24 minute read
Ceeli Institute
Distinguished visit to Prague by Homer E. Moyer, Jr.
Homer E. Moyer, Jr.
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Member Washington, DC 202–626–6020 · 202–628–0858 Fax hmoyer@milchev.com
Areas of Emphasis: International; Fraud & White
Collar Crime; Litigation; Domestic and International
Arbitration; FCPA/International Corruption; Trade
Policy and Disputes; Investment Disputes and
International Arbitration; Corporate Compliance and
Internal Investigations; Criminal Litigation; Export
Controls and Economic Sanctions; International
Trade Litigation (AD/CVD/201); Investment /
Commercial; Supreme Court and Appellate
Litigation; White Collar Crime Litigation; Section 337 and Intellectual Property Litigation. Education: Yale Law School, 1967, LL.B.; Emory
University, 1964, B.A.
Homer E. Moyer, Jr., the founder of Miller & Chevalier’s 40–lawyer International Department, has represented clients before all levels of federal courts, including the U.S. Supreme Court, and in various landmark international disputes, including the largest WTO trade dispute to date and each of the NAFTA Extraordinary Challenges.
A political appointee in both Democratic and Republican administrations, Mr. Moyer served as General Counsel (1980–81), Counselor to the Secretary (1979), and Deputy General Counsel (1976–78) of the U.S. Department of Commerce. Before government, he practiced with Covington & Burling; wrote Justice and the Military, a treatise on military law; and served in the Office of the Judge Advocate General of the Navy, with collateral duty at the White House.
Mr. Moyer was the co–founder and Chair (1990–2002) of CEELI, the ABA’s Central and East European Law Initiative, described by former Attorney General Janet Reno as „the worthiest pro bono project that American lawyers have ever undertaken.“ He is president of Friends of the CEELI Institute, a graduate level training center in Prague. Mr. Moyer received the ABA’s World Order Under Law Award (1998), CEELI’s Volunteer Award (2002), and a special ABA award at Runnymede during the rededication of the ABA Memorial to Magna Carta (2000). He has also served as Chair of the ABA’s Section of International Law and Practice (1990–91), Council member (1985–91), and Chair of its International Trade Committee (1984–86).
A member of the firm’s Policy Committee, Mr. Moyer has chaired the International Department (1981–99) and served on its Executive Committee (1985–95). He is a member of the Board of Trustees of the Center for American and International Law and of the Council for Excellence in Government; past President of the Washington Council of Lawyers; co–author of Export Controls as Instruments of Foreign Policy, (ILI 1985); and a frequent speaker and writer on anti–corruption and other international topics. He recently authored the best–selling book, The R.A.T. (Real–World Aptitude Test): Preparing Yourself for Leaving Home (Capital Books; 2001).
Who we are
Established in 1999 by the American Bar Association Central European and Eurasian Law Initiative (ABA/CEELI), the CEELI Institute is an independent, not–for–profit international provider of post–graduate, professional legal education located in Prague, Czech Republic. The CEELI Institute offers intensive practical and skills–based training to judges, lawyers, in–house counsel, and legal reformers from various countries currently experiencing significant legal change, to help them meet legal challenges facing their particular systems. The courses taught at the CEELI Institute are designed to support the continued development of market economies, democratic values, and a respect for human rights. The instructors who teach at the Institute volunteer their time and share their knowledge as a public service, without pay.
What we do
Since opening its doors, the Institute has: •Trained over 500 judges, lawyers and judicial training center directors from 30 countries; •Conducted courses in English, Russian, Serbian, Albanian, Georgian, Latvian and Arabic; •Developed and offered courses in the following subject areas: •Judging in a Democratic Society •Judging in a Market Economy •International Human Rights Law •Law and Practice in the European Union •Benchbooks for Judges •Developing judicial training centers and programs •Intellectual Property Law (2005) •Competition Law (2005) •Anti–corruption (2005) •Courses in Criminal Law and Environmental Law are being considered •Utilized the donated services of legal experts from
America, Europe, Eurasia and the Middle East, with a value in excess of $2,000,000.
Iraqi Judges
Our existing financial support
The Institute is a not–for–profit entity founded under Czech law. The Friends of the CEELI Institute, a 501(c)(3) nonprofit organization, assists the Institute in the United States. The Institute received an initial, multi–year start–up grant through the U.S. Agency for International Development. Specific program funding and support for its building renovation program is received through government and international organizations (World Bank, OSCE, British DFID, etc.), as well as private corporations and foundations. Presently, a majority of the financial support for the Institute comes from private corporations and foundations. In addition to contributions by countless individuals, the following have provided or continue to provide financial support to the Institute:
•American Bar Association •Baker Hughes Incorporated •Baker & McKenzie •Ceska Sporitelna Bank (Czech Republic) •Charles Stewart Mott Foundation •Colgate Palmolive Company •UK Department for International Development (DFID) •Dwight D. and Vance K. Opperman Foundation •ExxonMobil Foundation •Foreign Ministry of the Czech Republic •International Legal Assistance Consortium (ILAC) •Kimberly–Clark Corporation •Microsoft Corporation •Miller & Chevalier Foundation •National Endowment for Democracy •Norwegian Refugee Council •Organization for Security and Cooperation in Europe (OSCE) •Pfizer Corporation •Pharmaceutical Research and Manufacturers of America (PhRMA) •Tyco International •United States Agency for International Development (USAID) •Weil Gotshal & Manges •World Bank
EVENTS AT THE CEELI INSTITUTE WINTER 2005
•Forty–Seven Iraqi Judges Attend Second Judging in a Democratic Society Course •Iraqi Chief Justice Madhat Al–Mahmood Visits Institute •Czech Ministry of Foreign Affairs Provides Funding for Iraqi Judicial Training •Institute Training Featured on Front Page of The Prague Post •In Memoriam – Judge Qaiss H. Al–Shamari •Institute Assists Latvians with Drafting of Criminal Law Benchbook •Czech President Václav Klaus Visits Institute •Phase Two of Gröbovka Villa Renovation Underway •Institute Secures New Supporters
With a grant from the British Government’s De–partment for International Development (DFID), and under an agreement with the International Legal Assistance Consortium (ILAC), the Institute held its second course for Iraqi judges in Prague, from November 26 to December 10, 2004.
The Institute’s second Judging in a Democratic Society course included Iraq’s first woman judge and two of her female colleagues. The Iraqi judges represented all parts of the country and all levels of the court system and were led by Judge Dr. Riyadh K. J. Al–Sadi of the Cassation Court in Baghdad. The Institute faculty included Justice Robert Utter (Chief Justice, Supreme Court, State of Washington, retired), Judge Judy Chirlin (Judge, Los Angeles County Superior Court) and Markus Zimmer (Clerk of Court, U.S. District Court for the District of Utah), with specialized faculty Dr. Ernst Markel (Honorary President of the International Association of Judges and Justice of the Supreme Court of Austria), Dr. Medhat Ramadan, (Professor of Law, Cairo University) and Christian Ĺhlund (ILAC Executive Director).
During the two–week course, participants discussed the role of a judge in a democratic society, judicial independence, court management and efficiency, international sources of law (with an emphasis on international human rights law), judicial ethics, media and the courts, community outreach and skills for judicial leadership. The Institute partnered with the Czech Union of Judges to arrange a court visit and discussions between Iraqi and Czech judges on the practical challenges faced by judiciaries in transitioning societies.
ABA President–Elect Michael Greco and Vice–Chair of the Czech Constitutional Court Eliška Wagnerová addressed the judges at the Institute’s graduation dinner. Attendees at the dinner included Institute supporters Patty Stack (President, International Women’s Organization of Prague), Borys Dackiw (Managing Partner, Baker & McKenzie), and Laurie Spengler, (Chair, American Chamber of Commerce in Prague). The course was visited by U.S. Ambassador, H.E. William J. Cabaniss; Iraqi Ambassador, H.E. Dhia Al– Dabbass; and Doug Allen, incoming Resident Legal Advisor, U.S. Embassy, Baghdad. During the training, the participants were hosted by the British Embassy and by the Czech Ministry of Foreign Affairs.
During the course, consultations with the Iraqi judges were held by Angela Conway, Director, ABA Middle East Programs and Lisa Dickieson, Director, ABA–Asia to enhance the assistance already provided by the ABA in the region. Professor John Hagan, Senior Research Fellow, American Bar Foundation, surveyed the judges during the course as part of an ongoing research project.
Gröbovka Villa
The Rotary Club Prague The Rotary Club Prague 2005 Gourmet Members–for–Members Gala Evening at Hotel Savoy International International
Karel Hampl, Treasurer Rotary Club “Prague International”, Marie Jehličková, Managing Director Intercontact Praha and Lenny Aardse, Artist
Frank Watanabe, Managing Director CR/SR Eli Lilly and Jaelee Watanabe From left: Miloslava Levická and Manfred Joseph, Chief Executive Office, ICZ with wife Hana
From left: Jacob Sadilek MSc, Member of the Board and Deputy Chief Executive Office Stavební spořitelna České spořitelny and Eric Best, Fleet Sheet Publisher
Heidi Franke, June Murray M.A., CCI From right: Eric van Dal, General Manager Hotel Savoy and Colonel José Warnez, Belgian Defence attaché, surrounding Anette B. Reissfelder, Management Coaching, Prague Coaching Club
Hospitality without Borders
The event “Quality for Hospitality Without Borders” has been organised by the “Culinary School of the Emilia–Romagna Region”, by the “road of wines and flavours of the hills of Forli – Cesena” and by the “Association of Emilia–Romagnoli” in Prague. The Italian community in Prague rallied under the slogan “The spirit of the new Europe: unite peoples, integrate cultures, harmonise the scope of the development” for a workshop followed by a gala dinner that took place on Thursday, February 3, at KAMPA Hotel, in the very heart of Prague. The aim was to represent in a snapshot the values, commitments and centres of excellence in the territory of the Romagna – the eastern part of the Emilia–Romagna region – to tourists and the economic and commercial operators of the Czech Republic.
H.E. Giorgio Radicati, Ambassador of Italy, in his speech
Natalia Zarembo, Massimo Bernacconi, President of Associazione Praghese Emiliano Romagnol, and Translator
Stefania Lopedoto and Domenico Lopedoto, Ditta Dosten From left: Mrs. Genny Radicati, wife of Italian Ambassador, Mrs. Asolka Maniscalchi and worldwide renowned photographer Rossano Maniscalchi
Cinzia Bernacconi, wife of President of Associazione Praghese Emiliano Romagnol and Dr. Silvio Gulli, Retail Manager Eni
From left: Massimo Masotti, Teniment Fattoria Ca'Rossa Bertinoro, Roy Berardi, Journalist and spokesperson, Pierluigi Maltoni Vladimír Vihan, Mayor Prague 1 and Eugenia Vihanová Massimo Bernacconi, President of Associazione Praghese Emiliano Romagnol, Testa Tristano, Real Estate and Italia Concetta, wife of Testa
leisure and travel NorthAmerican WANDERINGS
In summertime, it is nice to concentrate on things that we have been forced to put off, with a feeling of desolate necessity, during the rest of the year. Of course, especially during the summer, there are things going on all over world, but in 2004 we turned our attention to North America. Our goal was to visit several exhibitions which focused on art from the first half of the 20th century. Interest in this period is high and contemporary art is still influenced by these earlier trends. The interim between the two World Wars was one of artistic revolution that changed the way that we view our world. Figural, thematic, and realistic styles lost favor and were eventually replaced by totally abstract forms. Literature, art, film, and music mingled as one. The goal was for the emo–tions of the artist and the soul of the viewer to establish a dialogue - with both sides engaged in “symbolic speech” without the need for words.
1) JEAN COCTEAU – RETROSPECTIVE EXHIBITION AT THE MUSÉE DES BEAUX ARTS IN MONTREAL
“Friends, I forgive you,” are among the last words spoken by this most original of artists before his death. The extensive exhibition organized by the Pompidou Centre in Paris was devoted to this controversial personality – “enfant terrible” –and also represented a valuable cross section of art from the 1930s to the 1950s, of which Cocteau was undoubtedly a co–creator. Cocteau’s first attempts at average verses (which, by the way, he later deleted from his accumulated works) were hesitant, but the author soon found his footing and over time went on to create works of lasting value. The elegance and energy of his work kept him well ahead of his time. According to Cocteau, everything springs from Greek values and philosophies that are full of a strong, white light that conceals nothing. The artist draws universal inspiration from the very roots of our civilisation and is freed from the “sediment of two thousand years of sludge” by applying the ancient ideals to the modern way of life. As always, there is nothing new under the sun. Eloquence and timeliness are apparent in the titles of Cocteau’s works: “Blood of a Poet,” with its historic mirror scene; “Beauty and the Beast,” filmed with Jean Marais; “Ophelia’s Will,” “Opium,” “Les Enfants Terribles,” “The Young Man and Death,” and “Self–portrait Without a Face.” Cocteau was influenced by his careful selection of artist friends including Picasso, Proust, Diaghilev, Modigliani, Piaf and others who he closely consulted about his work. Rebellion was a fundamental value for Cocteau: rebellion against convention, against snobbery, against stupidity, and against false morality. Evil tongues accused him of fighting all of his fundamental battles in the “featherweight category,” but no one denies that Cocteau was a catalyst for his time and the creator of several masterpieces. He was an artist who made our dreams come true, broke down the borders between artistic trends, and seamlessly transformed antique culture into a contemporary form. His work did not reproach the confused viewer; rather, Cocteau posed questions that the audience must answer for him– or herself, thus becoming part of the creative process. Cocteau was a powerful force on the culture of his time, but interest in his personality ebbed away and even his almost pathological desire to always capture attention turned against him. The result could be heard in the cruel words that Diaghilev aimed at him: “Surprise me with something new….” “Cocteau was great”, said T.S. Eliott to Stravinsky in 1951, “but I had the feeling that in his eyes, our meeting was some sort of test for a more important future conflict.” Cocteau saw this encounter differently: “Why should I waste so much energy convincing philistines of my genius? Fame is the worst possible mistress.” Although Guillaume Appolinaire proclaimed him to be the “King of Poets” and wrote about his uncanny ability to uncover the "cleanest truths," Cocteau failed in his ambition to be declared the greatest French poet of the 20th century. Even though he died 40 years ago, the significance of his work in many different areas (poetry, literature, film, drawing, music, and ballet) continues to influence contemporary art. His confident drive remains relevant to our world and to our lives.
2) THE MONTREAL JAZZ FESTIVAL
It is a refreshing change to plunge into a whirlwind of jazz after pondering the “unnatural lies” hidden in poetry and the “deceptive truths” in philosophy. Jazz does not pretend to be something that it is not and unabashedly draws you into its narcotic rhythms. Montreal in summer is the rendez–vous point for everything going on in the world of jazz, blues and Latin sounds. Over its 25 year history, this event has fluidly grown into the largest jazz festival in the world. Over the course of two weeks, countless concerts take place in one part of the city that is completely set aside for this purpose. A certain social democracy reigns, enabling everyone to enjoy themselves as they please according to their means at these formal concerts or at free open–air performances by no less talented, but only less familiar, musicians. The city truly vibrates from the early hours of the afternoon late into the night. Stars of the jazz world perform in several multi–purpose concert halls which, despite their size and relative austerity, manage to energize Montreal’s grateful public. Highlights of the 2004 participants included W. Marsalis, K. Jarret, G. Benson, B. Mehldau, S. Clarke, the complex E. Gismonti, the interesting K. Jones, I. Ferrer of the Buena Vista Social Club, the ever–young Diane Reeves, O. Peterson, and C. Haden (who voiced his usual “political agitation” by signing off with the words, “Make sure that you vote!”). Night blends into morning for the insatiable and persevering jazz fans in the clubs – whether at official concerts or improvised informal jam sessions. The whole city swings and a huge mass of people from various nationalities mingle and joyfully relish in the temporary freedom from everyday cares.
Mr. Champlain in his wine cellar
3)BISTRO CHAMPLAIN – QUEBEC, CANADA
Man does not live by art alone, but also on bread – so it is important to pay some attention to our taste buds. We are sitting with our friend Peter, not far from Montebello on the shore of one of the countless lakes in Canada, after a very average lunch. Tired by the morning’s golf, we are brooding over what to do with the rest of the afternoon and where to work up our appetite for a nice dinner. We idly watch the boats and seaplanes landing nearby, innocent of the fact that salvation and a solution really can descend from heaven! I have a customer, recounts Peter, who is a pilot and owner of the Delco Aviation Company, which operates a seaplane transportation line. Let’s go and have a look at the landing, maybe someone there knows him. With the propeller still rumbling, the doors of a little plane open and the pilot turns out to be an acquaintance of Peter! We boisterously explain the coincidence that has caused today’s sudden meeting and the pilot asks, would you like a ride? I reply that we will accept on the condition that he, in turn, accepts our invitation to dinner. Where shall we go? I suggest Mr. Champlain’s, a bistro with a famous wine cellar, which is, if I am not mistaken, somewhere in this area. You are right – smiles the pilot – I know him personally and there is not better place for miles around. We can be there in 30 minutes by plane, flying over some lakes. There is no doubt that Mr. Champlain’s collection of wines is of an international standard and certainly one which I would like to have as my own. This energetic and unpretentious fellow, in whom we find an unusual balance of a lumberjack’s strength and the gourmet’s emotional subtlety, has devoted his life to top quality wines. As opposed to most others who only philosophize on the subject, out of necessity Mr. Champlain has actually tasted all these wines several times. He has managed to follow through on his passion and is one of the few who may declare without shame – “veni, vidi, vici”. Over the past 30 years in collaboration with his long–time friend, the Canadian painter Riopelle, Mr. Champlain has assembled a collection of wine that is unique in both quality and quantity (several tens of thousands of bottles) in his cellar not far from Montreal. The life of this man has been dedicated to the study, collection, storage, tasting, and continuous evaluation of wine. He was taking out bank loans in order to purchase new vintages and guaranteed the refund with those already collected. The bistro itself and the menu are interesting, but everything is immediately overshadowed by the unbelievable wine list the size of a bible which encourages the perceptive individual to enjoy deep contemplation. Mr. Champlain evidently found us worthy of attention and to our unconcealed delight invited us to continue our studies of his treasures in the cellar itself where the shelves are heavy with rare vintages. Especially worthy of note is the special section of three–litre bottles of top quality Burgundy legends such as La Tache, Romane Conti, Echezaux, and Richebourg. Each bottle has its own history, which Mr. Champlain describes with a conspiratorial expression on his face. After much hesitation, we choose a Montrachet “Domaines des Comtes Lafon” 1995, “Romanee Conti” 1991, and “Chateau Haut Brion” 1989. It would be pointless to rhapsodize over the near absolute perfection of these wines. We are thoroughly amazed and immersed in joy, but after a long and delicious period of suitably reverent silence, our conversation gradually begins to pick up again. We speak about abstract pictures of the recently deceased Riopelle and the inspiration which this nectar of the gods can give to us all.
4) THE MONT TREMBLANT GOLF COURSE
Summers are short in Canada and so are the golf seasons comparing to Europe. Thus, the golfers here are forced to exploit every single suitable moment and the perfect organisation in general is tuned to work smoothly. Playing golf around Montreal, you are likely to be on the horns of a dilema where to play as there are dozens of outstanding golf courses in the region. Every course offers new and surprising landscapes, with the obsession of their architects with the last detail. Two golf courses in Mont Tramblant, around 100 kilometers from Montreal, Le Geant and Le Diable might be qualified using famous Michelin guide expression “vaut le voyage” or deserves the trip. In some parts the fairways are as wide as a football stadium – Le Diable’s “football” hole no 13. In other parts of the course you are required to be extremely accurate because of narrow design. The peculiar thing about golf courses in Quebec is that all signs are marked in archaic French, such as “oiselet” for birdie or distances given in “verges”(inches).
5) BRANCUSSI – GUGGENHEIM MUSEUM NY.1071
FIFTH AVENUE AT 89TH STREET
The exhibition of the life work of Brancussi (1876–1957) provides a good representative selection of his creativity. The bold sculptor of Romanian descent who lived in Paris (it is said that he arrived there in 1904 from Romania on foot!) is characterised by an inquisitive approach to art where quality took precedence to quantity. He soon fell into the avant–garde cauldron of Montmartre, where he came into contact and discussion with the driving forces of the time such as Duchamp, Leger, Modigliani and Picasso, among others. After his early search for creativity, inspiration and wonder from the works of Rodin, he took his own original path. His fundamental approach was to catch only the essential in his sculptures and to not waste time with “background details.” He gradually focused his genius on a few basic curves and forms according to the principle of “depouillement total” or complete removal of all that is unnecessary (see The Sleeping Muse – La Muse endormie or The Kiss – Baiser). Brancussi’s work on the statue of “The Kiss” led him to discover 30 years later the “symbolic essence of form” (The Birds series – Les Oisaux) and he gradually concentrated on simplifying this as far as possible. “Ideal lines and curves” such as, for example, “the curve
Brancussi Head of woman
of a woman’s body”, are Brancussi's eternal artistic inspirations. Paris was undoubtedly the Mecca of the art world at the time and Brancussi gradually found fame and recognition there. By 1920 he was regarded as one of the greats in the field of sculpture.
6) MODIGLIANI, THE JEWISH MUSEUM NY, 1109 FIFTH AVENUE AT 92ND STREET
One of the most complete exhibitions dedicated to the con–troversial painter and sculptor, Modigliani (1884–1920) is an eternal reproach for a genius who was misunderstood in his own time. He lived in despair and his disordered and bohemian lifestyle ended sadly, but he did not allow his work to suffer as
a result. His paintings are full of joy and happiness and still speak to us after almost a hundred years. His avant–garde work is mainly focused on poetic depictions of faces and figures, characterised by very clean lines, elegance and masterful use of colour. Modigliani’s nudes are full of sensuality and boldly invite us on an adventurous journey (Invitation au voyage). This friend of Parisian artists such as Picasso, Brancussi and other greats of the 20th century, died of exhaustion at the age of 36.
Portrait of a Young Woman with Blue Eyes Modigliani 7) FRANCOISE GILLOT, NY
Our trip to NY absolutely had to include a visit to Mrs. Francoise Gillot, who is most certainly one of the important and interesting painters of the 20th century, even though as an artist, she lived for a long time in the shadow of her husband, Pablo Picasso. She is the mother of his children, Paloma and Claude. She is a personality with unbelievable moral strength, having survived all the whims of genius and flights of fancy of her husband, including suffering Marie Therese and Dora Maar. She studied and loved the works of Matisse, though she was inspired by Fernerd Leger. She quickly developed her own artistic style regardless of what was said or done in the circle around her. During their divorce, Picasso said: “There are many men with faults such as mine, men with quality such as mine do not exist! ” Her work, which she exhibited in all the famous galleries throughout Europe and North America, are represented in many private and public collections. She was one of the artists who helped to establish artistic exchanges between European art schools and the contemporary American art scene in the 50s and 60s. She also wrote the books “Life with Picasso”, “Matisse and Picasso”, “Friendship in Art”, and “The Fugitive Eye”. Francoise invited us to her studio/apartment on 67th street. First of all, we were not bashful in having a good look at her latest pictures. What will she come up with next? With an inquisitive look, Francoise strips us bare us as if we were giving confession. Time suddenly comes to a halt and we wonder at her ever–new ideas and the methods for bringing them to life, examples of which surround us. This energetic 80–year–old woman – whose age is, by the way, not worth contemplating – has been painting from early childhood. One thing is certain: her work will provoke a reaction in everybody who views it. She was an active participant in the artistic explosion in the first half of the 20th century where her contemporary work is rooted. Abstract expression and perfect composition of colours immediately draw us into her world with a kind of magical power. At the same time, the pictures evoke forms and feelings, which we seem to know emotionally. “In the technical world of today,” says Francoise, “the des–criptive function, which once belonged to pictures and drawing, has been fully replaced by photography, film and television, thus providing drawing with a certain amount of autonomy. It is interesting to paint mental objects or symbols as the art of composition is not figurative in its own right. I like using symbols, which allow a perceptive viewer to select the correct path to “read” my works and to establish an emotional dialogue.” With her abstract approach, some sort of ectoplasm always appears in her pictures, similar to Joan Miró, which tickles our brain a little and entices our thoughts away from the beaten track. The art of Francoise Gillot is symbolised by a sort of circle, which is closing again today. At the end of the 19th century, symbolism, which was a little too “book descriptive”, triumphed (for example, in the case of G. Moreau or O. Redon). But Picasso and Matisse had already absolutely refused to use symbols on their canvases and gravitated more toward “marks” in order to show us the direction of their thoughts. Without a doubt, this path toward a breaking down of “all that is unnecessary” was supported and followed by each new up–and–coming generation of artists in the 20th century. From simplification to simplification, modern painting gra–dually found itself in not–quite dead end streets with pri–mitivism peeking around the corner! At the beginning of the 21st century it would then be rather pertinent to ponder the idea that all this effort might have finished with some kind of massacre and whether a slight look back might actually provoke new impulses and directions. Lively colours refuse description with their wide strokes, but they speak to our subconscious with the aid of marks and symbols of a secret to which Francoise Gillot has most certainly found the key. By Joseph Drebitko ■
Iva and Joseph Drebitko with Francoise GILLOT in New York atelier
