Contemporary, New York September 17 - October 18, 2014
Writing by: Naomi Lev Photography : Installation views by A. Hoyer Design: BOSI Contemporary ISBN:
978-1-312-54678-3
Contents 7
TOYS AND OTHER VITAL PLEASURES
Naomi Lev
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EXHIBITED WORKS
25 39 57
Aimée Burg Tamar Ettun Mónika Sziládi
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ARTIST BIOGRAPHIES
75
CONTRIBUTOR
Naomi Lev
TOYS AND OTHER VITAL PLEASURES “And object awakens our love just because it seems to be the bearer of powers that are greater than itself.” Jean Bazaine, Notes sur la peinture d’ aujourd’hui, Paris 1953.
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Object-human relationships can be perceived in many different ways. The object can become humanized and fetishized and the human, on the other hand, can be objectified. In this show, Aimée Burg, Tamar Ettun, and Mónika Sziládi bring their own take on the interdependencies between bodies, minds, and the objects surrounding them. The title “in, side – throughout” expresses the various interactions we have with objects – how we correspond with them and react to them. Burg presents a fantastic world where the notions of past and future collide. In her installation “Home,” 2014, she observes repetitive actions in daily circumstances, charging them with ritual significance. Her interpretation of these actions is manifested through sculptural objects that refer to ancient tribal traditions, and take on the quality of artifact. In Sziládi’s photographic collages there is an ongoing investigation of our intricate psychological exchanges with various objects. In her current assemblage of works, the objects are fetishized and bring in elements from ritualistic gatherings as well as ancient symbolism, while examining the human subconscious, our means of communications, and our complex relationships with one another. Ettun’s sculptures combine casted body parts with everyday objects and tools such as T-shirts, plastic buckets, and vinyl gloves. Ettun’s past works have dealt mainly with a formal interpretation of rituals. This particular series of sculptures seems to carry a further physical approach, while her performances find a metaphor for human relations in embracing repetition and structure through movement and dance, as well as through physical rapport. The combination of the works in the show explores the different interactions we have with the various objects with respect to religious, ceremonial, and psychological dependencies. They range from the very physical through mental and emotional experiences, to spiritual attributes.
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Ritual and Play “Widely assumed to constitute actions that lie outside the rational thought or technological necessity, ritual actions generally are associated with the realm of prescriptive belief.”1
Installation view, Aimée Burg, “Home”, 2014, BOSI Contemporary
Aimée Burg incorporates repetitive and meditative tasks by employing objects from everyday life. In “Home” Burg is inspired by mundane objects utilized in our household and with our family and friends. She recreates these elements to resemble archeological artifacts that preserve ancient ceremonial events. The installation’s dynamic presence plays with the notion of “time” by bringing a non-linear past into a sci-fi-like future.
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Burg works intuitively and enigmatically and has created an imaginative world, where she developed her own sign language. A language that is infused with play and is inspired by games she used to play with her siblings in nature. She emphasizes her passion for objects that were meaningful to her while growing up: “I want to share these moments of importance and pass on my excitement of objects onto my son. This is much like how a tomb works – forces things to stand the test of time and go onto a new life.”2 Platform, 2014, is made of wood and serves as a tomb or a resting place. The tomb here acts as the centerpiece of the installation consisting of both life and death. Surrounding it are various artifacts which are combined to create a tribal-like atmosphere. Pieces like Sticks and Jars, 2014, are in Burg’s language “fortune sticks,” or Silver Phallus Fertility, 2014, which refers to ancient fertility deities. Her thoughtful investigation of these objects links what we use in our everyday to what was once used for religious and superstitious ceremonies. In his book Stanzas: Word and Phantasm in Western Culture, philosopher Giorgio Agamben addresses the ancient use of “toys” in the context of rituals and death: “Things that to us appear as toys were originally objects of such seriousness that they were placed in the tomb to accompany the deceased during the otherworldly sojourn.”3 Burg here combines the old with the new to reflect on the notion of time. In Gravity and Grace Simone Weil writes, “The spirituality of work. Work makes us experience in the most exhausting manner the phenomenon of finality rebounding like a ball; to work in order to eat, to eat in order to work. If we regard one of the two as an end, or the one and the other taken separately, we are lost. Only the cycle contains the truth.”4 In the eight-minute video Untitled (Divination in the Woods), 2014, Burg plays with her son in a forest in Maine. Their outfits as well as the objects they interact with imitate daily household repetitive tasks. The video resembles an educational history-video that illustrates past traditions and archaic cultures. In this installation, daily life is created by rituals, and rituals are
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created by daily life. The objects become an extension of our bodies, minds, and beliefs. By combining the vitality of life, the cycle of death, and the joy of play, Burg emphasizes our core dependency on physical objects. The notion of the cycle, of the round object, is accentuated in the video. This roundness symbolizes completion. Psychoanalyst Carl G. Jung explains: “The ritual has a sorrow about it that is also a kind of joy, an inward acknowledgment that death also leads to a new life.”5 Burg’s installation encompasses the mundane by the craftiness of the objects; it encompasses the metaphoric and the sublime by referring to the ongoing cycle of life-death.
Installation detail, Aimée Burg, Wedge, 2014, BOSI Contemporary
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The sum of its parts Giorgio Agamben writes: The question “where is the thing?” is inseparable from the question “where is the human?” Like the fetish, like the toy, things are not properly anywhere, because their place is found on this side of objects and beyond the human in a zone that is no longer objective or subjective, neither personal nor impersonal, neither material nor immaterial, but where we find ourselves suddenly facing these apparently so simple unknowns: the human, the thing.6
Installation view, Tamar Ettun, 2014, BOSI Contemporary
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Tamar Ettun’s sculptures, videos, and performances derive from traditional ceremonial systems combined with postmodern dance gestures, and contemporary cultural references. In her artist’s statement she writes: “I use the system of Jewish religious rituals and transform them into a set of made-up rules, such as walking from Jerusalem to Tel Aviv in the opposite direction of a pilgrimage.”7 The works presented in this show are comprised of sculptures, a video, and photographs that reflect an ongoing process and which trace the correspondence between objects and bodies, as well as sculptures and movement. As she often states, in her works the body becomes sculptural, and the objects, performative. Here, the body, as the object, is always partial: a hand, a neck, shoulders, a back. The sculptures attempt to trace poses as well as emotions. Utilizing one of her performers, Tina Wang from “The Moving Company,” Ettun creates an extension of her own figure by casting parts of the dancer’s body. Combining these casts with found materials creates a new set of unique objects that question the differentiation between the human and the non-human.
Installation view, Tamar Ettun, 2014, BOSI Contemporary
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Performance documentation, “Tamar Ettun and The Moving Company” (Performers: Gabriel DeLeon and Anna Martinez), and Installation view, Mónika Sziládi, 2014, BOSI Contemporary
These newly made forms are simultaneously expressive and neutral. While the body parts tend to be humanized and seem emotional, the manufactured objects appear detached. The combination of the handmade casts and the machine-made objects accentuates the contradiction and enhances the differences. Ettun separates the plastic objects from their original surrounding and tears the body apart from its complete form to create gestures and movement. Simultaneously, there is a colorfulness to the plastic that ignites light, and a purity to the body which suggests its organic essence. Ettun also discusses the feeling of empathy through neuron-mirroring, a state which occurs when one body responds physically to another body (as in yawning). Here, the objects react to the body and become a fragment and an extension of it.
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The religious is often considered to be present in the unknown. The secular lays in the physical form and in earthly activities. Ettun’s physicality of things is offered through partial and unfinished states. The “unfinished” is always a “lack of,” a missing part or a defect. Agamben writes: “Schlegel, to whom we owe the prophetic affirmation that ‘many works of the ancients have become fragments, and many works of the moderns are fragments at their birth,’ thought, as did Novalis, that every finite work was necessarily subject to a limit that only the fragment could transcend.”8 The movement from the religious to the mundane is a transformation that touches on the philosophical question of perfection and the sublime. Giorgio Vasari refers to the Virgin in the Medici Chapel: “[A]lthough its parts are not finished, one recognizes...in the imperfection of the sketch the perfection of the work.”9 The completed hybrid then, surpasses the sum of its broken parts.
Installation view, Tamar Ettun, 2014, BOSI Contemporary
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Left to our own devices Philosopher Maurice Merleau-Ponty suggests that “Our body both makes us subjects and makes us objects for others. ‘Saying that I have a body is thus a way of saying that I can be seen as an object and that I try to be seen as a subject’.”10 Through a photographic process Mónika Sziládi creates unique digital collages that are constructed from scenes she shoots at networking events, conventions, and meet-ups of various subcultures that engage through social networks. The photographs capture what appear to be “private moments” in public spaces. This plays as a metaphor for the way digital and wireless technology merges, collapses, and transforms our traditional sense of the public and the private. As the borders disintegrate, the photographs simultaneously produce violence, humor, awkwardness, liberation, and suffocation. Sziládi utilizes digital tools to replicate and enhance the unsettling sense of exposure in the increasingly virtual world we currently live in. In her most recent assemblage of works titled “Left to Our Own Devices,” Sziládi enhances moments of the complex physical and psychological exchange we develop with garments, architecture, technological devices, or other people we surround ourselves with. She points at some of our unconscious desires and fantasies as well as our contemporary habits and the objects’ complex symbolism through our everyday use. The group of works can be divided into two: on the one hand there are single figures that engage disturbingly with an object, and on the other hand there are groups of people whose interactions seem dramatic and charged. The latter involve the use of various mundane objects that affect and change the communication abilities in the group. All the characters, whether solo in a frame or with others, have something in common – they are all in bizarre situations that reflect subliminal or unconscious
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psychological exchanges. Furthermore, all of the characters are faceless. Sziládi’s formalistic choice to mask or screen the characters’ identity suggests an anonymity that is metaphoric to our own disposability, particularly as it is intensified by social situations and/or disrupted by technology. Despite the fact that the photos are provocative and shot in the presence of many others in these social gatherings, they have a very unique sense of intimacy that derives from the photographed risk of exposure. Not only is the exposure on a physical level, but also in bearing soulful desires and fantasies, obsessions, and weaknesses. These images provoke adventurous voyeurism and a forbidden curiosity, a mirror into a world that we create through our multi-layered persona implying both narcissistic and abusive behaviors, as well as compassion and pain. Freud’s definition of “Fetishism” is of course relevant here; the female’s “missing” penis and the son’s fear of castration. The objects here play a significant role in defining the characteristics of the persons in the photographs, and provide hints and symbols that reflect on this idea of Freudian castration, frustration, fear, and dependency. Moreover, there is a sense of different degrees of violence in all of the works. Is the artist proposing a reflection of contemporary society, or is she suggesting a larger metaphor for human existence? I believe it is the latter with an elevated degree of humor and self-awareness. In “Fetishism” author William Pietz defines the fetishist as “the exemplary pervert because he fixes on the most degradingly inappropriate object of love: an impersonal object or a depersonalized quality.”11 The objects presented in these photographs are mundane and banal: a mobile phone, a laptop, a microphone, a breast pump, a necktie, a balloon, a camera, and a toy gun. The dependency we have towards these objects is both a promise and a trap. The promise lies in the benefits we gain from the objects, and the traps of course, vary. In Untitled (Necktie), 2011, for example, the situation can be symbolic of a feminist reading that revolves
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Installation view, Mónika Sziládi and Tamar Ettun, 2014, BOSI Contemporary
around castration, and simultaneously as a liberating notion – freeing someone from a tie or bondage; Untitled (Bubble), 2014, can be implied as a metaphor for a communication breakdown that can also be perceived as a playful or humorous situation.
There is a thin line between fiction and reality in these photographs which appears in the performative nature of the photographs, and the characters in them. While six of the works were digitally-montaged by Sziládi to create these peculiar scenes, the other four are straightforward shots (the latter includes: Untitled [Pump], 2012, Untitled [Harness], 2012, Untitled [Necktie], 2011, and Untitled [Five Stars], 2011). The circumstances and the figures’ body languages stimulate further interpretation. Although static, the characters and scenes are performative and dramatic. This performative aspect and the use of the body as a tool to express is seen in Sziládi’s works as sculptural manifestations. Meaning that the figures are performing their desired role while Sziládi captures them as works of art; as sculptural forms in static positions physically transforming them into objects.
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Installation views, Mónika Sziládi, “Left to Our Own Devices”, 2014, BOSI Contemporary
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Notes 1. Suzanne Preston Blier, “Ritual,” in Critical Terms for Art History, Second Edition, ed. Robert S. Nelson and Richard Shiff (Chicago: University of Chicago Press, 2003), 299. 2. Aimee Burg, e-mail message to author, August, 2014. 3. Giorgio Agamben, Stanzas: Word and Phantasm in Western Culture (Minneapolis: University of Minnesota Press, 1993), 58. 4. Simone Weil, Gravity and Grace (New York: Putnam,1952), 179-180. 5. C. G. Jung, Marie-Luise von Franz, et al., Man and His Symbols (Garden City, NY: Doubleday, 1964), 122. 6. Giorgio Agamben, Stanzas: Word and Phantasm in Western Culture (Minneapolis: University of Minnesota Press, 1993), 59. 7. Tamar Ettun, Artist Statement, http://www.tamarettun.com/index.php?/statement/. 8. Giorgio Agamben, Stanzas: Word and Phantasm in Western Culture (Minneapolis: University of Minnesota Press, 1993), 32. 9. Giorgio Agamben, Stanzas: Word and Phantasm in Western Culture (Minneapolis: University of Minnesota Press, 1993), 34. 10. Maurice Merleau-Ponty, Phenomenology of Perception, Translated by Colin Smith (New York: Humanities Press, 1962). Quoted in “Body,” in Critical Terms for Art History, Second Edition, by Amelia Jones, ed. Robert S. Nelson and Richard Shiff (Chicago: University of Chicago Press, 2003), 260. 11. William Pietz, “Fetishism,” in Critical Terms for Art History, Second Edition, ed. by Robert S. Nelson and Richard Shiff (Chicago: University of Chicago Press, 2003), 313-314.
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EXHIBITED WORKS
23
AimĂŠe Burg
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HOME (INSTALLATION) 2014 mixed media dimensions variable
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HOME (DETAIL) 2014 mixed media dimensions variable
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RAINBOW WITH TREASURE 2014
paper, insulation foam, wood, mylar, wire 18 x 36 x 4 in
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WHITE BOWLS WITH BALLS 2014
paper machĂŠ, polymer clay, paint, seashells 9 x 23 x 23 in
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WEDGE 2014
wood, homasote 56 x 5 x 12 in
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AQUADUCT 2014
wood, gold leaf, white paint 4 1/2 x 41 x 3 1/3 in
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STEP LADDERS 2014 wood 72 x 8 x 5 in
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BRICKS STACKED 2014 plaster 9 1/2 x 13 x 13 in
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BIG PINK 2013
metallic acrylic paint on paper 35 x 35 in dimensions variable
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UNTITLED (DIVINATION IN THE WOODS) 2014 video 7:58 min
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DRAWINGS 2013 - 2014
mixed media dimensions variable
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SKY 2014
video 3:14 min
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Tamar Ettun
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BODY SIDE WITH A PIECE OF TAXI 2014 mixed media 36 x 12 x 5 in
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RED SHIRT WITH A RED GLOVE AND A WINE BOTTLE 2014 mixed media 31 x 14 x 18 in
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ORANGE ARM 2014 mixed media 20 x 8 x 7 in
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WHITE TORSO HIDING WITH YELLOW GLOVES 2014 mixed media 33 x 18 x 9 in
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BLUE GLOVE WITH A TOWER 2014 mixed media 80 x 11 x 11 in
ARM WITH ORANGE GLOVE 2014 mixed media 30 x 10 x 10 in
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FACE WITH SAXOPHONE CLEANERS AND FIREFIGHTERS LAMP 2014 mixed media 49 x 17 x 15 in
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CUT CELLO WITH A HAND AN A TOWER 2014 mixed media 28 x 13 x 5 in
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WHITE ARM AND RED GAS TANK WITH GREEN FINGERS 2014 mixed media 36 x 10 x 10 in
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BODY SIDE WITH YELLOW PAINT CAN 2014 mixed media 14 x 10 x 10 in
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PINK HAND ON CELLO WITH YELLOW 2014 mixed media 24 x 18 x 16 in
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BOOBS ON RED SHIRT 2014 mixed media 26 x 14 x 14 in
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YELLOW AND A CIRCLE ON TURQUOISE 2014 aluminum print 20 x 20 in
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OBJECTS ON RED AND TURQUOISE WITH HAND 2014 aluminum print 20 x 20 in
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PLASTER GLOVES 2014 plaster dimensions variable
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FEEDBACK 2010 video 3:53 min
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M贸nika Szil谩di
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UNTITLED (INTERFERENCE) 2013 / 2014 archival inkjet print 36 x 29 1/4 in
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UNTITLED (GUNS AND GIRLS) 2010 / 2014 archival inkjet print 20 x 25 2/3 in
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UNTITLED (BUBBLE) 2014 archival inkjet print 24 x 31 1/2 in
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UNTITLED (LAPTOP) 2011 archival inkjet print 20 x 34 in
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UNTITLED (MIC) 2014 archival inkjet print 28 x 36 1/4 in
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UNTITLED (PUMP) 2012 archival inkjet print 12 x 15 2/3 in
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UNTITLED (HARNESS) 2014 archival inkjet print 20 x 25 in
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UNTITLED (NECKTIE) 2011 archival inkjet print 16 x 19 3/4 in
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UNTITLED (FIVE STARS) 2011 archival inkjet print 12 x 10 1/2 in
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UNTITLED (RIBS) 2009 archival inkjet print 20 x 36 in
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ARTIST BIOGRAPHIES Aimée Burg Aimée Burg (b. Providence, RI) holds an MFA in sculpture from Yale School of Art (2010) and a BFA in sculpture from Pratt Institute (2005). She attended the residency at Vermont Studio Center in 2008 and was a 2011/2012 fellow at AIR Gallery in Brooklyn. She has been awarded the George R. Bunker Award (2010), the Emma B. Bernstein Award (2011), and the Paddy Johnson Award (2014). Her solo show, vault (2012) was at AIR Gallery, Brooklyn. Other exhibits include D.U.M.B.O. Arts Festival, Brooklyn (2005); Landscape, Puerto Rico (2007); Hocus Pocus, Curious Matter, Jersey City (2008); MFA/USA, Tel Aviv (2010); Exploded Views, John Slade Ely House for Contemporary Art, New Haven (2012); Detours of the Possible, AIR Gallery, Brooklyn & Les Territoires, Montréal (2013). She is currently currating at Art Lot, Brooklyn and splits her time between New Haven, CT and NYC.
Tamar Ettun Tamar Ettun (b. Jerusalem, Israel) received her MFA from Yale University in 2010 where she was awarded the Alice English Kimball Fellowship. Ettun studied at Cooper Union in 2007, while earning her BFA from Bezalel Academy, where she graduated with honors. Ettun’s solo exhibition and performances include: NADA NYC with Artis (2014) One and One, One and Two, One and Three, One and Four, at Braverman Gallery, Tel Aviv (2014) The Lion Who Liked Strawberries, PS3 Studio, The Cosmopolitan of Las Vegas commissioned by Art Production Fund (2013), One Thing Leads To Another, Indianapolis Museum of Art (2013), and Performa 11 presented by RECESS (2011), One Thing Leads To Another: Part 2, Andrea Meislin Gallery (2012) Empty Is Also, in collaboration with Emily Coates for Performa 09 presented by the X-Initiative (2009). Group exhibitions and performances include: LaMAMa Galleria (2014), Kunsthalle Galapagos (2014), Van Allen Institute for PERFORMA 13 (2013), Abrons Art Center
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(2013), Socrates Sculpture Park (2013, 2012), apexart (2012) Contemporary Jewish Museum SF (2012), Herzelia Biennial ARTTLV (2011), Boston University Gallery (2011), RH Gallery (2011, 2012), The Queens Museum (2010), Williamsburg Art Historical Center (2010), Center of Contemporary Art Tel Aviv (2009), The Jewish Museum NYC (2009), among others. Ettun has been honored by several organizations including MacDowell Fellowship, Abron’s Art Center, The Lower Manhattan Cultural Council, Art Production Fund, Socrates Sculpture Park, America Israel Cultural Foundation, The World Performance Project, Artis, Yale School of Art, RECESS, and Triangle Workshop Residency. Selected publications include: The New York Times, New York Magazine, The Observer GalleristNY, Artforum video, Time Out NYC, Art Radar Journal. Ettun currently lives and works in Brooklyn.
Mónika Sziládi Mónika Sziládi (b. Budapest, Hungary) holds an MFA in Photography from Yale (2010) and a Maitrise in Art History and Archaeology from Sorbonne, Paris (1997). She is currently at LMCC’s 2014–2015 Workspace Residency program. She was a 2013 resident at the La Napoule Art Foundation in France, a 2012-2013 resident at Smack Mellon, and in 2008 she received the Gesso Foundation Fellowship to attend Skowhegan. She is a winner of The Philadelphia Museum of Art Photography Competition (2010), a recipient of the Alice Kimball English Traveling Fellowship (2010), a Juror’s Pick by Julie Saul and Alec Soth, Work-in-Progress Prize, Daylight/CDS Photo Awards (2010) and the recipient of Humble Arts’ Fall 2012 New Photography Grant. Selected exhibitions include Point of Purchase, DUMBO Arts Center, NYC (2006); Lost and Found, Staatliche Kunsthalle, Baden-Baden, Germany (2007); Market Forces, Carriage Trade Gallery, NYC and Galerie Erna Hecey, Brussels (2009); US Featured Exhibition, Flash Forward Festival, Toronto (2010); 31 Women in Art Photography, Hasted Kraeutler, NYC. (2012); Ready for My Close-up, Hagedorn Foundation Gallery, Atlanta, GA (2013); Wide Receivers & Tight Ends, Smack Mellon, NYC (2014). Her work is in the permanent collection of the Philadelphia Museum of Art. She lives and works in New York.
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CONTRIBUTOR Naomi Lev Naomi Lev is a curator and critic who lives and works in New York. She specializes in collaborative art events that connect artists, curators, scholars, and architects from around the globe. In January 2013, she initiated and curated a conversation and performance with artist Jonathan Meese at the Tel Aviv Museum of Art, hosted by the Bezalel Academy MFA program in Tel Aviv. In 2011, she initiated and artistically directed the arrival of Vito Acconci to Israel for a series of talks and panel discussions about art and architecture. Lev worked as Assistant Curator, locum for the Executive Curator, at MoBY-Museums of Bat Yam, a socially engaged institution during 2011, there she concentrated on research and development of future exhibitions and public programs. From 2008 to 2011, Lev managed Florentin 45 Contemporary Art space in Tel Aviv, where she curated and produced exhibitions that focused on Israeli contemporary art. During 2013-2014 Lev hosted a series of talks with contemporary artists at ICI, Independent Curators International, which is now being transcribed and published in BOMB Magazine. Lev is currently a Regional Editor for Creative Time Reports and is a contributing writer for ARTFORUM.com. She is also a regular contributor to international magazines and blogs such as Art in America and Artcritical.com. She has written exhibition texts for numerous artists such as Tamar Ettun, Dov Talpaz, Dror Karta, and Noa Charuvi for their solo gallery shows in Tel Aviv and in New York. Her curated two part exhibition titled “Preliminary Study: RSI – T”, was featured at Slag Gallery in Brooklyn and at the Muskegon Museum of Art. She holds a BFA in Fine Arts from the Bezalel Academy of Art & Design in Jerusalem, and an MFA in Art Criticism and Writing from the School of Visual Arts in NYC.
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BOSI Contemporary specializes in Contemporary and Post-War art as well as primary and secondary market work. It focuses on creating a space that will nurture a creative discourse between different facets of art and contemporary culture. International in scope, the gallery exhibits and communicates the work of both emerging and established artists, selected for their unique aesthetic language and fascinating vision. Our objective is to present an ambitious annual program that comprises at least six exhibitions, accompanied by publications and catalogues, an annual museum-quality exhibition devoted to a historic or established artist, as well as partnerships which reinforce the influence of art on contemporary culture. Our central concern is to showcase, through our roster of artists as well as exhibitions, how international artists relate to one another at the root of their discipline through visual narratives amid various mediums and techniques. The gallery’s approximate 2,000 sq. ft. location at 48 Orchard Street (between Grand and Hester) in the heart of Lower East Side allows the gallery to be a dynamic space for artists as well as a venue for contemporary culture within our community.
Published by BOSI Contemporary on the occasion of the exhibition in, side - throughout on view from September 17 to October 18, 2014
BOSI CONTEMPORARY
BOSI Contemporary 48 Orchard Street New York, NY 10002 www.bosicontemporary.com
Copyright © 2014 BOSI Contemporary. All rights reserved. Text Copyright © 2014 BOSI Contemporary. Every effort has been made to contact copyright holders prior to publication. The publisher apologizes for any errors and omissions and welcomes corrections for future issues of this publications.
BOSI CONTEMPORARY
www.bosicontemporary.com 48 OrchardStreet New York, NY 10002 in, side - throughout 2014