ffgtggggggg

Page 1

Art

!"#

A Cuban Revolution Ű By: Tiffany Joy Swenson

C

uban Art has been increasing in value over the past decades. In the following article, ALI speaks with both Cuban-born artist Jake Fernandez as well as Jorge Moya, Curator at the Cuba Art NY foundation. Both parties give their take on why Cuban Art seems to have such alluring investment potential.

Jake Fernandez was born in Havana, Cuba in 1951. His parents, a lawyer and a schoolteacher, settled the family in the town of Consolación del Sur about 120 kilometers west of Havana. Due to the rigors of his family’s political activities—his grandfather was the senator of Pinar del Río in 1928, and his father was the mayor—he shuttled between Havana and the town of Consolación del Sur during his early childhood. It was 1957 and Fernandez was merely six years old when three factors sparked his decision to become an artist. Growing up on Calle Maceo, just a few houses down from the worldrenowned musician Willy Chirino, Fernandez snuck a peek a charcoal drawing Willy had sketched. It was a portrait of Pope Pius XXII. Both mesmerized and challenged by the work, Fernandez decided to try his own hand at drawing. He discovered that he indeed had some facility for the craft. Soon after, FerQDQGH] KHDUG KLV ¿UVW (QJOLVK ZRUGV RQ WKH UDGLR LQ %LOO +DOOH\¶V “Rock Around the Clock.” Finally, he saw a grainy picture of Elvis Presley in a Cuban magazine called “Bohemia.” Fernandez was taken by the artistry, the mastery and the imagery. All WKUHH LQÀXHQFHV FRQVSLUHG WR VHDO KLV IDWH Fernandez left Havana in 1960 under the assumption that the move would be temporary and that his family would be able to return once the political upheaval settled. This was never to be, and at nine years old he had relocated permanently to

40

Carlos Estevez 2010 prices range from 10,000 to 30,000 2005 prices ranged from 3,000 to 10,000 Inner time, 2009

Art

Carlos Rodriguez Cardenas 2010 prices range from 10,000. to 35,000. 2005 ranged from 5,000. to 20,000. La Llave de NY

JosĂŠ Bedia 2010 prices range from 30,000. to 50,000. 2005 ranged from 15,000. to 20,000. En La Sierra Quien Me Encuentra

2ÂżOO +HFKDYDUULD 2010 prices range from 8,000. to 16,000. 2005 ranged from 2,500. to 5,000. Miracle Mile

41

Art

Gustavo Acosta 2010 prices range from 15,000. to 35,000. 2005 ranged from 10,000. to 20,000. The Big Secret

Arturo Rodriguez 2010 prices range from 25,000. to 40,000. 2005 ranged from 18,000. to 25,000. Departures xxI

Jake Fernandez Title: Timpson Creek II oil on linen over wood panel. 34� x 64� $35,000.00

42

Art Miami, Florida. He began his studies under Felix Ramos, son of Domingo Ramos, a well-known Cuban landscape painter. His emphasis on drawing and disciplined approach to painting FRQWLQXHV WR EH D VWURQJ LQÀXHQFH RQ )HUQDQGH] WR WKLV GD\ The University of Florida in Gainesville was his next destination, ZKHUH KH JUDGXDWHG IURP WKH ¿QH DUWV GHSDUWPHQW DQG WUDQVferred to the University of South Florida where he completed his master’s degree. After a year of self-imposed isolation in the outskirts of the Ocala Forest in Florida, Fernandez re-located to New York City where most of his maturing as an artist took place. +H ¿UVW VKRZHG KLV ZRUN LQ )ORULGD DQG WKH 6RXWKHDVWHUQ 8QLWHG 6WDWHV +H KDG KLV ¿UVW H[KLELWLRQ LQ 1HZ York City at the Robert Friedus Gallery in SoHo in 1980. Fernandez has since enjoyed a steady climb in his career that has allowed him to develop his art on a full-time basis for the past 25 years. Fernandez’s body of work has steadily risen in value over last 30 years. A pastel that sold for $350 in 1980 currently sells for $30,000. A painting that sold in 1980 for $700 goes for $70,000 today. Fernandez’s work has never been aggressively marketed, however he has a waiting list of over a year for commissioned work. He has also enjoyed exhibitions in galleries such as ACA Galleries, Peter Marcelle Contemporary - NYC, Westwood Gallery - NYC, Gallery Gemini - Palm Beach Florida and Hammer Galleries - NYC. Fernandez’s work has also been purchased by institutions, including major corporations such as American Express, PepsiCo and IBM, and government agencies such as Florida State House of Representatives and the Florida Senate.

the proceeds are split 50/50 with the artists. Cuba Art NY has had the prestige of working with top Cuban artists such as JosĂŠ Bedia and Carlos RodrĂ­guez CĂĄrdenas. Jorge Moya himself is a collector, and he is frequently approached by people who wish to sell him art based on the info compiled and published by Cuba Art NY. +DYLQJ FORVHO\ PRQLWRUHG WKH ÂżHOG RI &XEDQ $UW RYHU PDQ\ years, Moya has witnessed an obvious increase in value. People who bought art in the early stages have done very well, and there’s still a lot of room for growth. This is largely due to the participation of Latin American artists in Sotheby’s auctions. Latin American Art has appreciated tremendously over the years. You could purchase an artist’s work for $3,000–$6,000 ten years ago; that same piece would sell today for $250,000–$300,000 if not more. From an investment perspective, Moya feels that the value of Cuban Art is going to increase tremendously in the coming years. “I think Latin America [Art] as a whole is going to grow. Not only for Cubans but also for Argentines, Mexicans and Brazilians. The one thing that the Cubans have is that for the size of the island, there is a larger output of art. For some reason because of the conditions in Cuba, art has become a way of escaping the system. Artists in Cuba have the same prestige as say [a] doctor or engineer would here [in the United States]. Also when they are studying, they have their eyes on the prize and the prize is to sell to foreigners. For example, Giorgio Armani’s sister was shooting a catalogue in Havana, and she found a local artist and bought a few pieces from him; soon after, everyone in her crew had to have one. That spread the word, and [the artist] became an overnight sensation. Things like that don’t happen all over the world—they do happen in Cuba. [Art] is a Cuban’s way out of poverty. Furthermore, the price is going to continue to accelerate because more and more serious buyers are taking advantage of the opportunity. In the beginning we were selling to a lot of Cuban collectors; in the last two years or so we’ve been selling to museums, such as the Museum of Houston, as well as institutions and many private collectors.â€?

Čƒ ȹ‹Ž•’ŽÂ&#x;Žȹ’—Â?Ž›ŽœÂ?ȹ’—ȹ ž‹Š—ȹ ›Â?ȹŠ—Â?Čą ŠÂ?’—ȹ Â–ÂŽÂ›Â’ÂŒÂŠÂ—Čą ›Â?ȹ’—ȹÂ?Ž—Ž›Š•ȹ Â’ÂœČąÂ’Â—ÂŒÂ›ÂŽÂŠÂœÂ’Â—Â?ČąÂ?žŽȹÂ?Â˜ČąÂ?Â•Â˜Â‹ÂŠÂ•ČŹ ’£ŠÂ?Â’Â˜Â—ÇŻČą ‘Žȹ‘’Â?‘•¢ȹ™˜ŽÂ?Â’ÂŒČą Œ˜—Â?Ž—Â?ČąÂ˜Â?ČąÂŠČąÂ•Â˜Â?ČąÂ˜Â?Čą ŠÂ?’—ȹ Â–ÂŽÂ›Â’ÂŒÂŠÂ—Čą ›Â?ČąÂ’ÂœČąÂ&#x;Ž›¢ȹŠÂ?ČŹ Â?›ŠŒÂ?Â’Â&#x;ŽȹŠ—Â?ČąÂ?Â’Â–ÂŽÂ•ÂŽÂœÂœÇŻČƒ

When asked to comment on the increasing value and investment potential of Cuban Art, Fernandez replied, “I believe interest in Cuban Art and Latin American Art in general is increasing due to globalization. The highly poetic content of a lot of Latin American Art is very attractive and timeless. Art as a vehicle to lift one’s spirit and enrich one’s life is a universally appreciated concept. I consider it a safer bet than the irony-laced, culturally narrow, fashion-driven forms [of art] that so often distort the market. I predict a bright future as more collectors outside Latin America join in.â€? In order to better understand the value of Cuban Art, ALI also spoke with Jorge Moya, one of the founding members and curator for the Cuba Art NY foundation. Started in 1982, &XED $UW 1< LV D SULYDWH QRQSURÂżW RUJDQL]DWLRQ GHGLFDWHG WR “ advancing and preserving the work of contemporary Cuban artists living outside of Cuba.â€? (cubaartny.org). The organization stages yearly exhibits and silent auctions featuring 15 carefully selected Cuban artists from different schools of thought and different periods. Each show is accompanied by a catalogue, and

Moya goes on to discuss the many factors that contribute to the strength of Cuban artists, including the impressive educational opportunities on the island. Cuba has a tradition of offering stellar art schools and programs such as the San Alejandro National School of Fine Arts, whose alumni include revered Cuban artist such as Wilfredo Lam and Agustin Fernandez. Needless to say, much of what makes Cuban Art unique and valuable has to do with Cuba’s history. Due to political upheaval, Cuban artists are people whose lives have become politically driven, and as a result they have very interest-

43

Art ing stories to tell. Historically this need for expression has found an outlet via art and music. (This is a phenomenon not unique to Cuba; when the wall came down in Berlin, the world realized there was a thriving community of Russian artists there, and they all did very well.) Both members of the Cuban FRPPXQLW\ DV ZHOO DV IRUHLJQHUV ÂżQG WKH DOOXUH RI WKLV IUHH expression enticing. Furthermore, art often becomes a way to publicly rally for or against certain governmental oppression, both by the artists and those who choose to collect and display their works. The traditional mediums such as oil on canvas or photography have a history of selling well because of their portability, allowing collectors the opportunity to carry a piece of the story with them. The question remains, how much of an affect does the Cuban culture actually have on the work of an artist who has given up his homeland? For insight on this point, ALI asked Fernandez if, as a Cuban artist living in the United States, he felt his CuEDQ URRWV LQĂ€XHQFHG KLV ERG\ RI ZRUN +H UHVSRQGHG Âł0\ HDUO\ childhood memories of Cuba as a supernatural place are lasting

44

and vivid. Some see parallels in my work to the Magical Realists writers like Jorge Luis Borges and Alejo Carpentier with its labyrinthine complexities. My art is Cuban, because I am Cuban. I try to minimize the practice of introspection and concentrate on the present task at hand and let others connect the dots‌. Cuban Art has a long tradition of works by expatriates, Wilfredo Lam being the most renowned. I believe that geography is secondary when it comes to Cuban Art. The soul and spirit of the Cuban artist follows him wherever he may roam.â€? &XED $UW 1< LV D SULYDWH QRQSURÂżW RUJDQL]DWLRQ GHGLFDWHG WR “advanc[ing] and preserv[ing] the work of contemporary Cuban artists living outside of Cuba.â€? (cubaartny.org).. For more information or to contact the foundation, please visit: http://www.cubaartny.org/ Jake Fernandez now resides in Bradenton, Fla. For more information or to contact Mr. Fernandez, please visit: http://jakefernandez.com/

Art

Brazilian Urban Art:

From Street to Chic Ĺ° Tiffany Joy Swenson

T

here has always been something fascinating about the allure of Brazilian culture that has caused people from around the world to want to latch on to its magic. From Carnival to Bossa Nova to Victoria’s Secret models—the world wants what Brazil has. When it comes to urban art (commonly referred to as “streetâ€? art), Brazil is home to some of the PRVW LQQRYDWLYH DQG LQVSLULQJ DUWLVWV WR GDWH 7KH GHÂżQLWLRQ RI VWUHHW DUW NQRZQ E\ VRPH DV *UDIÂżWL LV ÂłD )RUP RI YLVXDO FRPPXQLFDWLRQ LQYROYLQJ WKH XQDXWKRUL]HG PDUNLQJ RI SXEOLF VSDFH by an individual or group.â€?

It is true that in cities around the world, many artists have risked GHOLQTXHQF\ IRU \HDUV LQ RUGHU WR GLVSOD\ WKHLU ZRUNV ,Q %UD]LO however, authorities stay hushed in light of the cultural value WKDW FDQ EH VHHQ LQ WKHVH DUWLVWLF GLVSOD\V $IWHU KDYLQJ JDLQHG recognition in the streets, these artists are quickly translating their works into collectable pieces such as paintings, prints,

0XUDO 7LWL )UHDN 6mR 3DXOR

SKRWRV IDVKLRQ DQG PRUH 7KLV QHZ JHQHUDWLRQ RI WDOHQW KDV garnered a legion of faithful and surprisingly young followers, DQG LQ WXUQ LV EHFRPLQJ D IRFXV SRLQW LQ WKH HYHU H[SDQGLQJ /DWLQ $PHULFDQ DUW VFHQH :KHQ %UD]LOLDQ IDVKLRQ PDUNHWLQJ ZL] %DL[R 5LEHLUR WRRN notice of his young son’s collection of local urban artwork, KH WKRXJKW WKHUH LV more to this than graf ¿WL +DYLQJ VSHQW \HDUV incorporating local street artists into his network RI IDVKLRQ PRJXOV 0U Ribeiro took the next logical step and founded urban art gallery Choque &XOWXUDO 6LQFH WKH gallery has featured the works of some of the FLW\œV ¿QHVW VWUHHW DUWLVWV and has gained interna tional acclaim as being one of the most unique and inspiring galleries in 6mR 3DXOR

Art

Titi Freak ($40,000 reales) on dislplay in the Bienal Vento Sul de Curitiba (Curitiba) 6WHSKDQ 'RLWVFKLQRII UHDOHV FXUUHQWO\ RQ GLVSOD\ LQ will be seen from the sales $FFRUGLQJ WR 0U 5LEHLUR WKHUH WKH $IUR %UD]OLDQ 0XVHXP 6DR 3DROR

couldn’t be a better time to take RI D OLPLWHG HGLWLRQ SURGXFW QRWLFH RI WKH VWUHHW DUW PRYHPHQW OLQH LQVSLUHG E\ WKH %UD]LOLDQ 6SHFLÂżFDOO\ KH QRWHV WKDW %UD]LO VWUHHW FXOWXUH 1RZ LV WKH WLPH ian artists have an energy that is for investors to think outside quite distinct from other common of the box by sponsoring a VWUHHW DUW FXOWXUHV (XURSHDQ DQG young talent, commissioning even Argentine street artists have a mural, or even starting a a tendency to focus on design SURGXFW OLQH IHDWXULQJ ÂłVWUHHW processes, directing much of their GHVLJQ ´ :KHQ LW FRPHV WR energies towards stenciling and investment potential, we are VLPLODU WHFKQLTXHV %UD]LOLDQ DUWLVWV really just beginning to see while incorporating some of these JURZWK LQ WKLV DUHD $W ÂżUVW practices, pride themselves in their glance it would appear that individuality and apply more of young collectors of street art a manual tradition to their street have little knowledge of their ZRUNV 7KLV VHQVH RI DUWLVWU\ LV ZKDW DFTXLVLWLRQV 7KHLU LPSXOVH PDNHV WKHVH \RXQJ Âł3DXOLVWDV´ to purchase is do to the fact VWDQG RXW LQ WKH ZRUOG RI XUEDQ DUW that they identify with the work from an artistic or cul With big name brands such as Nike WXUDO VWDQGSRLQW 0U 5LEHLUR ZRUNLQJ DORQJVLGH \RXQJ %UD]LOLDQ mentioned one such young street artists to design campaigns collector who entered his gal and merchandise, it is only a matter of time lery not long ago with a poster before this urban uprising becomes a bona WKDW KH KDG SXUFKDVHG DW UHDOHV ÂżGH DUW IRUP %UD]LOLDQ DUWLVW 7LWL )UHDN UHFHQWO\ That same work is now worth nearly three gained a Nike sportswear sponsorship, which times the price and will surely continue to KDV KHOSHG KLP WR SXEOLVK KLV ÂżUVW ERRN WKH DFTXLUH YDOXH SDJH )UHDN ZKLFK LV DYDLODEOH DW &KRTXH &XOWXUDO JDOOHU\ )XUWKHUPRUH LQ -XQH RI :LWK %UD]LOLDQ VWUHHW DUW JDLQLQJ JOREDO 1LNH ODXQFKHG Âł0RYLPHQWR &DQDULQKR´ Âą D recognition, major galleries are begin %UD]LOLDQ FDPSDLJQ LQVSLUHG E\ %UD]LO QLQJ WR WDNH QRWLFH DQG IHDWXUH H[KLELWV LDQ VWUHHW DUW DQG VWUHHW VRFFHU 7KH WXUQ DURXQG 7KH -RQDWKDQ /HYLQH *DOOHU\ LQ 0DQKDW

24

Art Å° 1RWHZRUWK\ $UWLVWV Titi Freak KWWS WLWLIUHDN EORJVSRW FRP

2V *HPHRV KWWS ZZZ ORVW DUW EU RVJHPHRV KWP

tan recently featured the works of two popular artists from 6mR 3DXOR 7LWL )UHDN DQG 6WHSKDQ 'RLWVKLQRII $OO PDMRU EUDQG names aside, there is an obvious social movement to this work, DQ XS OHYHOLQJ LQ FRQVFLRXVQHVV LI \RX ZLOO 7KH DIRUHPHQ WLRQHG 6WHSKDQ 'RLWVFKLQRII ZKRVH VWUHHW DOLDV LV ³&DOPD´ LV 6mR 3DXOR ERUQ DQG DIWHU WUDYHOLQJ DEURDG DQG UHWXUQLQJ WR WKH UXUDO %UD]LOLDQ FRXQWU\VLGH RI %DKLD IHOW LQVSLUHG WR ³SDLQW WKH FLW\ ´ +LV DLP ZDV QRW WR PDNH PRQH\ RU JDLQ IDPH OLNH PRVW street artists, he was inspired by the idea of creating beauty in WKH PLGVW RI SRYHUW\ DQG GHVSDLU +H EHJDQ E\ DVNLQJ D FRXSOH townspeople if they wouldn’t mind him painting the sides of their KRPHV ZLWK KLV XQLTXH DQG V\PEROLF PXUDOV 2QFH WKH SHRSOH RI WKH WRZQ UHDOL]HG WKDW DOO WKLV PDQ WUXO\ GHVLUHG ZDV VSDFH they offered up their streets, homes, cemeteries and even cha SHOV LQWR WKH KDQGV RI WKLV LQVSLUHG YLVLRQDU\ 7KH WRZQ¶V $IUR %UD]LOLDQ IRONORUH EHJDQ WR LQWHUPLQJOH ZLWK 0U 'RLWVFKLQRII¶V metaphoric imagery, along with bursts of contemporary pop FXOWXUH DQG SDJDQ DQG DOFKHPLFDO V\PEROLVP 7KH ZRUN RI WKLV young artist is now featured in galleries around the world, and a ERRN RI KLV ZRUN KDV EHHQ SXEOLVKHG DQG VROG LQWHUQDWLRQDOO\ 9LVLW &KRTXH &XOWXUDO IRU QHZV DQG XSGDWHV RQ 6mR 3DXOR¶V PRVW XS DQG FRPLQJ DUWLVWV KWWS FKRTXHFXOWXUDO FRP EU

Stephan Doitschinoff KWWS ZZZ VWHSKDQGRLW FRP EU

Art

Latin American Art Museum of Amersfoort (LAKMA): ALI speaks with founders

L

$.0$ VWDUWHG ZLWK D IRXQGDWLRQ GHGLFDWHG WR WKH 6SDQLVK DUWLVW -RVp *DXVDFKV *DXVDFKV ZDV DQ DUWLVW ZKR HPLJUDWHG IURP 6SDLQ GXULQJ WKH 6SDQLVK &LYLO :DU EHIRUH WKH 6HFRQG :RUOG :DU )RU PDQ\ *DXVDFKV LV DQ XQNQRZQ QDPH KRZHYHU KH LV RI great importance to Latin America’s art history. He was the disciple of great masters such as Isidre Nonell and Felix Mestre. He cultivated friendships in Paris with other faPRXV SDLQWHUV RI KLV WLPH VXFK DV $PDGHR 0RGLJOLDQL *HRUJHV %UDTXH DQG 3DEOR 3LFDVVR +H was appreciated by intellectuals like Tristan Tzara, whose friendship and support made a great GLIIHUHQFH IRU *DXVDFKV GXULQJ WKH H[LOH )XUWKHUPRUH KH ZDV SUDLVHG E\ JUHDW ZULWHUV RI WKDW time: Hemingway acquired one of his paintings, and the poet Carles Ribas dedicated a poem to WKH UHPDUNDEOH SDLQWHU DIWHU WKH LQDXJXUDWLRQ RI *DXVDFKœV ODVW H[SRVLWLRQ LQ %DUFHORQD

The Gausach Art Foundation has undertaken the project of FUHDWLQJ WKH ¿UVW PXVHXP LQ 7KH 1HWKHUODQGV GHGLFDWHG WR Spanish, Mexican, Caribbean, and Central and South American contemporary art. The museum’s collection will serve as a cross-cultural exchange gateway between Latin America and the diverse population of the Netherlands. The museum will offer numerous research and study possibilities with its cultural center Casa Latina through various exhibitions and programs. ALI: What inspired you to start a museum for Latin American Art in the Netherlands? LAKMA: We saw that there was a need for a macro institution WR VXSSRUW RQ D QRQSUR¿W EDVLV WKH SURPRWLRQ RI /DWLQ $PHULcan culture and arts. We had a good collection but not a lot of support—when we had a proposal for an exhibition it always would come out of the Latin American embassies here. The embassies, however, they don’t have a multi-year budget—they are working with a one-year budget. They aren’t interested in something that might take place in three years, as they don’t know if they will even be established still in the country. The museums on the other hand have full exhibition schedules for years in advance and need to have a long perspective of the programming for their sponsorship. Therein lay the problem—

so in order to create movement and interest in Latin American art, whose effects can be felt in commerce, politics, dialogue, education, one macro organization needed to be in place to solidify all of the smaller foundations and culture departments RI WKH HPEDVVLHV :H KDG D FRQFHSW RI ÂłXQLWHG ZH VWDQG ´ :H started just under three years ago—there were a number of stakeholders needing networking with the embassies and with WKH DUWLVWV DQG ZH ÂżQDOO\ JRW HQRXJK PRPHQWXP JRLQJ WR VWDUW the projection of a museum. They thought of which city would be best—wanted a big and prestigious museum. They considered Amsterdam and The Hague; however, they settled on The Hague as that is where the embassies are and there is a higher status of inhabitants. It is a politically charged, cultural city. There is a new train system under development there currently, which will bring travelers directly from Paris. There is a drive for big corporations to settle their corporate headquarters there. This way people can see that there is a potential market for Latin American art. $/, +RZ RYHU WKH SDVW \HDUV KDV /DWLQ $PHULFDQ DUW been received in Europe? LAKMA: It is regarded very highly. That is undisputed in the sense that Latin America is seeking an audience in Europe.

49

Art When the work of Latin American artists travels to Europe, it increases in value and becomes more interesting. Europeans are investors and explorers and are interested in emerging new artists and stories. We have had exhibitions of Frida Kahlo, Javier Marin, the art history of Cuba; they have all been a huge VXFFHVV 7KH LQGXVWU\ LV GH¿QLWHO\ JURZLQJ 7KLV ZLOO EH WKH ¿UVW Latin American art museum in Europe. There is an exhibition KDOO LQ =XULFK EXW LWœV QRW D PXVHXP 7KLV EHLQJ WKH ¿UVW LV DQ indication that the interest is growing and a lot of large companies are establishing themselves in the region. ALI: What was the exposure of Latin American art in the big European museums before LAKMA? LAKMA: There were fewer activities. In the past three years there has been more movement, there has been a synergy that happened simultaneously—it has been the right moment. Europe always looks at North America; there is a lot of interest in Latin American Art and business in North America, and Europe always tends to arrive late to these conclusions. Now is the right time for Europe. ALI: Where would you say are the hot spots for Latin American art at the moment? LAKMA: Spain and Italy—but of course this can be seen as an opportunity to expand the market to Germany, the Netherlands and Belgium. There is an interest but lack of the presence of a strong organization in order to bring impressive exhibitions that will secure endorsement from the government and large corporations who would like their brands to be seen. That is the economic structure that this idea is based upon at the moment. ALI: In terms of European interest in Latin American art, what is most popular at the moment? LAKMA: That is really yet to be discovered—we are opening a new chapter. There are many different installations—modern DUW %UD]LOLDQ JUDI¿WL 7KH PXQLFLSDOLW\ RI 5RWWHUGDP HYHQ PDGH VSDFH DYDLODEOH IRU JUDI¿WL WR WDNH SODFH LQ WKH VWUHHWV 7KH Netherlands invests a lot in its art and culture. There is a large population of Latin Americans and there is a large population of Latinos in the Netherlands. That should give an indication of how things are going to be growing. ALI: What are you looking to do in 2010? Have you been affected by the current economy? LAKMA: In the coming year we are excited to have an exhibition from Cuba and the Dominican Republic, and some very impressive artists from Spain and Latin America.

50

Of course the economic downturn did have an effect; at the same time it also gave cohesiveness to the community to make this happen. All of the cultural departments were feeling the effects of the downturn and a meeting was held, sponsored by the Venezuelan embassy, to discuss how to subsidize cultural affairs in a downturn such as this. Many economic advisors offered their services for free. We met to look at this straight in the face as a community.

fundacion@gausachs.net

Art

ŠÂ?’—ȹ Â–ÂŽÂ›Â’ÂŒÂŠÂ—Čą ›Â?Čą Gains Momentum in Europe

A

Ĺ° By Stefanie Kogler

rt from Latin America has seen a steady rise in buyers over the past three decades or so. $V UHSRUWHG LQ D SUHYLRXV LVVXH RI $/, &KULVWLHÂśV RUJDQL]HG LWV ÂżUVW DXFWLRQ RI /DWLQ $PHUican Art in 1981 and now holds two auctions a year that specialize in art from this region. Names such as Frida Kahlo, Fernando Botero, JesĂşs Rafael Soto and Carlos Cruz DĂ­ez among many others have become household names and some of them sell artworks in excess of US $2 million. Virgilio Garza, Head of Latin American Art at Christie’s stated that the world record in art sold from Latin America reached a total of $33 million made at auction in recent years. There is not only great interest in Art from Latin America in the USA. As of lately, this interest has gained momentum in Europe. TATE Modern, one of the UK’s biggest public collections of modern and contemporary international art inaugurated its collection of Latin American art and has since acquired 317 works of art from that region. In a recent press release, Nicholas Serota, the Director of TATE stated that ‘...[the] Collection has EHHQ VLJQLÂżFDQWO\ HQULFKHG RYHU WKH SDVW GHFDGH ZLWK DQ H[panded geographical reach and an energetic focus on collecting work from areas outside Europe and North America, particularly in Latin America...’. TATE held retrospective exhibitions of both HĂŠlio Oiticica and Cildo Meireles with considerable success. As mentioned in Alternative Latin Investor’s last issue, PINTA the Modern and Contemporary Latin American Art Fair set up stall LQ WKH 8. IRU WKH ÂżUVW WLPH LQ -XQH It was hailed as a success by the organizers and galleries involved. PINTA not only brought a number of well-known and established artists to Europe, it also introduced new comers to the European art market. Numerous European collections and museums acquired artworks during the fair. Museo Nacional de Arte Reina SofĂ­a in Madrid, Centre Pompidou in Paris and of course our own TATE Modern in London ensured that Latin American Art is here to stay. It is in this vein that Austin/Desmond Fine Art decided to venture LQWR WKLV DUHD DQG VKRZHG LWV ÂżUVW H[KLELWLRQ RI *HRPHWULF $Estract Art from South America and Europe. ‘Abstraction Creation Post-War Geometric Abstract Art from Europe and South America’ is a survey of 29 artists that were especially active from the 1940’s until the 1970’s. This time is marked as one WKDW HQMR\HG VLJQLÂżFDQW DUWLVWLF DGYDQFHV LQ ERWK 6RXWK $PHULFD and Europe. The list of artists is impressive and includes some notable and well-known names from both sides of the pond such as: Max Bill, Klaus Staudt, RaĂşl Lozza, Mira Schendel, Luis Sacilloto, JosĂŠ Pedro Costilgliolo, Carlos Cruz DĂ­ez, Sergio

16

Figure 1:Geraldo de Barros, Pampulha (from the series Fotoforma), 1949 Camargo, Victor Vasarely, Anthony Hill, Heinz Mack, Mary Martin, Francois Morelet, Joseph Albers, Arturo Bonfanti, Jesús Rafael Soto, Carmelo Arden Quin, , Antonio Calderara, Gianni Colombo, AurÊlie Nemours, Antonio Llorens and Bridget Riley. Moreover, key artists from the concrete art movement in Brazil in the 1950’s include HÊlio Oiticica, Lygia Clark, Lygia Pape, Lothar Charoux, Geraldo de Barros and Hermelindo Fiaminghi. Their contribution to geometric abstract art is undeniably pertinent and this is successfully recognized in this exhibition. $OO DUWZRUNV PRYH DZD\ IURP ¿JXUDWLYH UHSUHVHQWDWLRQ DQG VHHN WR ¿QG WUXH PHDQLQJ LQ DEVWUDFWLRQ DQG JHRPHWULF IRUPV 7ULangles, rectangles, circles, cubes, plains, colour, light, irregular

Art shaped frames are a recurring element in all works, which visually reminds the viewer of the strong conceptual beliefs behind the art production during those years. The use of material is diverse and the mediums include paintings, photography, collages and sculptures and journals. Walking through the gallery, the themes and ideas, despite being from different artists from opposite ends of the world, mirror a common drive away from the ÂżJXUDWLYH WUDGLWLRQ DQG WRZDUG D IUHVK H[FLWLQJ DQG FRQFHSWXDO way of creating and approaching art.

Figure 2: Austin/ Desmond, from right to left: Victor Vasarely, Wombi - 2, 1956, Anthony Hill, Relief Construction, 1962, Sergio Camargo, untitled, 1973

The importance of Brazil as producer, and at the same time, buyer of art is highlighted by John Austin, Director of Austin/ Desmond Fine Art: Brazil is a major world economy, Brazilian art collectors have always been very serious buyers but mainly nationalistic. Domestic Brazilian artists have been reaching enormous prices, for example, prices for Sergio Camargo works are now in excess of a million dollars. However Brazilian collectors are becoming more international, buying other Latin American artists such as Venezuelan artists Carlos Cruz-DĂ­ez and JesĂşs Raphael Soto. A country like Argentina, not a very rich country but has a great history of Concrete Art, these artists are also beginning to catch the eye of Brazilian collectors... Although it is Brazil that seriously FROOHFWV DQG SURGXFHV DUW (XURSH LV GHÂżQLWHO\ EHJLQQLQJ WR FDWFK up with the interest and perpetuates a steady increase in prices of artworks from all over Latin America. There seems to be no better time than now to become involved and invest. Figure 3: KLaus Staudt, GleichmäĂ&#x;ig Hell/Dunkel, 1972-1973 Stefanie Kogler is a Latin American Specialist focusing on Art in Latin America. She graduated at the University of Essex, UK and worked as Archive Assistant at the University of Essex Collection of Latin American Art (UECLAA) Europe’s biggest public collection of Latin American Art. Stefanie continues to be involved with the Collection voluntarily. She has written an in depth undergraduate dissertation on censorship in Contemporary Colombian Art which achieved one of the highest marks in her year group. As part of her degree, Stefanie spent a year in South America studying and researching Art in Latin America. She will attend a Master in Curating Latin American Art at the University of Essex. Currently, she is involved with the research and execution of ‘Abstraction- Creation- Post-War Geometric Abstract Art from Europe and South America’ at Austin Desmond Fine Art, London, UK.

17

Art

Christie’s Latin Art Sale

Â›ÂŽÂŠÂ”ÂœČąÇžĹ˜Ĺ–Čą ’••’˜—

W

ith the world slowly crawling out of the crisis depths, there has been an ignited LQWHUHVW LQ /DWLQ $PHULFDQ ¿QH DUW LQYHVWPHQW VHHQ E\ WKLV \HDUœV /DWLQ $UW 6DOH DW Christie’s New York. The sale totaled over $20 million dollars, greatly surpassing last year’s totals. ALI had a chance to speak exclusively with Virgilio Garza, the head of Latin American art sales at Christie’s New York. In the following interview he gives insight to the potential reasons for the sudden turn around.

How is the general art market faring post crisis - i.e - sales of other auctions, buyer participation/attendance? For the Latin American market – last year was a good year however very interesting in terms of how it developed. Last May we weren’t sure how we were going to do, we did ok, then in November we did better, then this sale (May) was really strong. It (Latin American art sales) had been escalating steadily and VROLGO\ XS XQWLO WKH ¿QDQFLDO FULVLV RI , WKLQN WKHUH LV D ORW of renovated energy in the market, also there’s a desire for important works of art. The most important works are getting the best prices and selling really well, there is a desire to buy SULPH ZRUNV LQ WKH ¿HOG ¹ ZRUNV WKDW KDYHQœW EHHQ RQ WKH PDUNHW IRU PDQ\ \HDUV WKDW DUH VLJQL¿FDQW LQ WKH DUWLVWœV FDUHHU )RU example the Mexican works we offered this last sale had been in the family for two generations, when something like that happens the market responds. How does the Latin American art sector compare (in regards to sales and growth)with other art sectors - Asian, Middle Eastern, Native American, Fine art? All I can say is that the sales in May have been very successful. We started with a bang with impressionist and modern sales – the numbers are really impressive, the Picasso sold for over $100 million – those price structures are very remote from ours, but never the less – we do get a lot of cross over sales. Collectors that are active in impressionist or post war also buy with us (Latin American Art Sector) so the success trickles down to us. Beatriz Milhazes – one of the most successful living Brazilian artists – we sold her work for over half a million dollars. We have had some Asian participation as buyers. Also, some of our Mexican collectors buy impressionist and post war – the market is much more global now.

30

ALI’s last two articles featured Cuba and Brazil - according to your expertise, what are the big Latin American regions to watch? Mexico is always a key player, Brazil of course, particularly in the modern and contemporary works. Some of the works of Argentine artists have been revisited. There are major artists like Soto who passed away, however was very big in the 70’s, and is now having a major revival of this work. From an investment point of view would you say Latin American Art is more volatile compared to other sectors? That is to say, IRU H[DPSOH ZLOO D 3LFDVVR RU RWKHU ¿QH DUW H[SHULHQFH VPDOOHU changes in value as they are more established? I would say that the opposite is true. Our market is not a market of high speculation – Picasso is Picasso, there is no speculation there, he is the greatest artist that ever lived and I think there is an agreement around that, and that market is rock solid. Particularly with very contemporary works there are highs and lows. With us (Latin American art) we are a very steady market. It’s a market of slow steady growth, and we haven’t KDG PDMRU VKLIWV LQ YROXPH DQG WRWDOV 7KHUH DUH DOZD\V ÀXFWXDtions and variations but the Latin American art is not a market of high turnover. The collectors who buy works in our sales tend to keep them for a long time, which is challenging for us to organize auctions, as the important works tend to stay in families IRU JHQHUDWLRQV 7KHUHœV QRW PXFK ÀLSSLQJ RI ZRUNV ¹ VRPHWKLQJ that may happen in more speculative markets. Were you surprised by any particular sales in 2010? Pieces, artists, styles, etc? I as a spectator and employee of Christies was very excited by the Impressionist sale in terms of what was offered. It was

Art

Fig. 1 Sold:

$20,514,600

ÂŁ14,051,095

!16,544,032

Lots Sold: 203

Lots Offered: 280

Sold by Lot: 72%

Sold by $: 80%

Exchange Rate: ÂŁ= $1.46/ ! = $1.24

Lot

Description

Estimate ($)

Purchase Price

27

Frida Kahlo, Survivor, oil on metal framed by artist in a handcrafted Oaxacan tin frame, painted in 1938

100,000150,000

$1,178,500 ÂŁ824,950 !966,370

JosĂŠ Clemente Orozco, The City, oil on canvas, painted in 1929 WORLD AUCTION RECORD FOR THE ARTIST

200,000300,000

Fernando Botero, Woman on a Horse, bronze with dark brown patina, executed in 2002

800,000-1,200,000

40

JoaquĂ­n Torres GarcĂ­a, ComposiciĂłn constructiva en SODQRV \ ÂżJXUHV RLO RQ FDQYDV SDLQWHG LQ

800,000-1,200,000

51

54

56

$1,142,500 ÂŁ799,750 !936,850 $1,046,500 ÂŁ732,550 !858,130

Buyer

Private

Private

Asian Private

$866,500 ÂŁ606,550 !710,530

Private

5XÂżQR 7DPD\R )LJXUD GH SLH RLO DQG VDQG RQ FDQYDV 450,000painted in 1959 650,000

$818,500 ÂŁ572,950 !671,170

North American Private

Jesús Rafael Soto, Un Trou sur l’Orange, painted wood, nylon and metal relief on wood panel, executed in 1970

250,000350,000

50

5XÂżQR 7DPD\R 'DQ]DQWHV RLO DQG VDQG RQ FDQYDV painted in 1963

500,000700,000

$758,500 ÂŁ530,950 !621,970 $746,500 ÂŁ522,550 !612,130

69

SĂŠrgio de Camargo, Relief No. 188, painted wood relief, executed in Paris in 1967

500,000700,000

$626,500 ÂŁ438,550 !513,730

Anonymous

77

Beatriz Milhazes, 578, oil and acrylic on canvas, painted in 1994

250,000350,000

$506,500 ÂŁ354,550 !415,330

South American Private

61

Fernando Botero, Society Lady, oil on canvas, painted in 1995

350,000450,000

$470,500 ÂŁ329,350 !385,810

European Private

44

South American Private

South American Private

Fig. 2

31

Art the sale of the season. The collections that they gathered were of high importance. I’m also thrilled with our Latin American sales – some of the Mexican works that we found are very exciting for us – the works of Orozco, the Tamayos, the record for Jesus Rafael Soto is very important to me. It is one of the greatest Soto works that has ever been sold on auction and the market responded accordingly (in May’s auction, world records were set for twelve artists, most notably for Jesús Rafael Soto’s multi-dimensional Un Trou sur l’Orange, 1970, which sold for $758,500). We were successful in selling a monumental sculpWXUH E\ %RWHUR VHH ¿J WKHUH ZDV D VPDOO )ULGD .DKOR WKDW ZH UHGLVFRYHUHG GLG LQFUHGLEO\ ZHOO VHH ¿J 6XUYLYRU by Frida Kahlo, the palm-sized painting — which hasn’t been exhibited since 1938 — went for $1,178,500 ten-times the low estimate of $100,000-$150,00

Christie’s is committed to two sales per year – next sale in November – we are VERY competitive with a 55% market share DJDLQVW RXU FRPSHWLWRUV DQG DUH GH¿QLWHO\ WKH PDUNHW OHDGHUV

Have you seen greater participation in Latin American art EX\LQJ IURP DQ\ VSHFLÂżF JHRJUDSKLF JURXS LH JURZWK LQ European, Asian, Middle Eastern buyers?

We are a great value – the prices that you see in other categories are spectacular, however the possibility to build a great collection with a relatively small amount of money is very real in our ¿HOG ,I \RX KDYH D PLOOLRQ GROODUV \RX FDQ ¿QG JUHDW WKLQJV WR EX\ in our sale – your money will buy you amazing things, the beginning of a great collection – you get more for your money.

American collectors play a major role in our sales – there are GH¿QLWHO\ /DWLQ $PHULFDQ UHVLGHQWV DV ZHOO URXJKO\ 86 40% LatAm, 20% rest of the world As wealth increases in Latin America have you seen an increase in purchases in art in general by Latin buyers? The increase in wealth is affecting the investment environment – Latin American residents seek information and remain educated, thus building informed collections and collecting as a life style. A lot of Latin American residents buy other types of art as well, watches, wine, contemporary art, etc‌ Is Christie’s looking to increase their involvement with Latin American art, ie hold more auctions, etc?

32

Would you say there is an ‘epicenter ‘ of Latin Art, that is to say what is the New York or Paris of Latin America? Latin America means many things in terms of art – there are many centers, SĂŁo Paulo, Buenos Aires, Mexico City – there has been a whole new young generation in Puerto Rico. They all tend to eventually converge in New York in one way or another in the end. In your opinion, what makes the Latin American art sector unique and desirable from an investment perspective?

After evaluating Christie’s most recent sale, ALI determined that the art was undervalued by 34% on average (sum of all art shown, 8.1million USD - sum of top range estimates, PLOOLRQ 86' XQGHUYDOXDWLRQ RI 2QH VSHFLÂżF H[ample of this would be Frida Kahlo’s “Survivorâ€? which was listed at 150K and sold for over a million. Estimates are based on a number of factors, including the quality of the work, past auction prices and demand in the market for the particular artist’s work. When works exceed our estimates, it proves the vigor in the marketplace and that buyers are eager to acquire works of utmost quality and provenance.

Art

Latin American Evening Sale New York – Wednesday, May 26, 2010

Frida Kahlo, Survivor, oil on metal framed by artist in a handcrafted Oaxacan tin frame, painted in 1938 $100,000-150,000 Sale Price $1,178,500

José Clemente Orozco, The City, oil on canvas, painted in 1929 WORLD AUCTION RECORD FOR THE ARTIST $200,000-300,000 Sale Price $1,142,500

33

Art

Fernando Botero, Woman on a Horse, bronze with dark brown patina, executed in 2002 $800,000-1,200,000 Sale Price $1,046,500

5XÂżQR 7DPD\R )LJXUD GH SLH RLO DQG VDQG RQ FDQYDV SDLQWHG in 1959 $450,000-650,000 Sale Price $818,500 .

JoaquĂ­n Torres GarcĂ­a, ComposiciĂłn constructiva en planos y ÂżJXUHV RLO RQ FDQYDV SDLQWHG LQ $800,000-1,200,000 Sale Price $866,500

34

Emerging Markets Pinta Founders: Mauro Herlitzka, Alejandro =DLD 'LHJR &RVWD 3HXVHU

‘Žȹ ˜Â?Ž›—ȹǭȹ ˜—Â?Ž–™˜›Š›¢ȹ

A

Latin American Art Show

veritable feast for Latin American art investors, this exclusive, annual art fair is dedicated to exposing the world to the best of Contemporary Latin American Art. The three-day show features museum-quality works representative of abstract, concrete, neo-concrete, kinetic and conceptual art, as well as other contemporary art movements. The event coincides with Christie’s and Sotheby’s Latin American art auctions and with important exhibitions in museums and cultural institutions in each of its two locations. It is currently the only fair of its size and caliber in the world to focus on such a unique and niche market. 16

Art PINTA started in 2007 as the brainchild of Argentine PR mogul Alejandro Zaia, and his business partner Diego Costa Peuser – who runs the most successful contemporary publication in the Latin American art world – “Arte al DĂ­a Internacional.â€? To complete the triad, they invited Mauro Herlitka - board member at the MOMA in New York – to join the project. At the time of PINTA’s conception there were magazines and literature that covered the sector of Contemporary Latin American Art, however the idea was to create a one-stop marketplace for everyone. The PINTA show was created to be a platform for the sale of Latin American Contemporary art through the participating JDOOHULHV DQG LV ÂżQDQFHG HQWLUHO\ YLD SULYDWH VSRQVRUV UHQWLQJ space to galleries and ticket sales. The need for an event of this type combined with this knowledgeable, well connected and international group of project leaders is what has made PINTA a success.

city. The show will include approximately 60 galleries and the aforementioned 15 individual expositions; furthermore, PINTA is looking to expand their museum program. The objective is to allow the public to feel a part of their work, by this year holding an Exclusive Preview. The funds gathered during this preview will be directed to PINTA’s program “Museum fund acquisition�, through which PINTA donates funds to institutions dedicated to Latin American art, so that they can access the purchase of works of art in order to grow their collections. Another of this year’s developments is the continued inclusion of the PINTA “Public Programs� which is a series of chats open to the public, featuring the discussions of various panelists, including professors, researchers, curators, and collectors.

According to a rep from this year’s PINTA show, one particular player to watch is Mexican Contemporary artist Pablo Vargas Lugo. Born in Mexico City in 1968 he has participated in nearly 20 solo shows and numerous collective exhibitions. He has PINTA opened on November 13, 2007 with a tribute to the been a resident artist in the International Studio Program in Brazilian conceptual artist WaltĂŠrcio Caldas. The show was received with warm praise and solid press. In fact, critics admitted Vienna, Stockholm and New York and his collections have been LW ZDV DOPRVW HPEDUUDVVLQJ WKDW WKLV ZDV WKH ÂżUVW GHGLFDWHG DQG displayed in various museums in the United States, Mexico and Spain. In a recent article from BOMB magazine, Lugo’s serious effort to highlight the art of an entire continent and cenwork is described as â€œâ€Śenigmatic —colorful collages, formalist tury. As the interest in the show continued to grow in 2008 and 2009 in 2010 they decided to expand the event and to hold two GUDZLQJV DQG VLWH VSHFLÂżF LQVWDOODWLRQV²H[SORUH VXFK GLYHUVH annual shows - one in America and one in Europe. The PINTA founders felt that the two most important audiences could be found in New York and London – notably two of the most culturally rich cities in their prospective countries. 7KH ÂżUVW HYHU 3,17$ /RQGRQ IDLU WKLV \HDU ZDV D VXFFHVV FDUYLQJ D SDWKZD\ IRU WKH ÂżHOG RI /DWLQ $PHULFDQ DUW LQ /RQGRQ Accompanied by the educational and promotional work that is currently being spearheaded by institutions such as the Tate Modern, the University of Essex and the Museum of Contemporary Art of Barcelona, along with others – PINTA not only continued with their work of securing the art market for their region abroad, but also offering an excellent exhibit program. Coordinated by the University of Essex – four panels took place dealing with different themes regarding private and public collections of Latin American art in the United Kingdom. Since the successful launch of the London show, there are plans to expand and create a third event, the location has yet to be announced. Also due to the success of this year’s London edition of PINTA, the New York fair will also feature a section of individual shows. They have invited London-based curator Pablo LeĂłn de la Barra who participated in the London PINTA show to join them once again in New York. Pablo LeĂłn de la Barra was born in Mexico City, however has lived and worked in London for the past 9 years, where he has become known as somewhat of a “cultural interventionist.â€? Both his gallery Blow de la Barra and his magazine Pablointernacional serve as catalysts for the union between European and Latin American art communities, taking the ideas of art and life to new levels.

Pablo Vargas Lugo, New Flag, 2010, Collage, 16 x 24cm, Courtesy of Galeria Labor

This year’s New York PINTA show is slated to attract 15,000 visitors during the three days that it will be open to the public and will be the fourth time the fair has taken place in the

17

Art

Photo by Pablo Corradi

themes as the extinction of dinosaurs, natural catastrophes DQG À\LQJ PDFKLQHV 7KHVH SLHFHV DUH PDUNHG E\ DQ XQFDQQ\ tension between form—bright and playful—and content—often dark, traumatic events, from tsunamis to midair collisions.� Alternative Latin Investor had a chance to meet exclusively with PINTA chairman Alejandro Zaia to get his take on the Contemporary Latin American art sector. His response was quite insightful when asked to compare this sector alongside general contemporary art from an investment perspective. ³7KDW LV D YHU\ LQWULJXLQJ TXHVWLRQ ¹ EHFDXVH \RX KDYH WR GH¿QH sectors within sectors of Latin American Contemporary art. The art collector has a lot of sections to choose from – post war, contemporary, Chinese, Latin America. These are based on geographical reasons and time periods. Normally you have the auction houses that decide and feature these particular sectors and then feature the works from these areas. In terms of Latin American art you have historical Latin American Art, Modern art from the 40’s-80’s, then contemporary, which can include much older artists who are currently displaying works however had the majority of their success during previous time periods. In terms of bargains and opSRUWXQLWLHV \RX FDQ ¿QG LQFUHGLEOH RSSRUWXQLWLHV LQ PRGHUQ DUW <RX have masters who are absolutely undervalued from the 50’s, 60’s and 70’s – there are Latin American artists who lived in New York and Paris in the 50’s and 60’s and now are either in their 80’s or

18

90’s or have since passed on. Their works when recovered today are worth 10 times less than their French or American colleagues who were doing the same type of art during the same time period. They weren’t promoted or valued during the time, however, the investment potential in these particular artists is now very interesting as these artists are beginning to be recognized for their abilities and their works are increasing in value. Before the crisis these artists were growing steadily and were not involved in the pre-crisis “bubbleâ€? in regards to their pricing and involvement in auctions; they grew steadily and weren’t incredibly affected by the crisis. When you talk about contemporary art, a 35 year-old artist of today compared with a German or Swiss artist there isn’t much of a difference depending on where they started their career. Therefore there isn’t much of a difference to be seen in the contemporary market. The problem is that this isn’t a very transparent market it’s quite complex. It is necessary to be hand held by an advisor, by someone who knows the market up and down and has studied DOO DVSHFWV RI WKH ÂżHOG &RXQWULHV WR ZDWFK &RORPELD 0H[LFR DQG Chile. There are also particular gems particularly in the modern art sector in the Argentine and Brazilian markets.â€? The PINTA New York Fair will take place on Pier 92 - 711 12th Avenue, New York. There will be an exclusive preview at 4:00pm, on the 11th of November followed by the opening ceremony at 6:30pm (by invitation only). Finally, the doors will open to the public November 12, 13 and 14th.

Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.