ANIMA MUNDI ACADEMIA ART magazine 4th ISSUE, SUMMER 2022 by ANIMA MUNDI ACADEMIA

ISSUE 04

ANIMA MUNDI ACADEMIA Art Magazine / ISSUE 04 ISSN 2783- 6053 Publisher VSI ANIMA MUNDI ACADEMIA Curator & Art Director Zita Vilutyte iaf.animamundi@gmail.com Writing by Jurgis Dieliautas fenomenon@splius.lt ANIMA MUNDI ACADEMIA Interviews by Zita Vilutyte Collectors pages curated by Ricardas Jakutis Edition Vilija Salomaa Creative consultant Renay Elle Morris Designer Eva Fursalova Copy-writing ANIMA MUNDI ACADEMIA Operation & Distribution ANIMA MUNDI ACADEMIA Edition SUMMER, 2022

ANIMA MUNDI ACADEMIA 2022 – All rights reserved www.iaf-animamundi-ma.com www.iaf-animamundi-art.com iaf.animamundi@gmail.com ORIGINAL Edition of SUMMER 2022 is not responsible for the opinions of collaborators. Total or partial reproduction of any written of graphic content appearing in this publication or its online version is strictly prohibited without the express written permission of the publisher. Cover image: Hamidou Koumare (Mali), Title: “Dancer”, mixed media, 80 x 54 x 24 cm, 2021

ISSUE 04

Location LITHUANIA

J. Dieliaustas “Step and gaze”...........06

Juliet Vles (Switzerland)......................10 Alfio Catania Bruciovento (Italy).............22

Nonia De La Rosa (Spain)..............................30 Michael Grønlund (Denmark).....................37 Alias Lebaudy (France).................................42 Hamidou Koumare (Mali)............................47

50 56 60 68

SCULPTURE Michael Sasserson (Denmark)....................50

EXHIBITION J. Dieliaustas “Poetry and painting”....56

J. Dieliaustas “Vaide Gaudiesiute: An Extended Drawing of a Vision”............60

....................................................68

ISSUE 04

In the modern world, with the rapidly changing norms of the evolution of civilization, the special role of the individual in the public structure is also rapidly changing and strengthening, the problem of individual freedom and responsibility to society is becoming more and more apparent. The problem of personal freedom is now becoming global and is being addressed internationally. As a result, various “protective” legislation defining the rights and freedoms of the individual is systematically drafted and adopted. This is the basis of any policy in the modern world. Looking at a person’s freedom and responsibility, it is indeed not hard to see that freedom is not simply allowed, a person is liable for a violation of external freedom and law under a law passed by society. Liability is the so-called price of freedom. The problem of freedom and responsibility is important in any country in the world, so it is a priority, and finding a solution to the problem is crucial. The concept of individual freedom affects the philosophical aspect of life. Against this background, a rhetorical question arises: “Does man have real freedom, or does someone dictate to him ever new social rules and norms through which the individual finds himself in a maze of ever new rules and norms?” Above all, freedom is what an individual can consciously choose to look to the future and shape his or her behavior. However, society severely limits it through its own chains of various rules and regulations, which, through social systems, seem to help create a harmonious intent for the individual. But the human being is rebelling, and so life is beginning to seem worth living. Modern man is trying his best to destroy suffering, loudly demanding the destruction of death. There is nothing a person should obey. Existence is able to defend itself from pain, deception, depression. Indeed, for you to be human in this inhuman world, the least you can do is be a hero. However, modern man is only a partial phenomenon of the world, a partial manifestation of universal disorder. So it is not enough to “overcome man”, the goal becomes much broader, we have to “overcome the Universe”. When we rebel, we feel like we have something in us that wants to live and establish ourselves, something that we may not yet see and know. Blessed are those who always stand across the road ahead of time! After all, life is like an experiment, a leap into super humanity, an invitation to a devilish and divine dance…

Zita Vilutyte Curator & Art Director

...freedom is what an individual can consciously choose to look to the future and shape his or her behavior.

ESSAY

STEP AND GAZE Anima Mundi Academia Jurgis Dieliautas

Freedom is freedom of step and step. Not mechanical, not automatic, not armed with anything, freedom of walking, freedom of step rhythm, freedom of step style, freedom of bringing the gaze and opening the gaze. A step requires a glance, and a glance requires the course of a step, the course of a life and its own. Freedom is its own, going, performed in the course, but at the same time believing in the gaze, the gazes left in the footsteps of the gazes. Sometimes sharp, sensitive, sometimes dim and numb, tired glances. The brilliance of the step, the rhythm of the gaze, the echo and the vision, all in the freedom of visions and visions, visions and observations, in the freedom of self-creation and self-reflection. Step and gaze liberate, bring and meet, stop, disrupt, define places and spaces of freedom. The step and gaze of visual time presented, left, searched, and found. Step support, panorama of the gaze, it is a play of framing and framing, spontaneous and primary exercises. The step collected, found, patched and erected is the distance of the gaze, the perspective of the gaze. A step activates the gaze, aestheticizes the gaze of the gaze. The gaze directs a step into the realms of freedom. It all takes a walk, a look, a rhythm of step and gaze to check. Check it all out at the sight of empty and echoing corridors, park trails, anxious nights. The meditating rhythm is a peculiar step, a calming step, a silent step, a gaze trying to cover the path of images. It hurts to look at those who are in the dark, on the path of insomnia. You close your eyes as a gusting wind stops the steps. Dream dreams go away, dream scenes are left for themselves. The whirls of urgency, of haste, of urgency, of urgency and persuasion. There is always a progress reserve here. A waking look is always in its uncertainty, uncomfortable, in the threat of recognition. The distance that is forgotten, the tumultuous future that distance welcomes and invites you. Birds that have woken up before you will respond to your steps on the path of the park. They sing the melodies of morning love on top of naked trees swaying from the branches, in the branches. Because they are not afraid of crushing. The wind does not silence them. Step by step, a few more repetitive steps, the gaze wanders farther, into the distant, to the optics that just enter. After a few steps, other steps of intonation, in other glances it will all go away. Because the colors of the future will come of the future. The earth of step and gaze is the eternal present, the present of breakthrough and insight. Sometimes in harmony, when the gaze stops exploring, when it becomes sufficient for itself, then the gaze and the step come together. A disturbed gaze, a daze, an overview, it repeats, takes a step. To the spin step, to the reference step. Then a change of perspectives comes to life, a change of horizons moving away. Then the games of the sun come to life. Step and gaze sometimes coincide with the shadow. The shadows in the lazy note of the sunshine begin to step on their own. The gaze begins to throw, expanding its shadows. A thin painting or drawing line plays an intricate game with shadows. A difficult step, such a step can be a difficult decision. Because a step is also a solution. Sometimes a difficult step is a slowed down solution. Not a sign of fatigue, but just looking for it. The foot, the sole, the foot is looking for a solution that transcends itself. Because the venue doesn’t invite or pull, it doesn’t offer anything. As long as a hard and indecisive step improvises, as long as the gaze tries to blend into this place, nothing changes here. A difficult step is a pending step, turning there and there. Turning and not finding an answer again, not hearing an offer and an invitation. Step into here and not here. The delaying gaze spins the wheels, diving around all around. Here or not here, too, the drawing itself tries to define certainty. This lost and spilled color creates uncertainty. A hard step and a difficult look, waiting for new twilight, confused waiting. 7

Interaction of the eye, sight and steps, visual and tactile sensation as a creative action. The gaze is that open trace of action and impact, of certain visual effort. Sometimes we walk in the footsteps of the gaze, the footsteps of the glowing, the twinkling, the shining. But sometimes we look at the horizon of a step, in the definitions of a step. We walk, we walk, we march in an intelligent rhythm with the outlines of visibility. The step contains an overview, a circle of thoughts, a collection of senses. In the horizon of steps, in circles of discretion, in counties of vision, in the rippling of perceptions. Forgotten and abandoned steps, broken and crushed steps, remnants of reconnaissance. Drifting in step and gaze, distractions of thought. Aide of effort, in a hurry, a distant, distancing gaze of thought. In the gaze of the heavy, self-spinning wheels, the duration of the action, the duration of the interrupted thought. In the spotlight of the step, the line of thought in the oval of thought, the play of the loop of thought. An outbreak of the first step, a spontaneous, uninitiated breakthrough, a breakthrough of unknown direction, a stepping-up and a visible breakthrough. The eyes are straight and meandering in their own story, the step echoes in its own sequence. The visual history of the eye is history. The sequence of the step is already a visual saga, hearing, seeing the commandment, leaving the saga of precepts. Open step and closed, immersed gaze, minimal rhythm of vision and gait. Excited and excited sight, agile line of eye and foot, foot and sole, line of firm feeling. A drawing is an open passive reference, a notched, drawn, scratched reference. The suggestion of a step, the impending suggestion, is that “here and now,” that “sudden.” The suggestion of looking “there,” “from elsewhere”. A searching step, a missing, self-denying step, it is in search, in search of gaze, in potential lack. The eye is always looking for the rhythm of a forgotten, necessary, untraceable step. A step of fatigue, a step scattering the marks you need, a step looking for a continuation. Imaginative gaze, gaze of insights and reviews, opinions, and attitudes. There is a sequence of steps and there are steps in the sequence itself. The step of the stairs is an endless overcoming, overcoming sequences, shallows, and heights. The gaze glides in the space of change. Sequence is change, not always successful change. Change of steps, change of rhythm, searching for the boundaries of the gaze, parameters, thoughts stretched and scattered in the landscape. A step change in a stair step that does not recur, albeit in a descended step, in a slippery step. Followed by other, misunderstood and unimportant steps. The steps of the puzzle in change, in the course. The step copies the vertical of the gaze, climbs up, searches for the height of the gaze, the height measured with the feet. Tired fatigue in a moving vertical. Step by step and step by step. An unattractive and unattractive step. Always below eye level, always in effort. This is not a step of the hurdle. The duration of a movement is measured in steps, unfolded and fitted into a step, in a direct or only metaphorical step. In the step of review and exploration, in the step of sight. A broad metaphor is already beginning to operate 8

here. The metaphor of the step itself is just beginning to work. The metaphor of the step initiates all existing, possible, real and virtual insights, and reviews. And there is already an individual experience here, a personal step and a personal gaze. Looking at yourself and the other is a step in the solution. The step initiates the approach. Steps that accompany delay, impatient and unsafe steps. The gaze entered this square, the gaze turned to this street, the gaze left in the arch. There is an echo of distance, an echo of longing or joy in the step. A step to greet the rising morning sun before the gaze widened. Distance-measuring gaze, flash-measured gaze. The place is the intersection of steps and gazes, the place of scratching, the place of evaporation. Echoes of meetings and expectations in a place of intense change. Empty night streets and spaciousness. Step and gaze work again. The rhythm begins to operate again in the rhythm of its steps. Reduced steps of dusk, sublimated glances, a mood of return, an open application for yourself and only for yourself. Something else is not needed at all. Everything is in that step accompanied by dusk. Dizziness calms down a bit, falls silent. The step is a load, a burden to the eye, but the step itself is a rhythmic state. The whole visual being overwhelms and unfolds. A step surrounded by emptiness, a stimulus to fatigue. Without any environmental dizziness. A smile, a slight step-accompanied by smile. A step, like a changed look, has to change the language. Not only language but also movement is viewed. Without any artificial charm. Careful and unhurried, albeit a protracted step. Through the gazes of the city at dusk. It shows nothing more and doesn’t exist because nothing is needed anymore. But the step is nothing. Emptiness is just space. The step does not cost anything, because the steps are used to gather the gazes left by others, lined up, traces of the gazes. You enter yourself at least temporarily, you enter the inner rhythm. Step by step is all the other, secluded, forgotten insights into the city. The step requires emptiness, solitude, late twilight. The step has learned to keep quiet and not be disappointed in yourself. Back, back to yourself, with the full burden of excitement and bustle, sounds and smells. But who is that back? The step overshadows the steps. Philosophy on foot introduces us to another controversy that is inseparable from philosophy itself. Walking is a tradition known from the origins of philosophy. However, this book is not only and not so new to the tradition of peripatetic. There is a new variation in the tradition of seeing and thinking, thinking and touching, feeling and thinking movement. It’s not a jigsaw puzzle for recreational routes, not planned trips. The tradition of thinking is walked away on foot. Such a walk of the thinker here is not a purely philosophical path or path. There are walkers of step and gaze, passion or power walking.

Through authorial and biographical routes, lifecreating routes. Where there are many spontaneous, turbulent, unsafe, unregulated steps. Many irrational glances from personal tradition here. Therefore, these are not completely isolated or in some way usurped routes. The author’s simple, but emotionally suggestive, open rhetoric opens up and embraces a plethora of different steps. There are steps towards value heights, towards further coping and risk. However, there are also steps of withdrawal, withdrawal, permanent departure. Complicated and often complicated, sometimes openly conflicting steps. Such steps are dictated by biographical tensions and creative persuasions. Nonetheless, these are not exotic or chic, they are steps of individual choice and discovery. It is necessary, unsolicited, broadening, empowering, clearing steps. As already mentioned, the steps are glances, traces and signs, glances found and collected in passions, cultural exchanges, religious enthusiasm, poetic vision, social conflict, because the gaze has its traces. Philosophy is not just an experience and reflection in the era of walking, comfort and mobility, it is a broad and expressive philosophy initiated by step and gaze, the foot and the eye, their open and personal interactions. All authorship is walked and discovered, moved out of inertia and amorphousness. In the step, all possible and necessary foundations are awakened. 9

CREATOR

© PHOTOS BY: HERBERT TUSCHY / co. VAS Juliet Vles is a European multidisciplinary artist. Her oeuvre spans a period of more than three decades and includes painting, wall sculpture, drawing, print making, and installation. In her recent work, the artist increasingly abandons the notion of making images and rather sees her art as an extension of living architecture.

ZITA V.: What in life encourages or continues to encourage you to live in creation? J.V.: Truth to tell, I have never looked for encouragement as I never needed it. I seem to be the kind of person whose life is more or less predetermined. At ten years old, it was clear that I was going to be an artist – not a mainstream artist either (never was mainstream in my life, even as a child), nor the bohemian version (don’t mind sex, but drugs and alcohool make me terribly sick, so that option was out too), but rather the quiet solitary kind, like James Ensor or the Brontë sisters, who spends her life building an entirely personal oeuvre far from the madding crowd. Although formally my work may be very eclectic, after almost forty years of artistic creation, I would say that the whole of my oeuvre can be classified as Individual Mythologie. This may rightly be seen as an ivory tower attitude, but I still consider the ivory tower as the powerhouse of general resistance, clean thinking, and original creation (provided the windows are open and it has an internet connection!).

INTERVIEW WITH JULIET VLES

J.V.: I was born in Rotterdam in the Netherlands in 1950. Ten years later, my family moved on to Switzerland, where I grew up. Although I always knew I was going to be an artist, I had serious misgivings about the western art world that I thought was (and still think is) superficial and elitist. To stay independent, I held a lot of different money-jobs: as a saleswoman in bookshops, library assistant, dog educator, portrait photographer, social assistant, psychiatric nurse, and finally as proprietor of a framing business called the “Rahmenhandlung” – which is a German play of words and means, respectively, a shop making frames, and a frame narrative in literature. Although I really liked all those jobs, it soon became obvious that this did not leave me with enough time for my artistic work. Therefore, when I was offered the possibility to buy an abandoned farmhouse in the South of France for a song, I packed up and left. Since then, I have been living and working in the wilds of France for thirty years. This meant living in very straitened circumstances and without access to cultural centers. However, I consider myself privileged, as I am one of the rare really independent artists able to live off my art, without ever having to make concessions regarding my esthetic choices, nor concerning my political engagements, which I would qualify as anti-fascist in the wider sense of the word. This logically includes feminism, atheism, and the defense of animal rights. With the coming of internet and online galleries, my life has become much easier, mostly thanks to the US-based online gallery Saatchi Art, whose curators have always very generously supported my work. I have participated in many exhibitions, and today my works are sold all over the world. I also curated several exhibitions with the participation of artist friends as well as a manifestation against religious intolerance with Amnesty International. With the rising of fascism in France, I recently decided to return to Switzerland. At present, I live and work in a spacious studio not far from the German border. It is of course impossible to blend out the recent pandemic and the terribly absurd war in the Ukraine, but as far as my personal life goes, I still feel that I have a particularly efficient guardian angel, and am duly grateful.

(SWITZERLAND)

ZITA V.: Dear Juliet, introduce yourself to your readers.

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ZITA V.: How would you describe your creative process? (3*) J.V.: It is rather difficult to chronologically analyze my creative process as I never stop having ideas (all of them perfectly realizable) and never know where to start. Then one or two ideas take the lead by bloody assertiveness (I suppose this works like the run of the sperm to the egg) and never stop mobbing me until I start working on their realization, either in real time or on a computer. They continue to hassle me while I’m working and until I have finished. I’m never satisfied with the result, but if the work itself shuts up, I consider it is okay. They know what they want and they are usually right. Then the same story starts all over again.... ZITA V.: Tell us a little about your creative technologies, which are infinitely diverse and original. J.V.: Techniques do not interest me overmuch; it is the artistic vision that counts. Everyone can learn to draw as everyone can learn to write – but that does not mean that every person who can write is a great poet. In my case, it is mostly learning by doing. To make a wall sculpture, I had to become a carpenter, which I like a lot. Often considered as a sub-species of sculpture, wall sculpture is in truth an art form in its own right, and defined, not by its affinity to other forms of artistic expression, but by its interaction with the wall and the surrounding architecture. The glassworks are more delicate, and the balance between wood and glass (or plexiglass) is not always obvious. Nevertheless, I like using materials that do not easily fit, which gives additional tension to the work. Collage work is very satisfying, as the possibilities are infinite and chance plays an important part. However, my favorite technologies are computer and Photoshop, because they allow very fast multitasking. Over the last ten years, most of my wall sculptures have been built-by-computer, before being converted into wood, glass, and paper. Now I am eagerly waiting for a 3D printer that can be connected directly to the brain! ZITA V.: Being-self is that “being that can only be said to be a precondition of any discovery, beingdiscovery, not a detectable being.” Being has no uncertainty, no differences, no movement; it is firm, steady, calm. How important that being-self is to your creation?

J.V.: It is certainly true that my work has a strong spiritual connotation. I have often been told by collectors and curators that my abstractions make people, who enter the room, pause for a moment and just stand there and look, before taking a deep breath and going on with life. This short moment of absolute concentration might perhaps be qualified as the essence of being, and indeed the raison d’être 3

L136+L93 (INSTALLATION VIEW)

ISSUE 04 © Juliet Vles (Switzerland), Title: “L137 (RAD)”, mixed media collage on wood, 147 x 147 x 25 cm, 2022 16

of my abstractions is this key moment. However, I do not think that my line of action can be explained by philosophical, religious, psychological, or any other intellectual analysis, although these can profitably be used for the development of conceptual, political, or satirical art. In the beginning, abstraction in art simply meant the reduction of the physical world to its essential forms and colors. But somewhere on the way, the link to the material matrix got lost, or rather proved superfluous. Today, most abstract painters do exactly the same thing as their figurative colleagues: they paint what they see. Why they see what they see, and how the brain translates its intern and extern output into art, is a question that in time will be answered by neurology. Obviously, the answers will be very complex and depend not only on the artist’s personality, but also on his or her historical and geographical background, and perhaps on a more general «Weltgeist» that connects us all. ZITA V.: Something contrary to being-self is “nonexistence.” Absence is not the absence of being, but the denial of being to oneself, the affirmation of the content beyond the household. Looking at your abstractions, we can feel that you are unlocking the being that brings into your creation “no one,” a selfconscious “zero space,” in which knowledge begins. What motivates you to travel in those deep spaces in your work? J.V.: In point of fact, the “deep spaces” are my normal living-room and “space zero” my usual working condition as described under (3*). I often feel that my artworks make themselves and I am just the studio-slave who has to do the dirty work. This is all right with me. If I always knew in advance, what the artwork was going to be, I’d probably be bored to death. I do the preparatory work and start with the realization of my ideas. Eventually, the work takes over and goes either in my sense or straight against it. In both cases, the work is king. Blending out your own conscious personality might be the only possible way to make abstract art that transcends the personal limits of the artist and his or her environment. ZITA V.: Moving away from the materiality of the world in your work is like rejoicing. It is as if your works do not know the determinations, the socalled “necessities” – natural or social. Senses and consciousness are the only solid ground on which to rely. How important is the boundary between the “necessity” and the existence of this world in your work? J.V.: This is indeed an important question in my abstract work, as my problems with materialistic necessities are notorious and a real obstacle to my artistic vision. This is another reason why I like to use digital technologies, which sometimes allows me to circumvent time and gravity, my most virulent enemies. However, and in spite of my war with physical reality, I will never move

ISSUE 04 © Juliet Vles (Switzerland), from the glassworks, solaris 8 , mixed media, collage, glass, 150 x 162 x 8cm, 2018 entirely away from a material or even dominating plasticity and multilayered texture, that are, paradoxically, an essential premise to the spirituality of my work. This should be understood in the same way as our feelings about stones or trees. Although they have a strong and heavy physical presence, we often perceive them as “spiritual”. ZITA V.: An irrational person, living in the real world, lives for the future, but also lives for memories, sometimes suffocating in them. How important are those marginal states in your work, or are they at all? Is there only infinity that pervades a person’s entire life? How would you describe the importance of “boundary” states for the creative process? 18

J.V.: In an indirect way, borderline experiences doubtlessly have their place in the process of creation though they have no direct influence on my work. I never work under drugs, or even with music. But as my abstract work is purely intuitive, and its associations are seldom consciously explainable, presumably memory plays an important part. Not only my personal memories, either. Most probably, collective mythologies (as described by Carl Gustav Jung) will figure largely in the virtual storage of the artist. When, why, and how these are triggered may be an interesting question to the neurologists, but needs not bother the artist, whose work will not profit by him or her analyzing every neurological process.

ISSUE 04 © Juliet Vles (Switzerland), Title: “from transCerebral Cerveaulant ” , mixed media, collage on wood, 220 x 200 x 31 cm, 2007 ZITA V.: Watching your works seems they are protected from the strong influences of the external environment. Every moment is felt as a unique touch with the world, each new sensation is a renewal created by the energy emanating from the depths of the spirit. But when we look at your “transCEREBRAL” cycle, we have other thoughts. We live in an age where neuroscience is changing many things in our lives. Tell us more about this creative project, which seems to have been going on for years, and is still under development.

J.V.: You are very right in remarking that there is an essential difference between the abstract wall sculptures and the transCerebral work. Where my abstractions are purely intuitive, the brain-work is an

intellectual tour de force into the realm of sociology, anthropology, and satire. In this series, the brain stands as a metaphor for human behavior in general, that is not always as rational as you would expect of a homo called “sapiens”. In my opinion, the dramatic consequences of human misdemeanor are explained by the fact that, while our technical intelligence is very advanced, our social behavior has not really evolved since the times of the chimpanzee. My artistic incarnation of this evolutionary lopsidedness is the MyopicMastermind: a doctor Frankenstein of the atomic age, whose outstanding technical knowledge is topped only by his complete ethical ignorance. Moreover, what havoc modern technology in the hands of moral analphabets can wreak – that we are actually experiencing in real life...

ZITA V.: If you look at the current world situation, what you think is happening now, what is very important to everyone, what you, as a creator, see in the otherness of today’s world, it is not difficult to see that we are experiencing very unusual situations. J.V.: Yes, the world is profoundly changing. We are approaching the final decision of mankind: if we choose to continue being dominated by nature and follow the law of the jungle, or if we choose to become a civilized race, that stands for freedom, peace, justice, equality, and solidarity. If we do not opt for the second solution, then humanity will soon be extinct. Statistically, chimpanzees with atomic bombs stand no chance of survival. It’s as simple as that. ZITA V.: If you were to send a message in a time capsule to those who will live in a hundred years, what would it be like? J.V.: If we do not soon realize that ethical behavior has nothing to do with idealism or sentimentality, but is a sober, empirical necessity for the survival of mankind, then there will be no human alive in a hundred years to receive my time capsule. So my message would be short and simple: “Hi kids, happy to see you’re still there!” ZITA V.: Thank you dear Juliet for your answers.

ISSUE 04

INTERVIEW WITH ALFIO CATANIA BRUCIOVENTO (ITALY)

A multi-faceted Italian artist, he lives and works in Turin. With more than twenty years of experience in expressionist painting, and with a past as a professional photographer and author of some existentialist fiction novels denotes in the opinion of some critics a unique, almost metaphysical language between figurative and abstract expressionism, in expressing through painting an unmistakable narrative. His is a painting with extemporaneous tones, extraneous to any archetype, an instinctive and overflowing painting, a painting that in the mixed techniques it uses and gradually finds expressive tools as well as languages to validate and seal moments of dreamlike revelations between the real and the surreal with a decidedly original stamp.

ZITA V.: Introduce yourself to your readers. A.C.B.: My name is Alfio, but some know me as Bruciovento. Now I live in Turin, but I have lived in many places including Venice. I have been making art for more than twenty years after a period as a professional photographer. I studied Philosophy and Exercise Sciences. Two very different studies that allowed me a more objective world view. ZITA V.: What gives the inspiration to your creation? A.C.B.: I have always been inspired by the world I know, by current events and by the great mystery called man. From an early age, I understood that the world was not suitable for man and for this reason, since childhood we try to transform it with the imagination into a better world. ZITA V.: Which creative field is closest to you and offers the most opportunities to unfold? A.C.B.: I express myself more strongly with painting, I find it very concrete and material, and capable of revealing hidden senses in us without forgetting

that painting smells and the senses love this. But then our origin is in painting. From prehistoric times to today, adults and especially children are attracted to it, perhaps to try to color or decode existence or to leave testimony of themselves. ZITA V.: Where was the beginning? What inspired writing, painting, and photography? A.C.B.: We have all been inspired by the misunderstanding of the world, by the dream, and its freedom. ZITA V.: Tell to our readers more about your writing. Why did you choose this writing genre? Or maybe it was born intuitively? A.C.B.: For me, everything was born as a child with the awareness that creating, painting, making poetry, writing novels meant living two, three, four, a hundred times more. ZITA V.: Is the humane always subjective, or is the massiveness of the world – an “objective” existence in human power and without an objective goal? A.C.B.: The human is always subjective, because to deal with his own reason that he produces for his projects. His relationship is always the result of his perception, and his knowledge, and “knowing” means knowing how to evaluate. ZITA V.: In the eyes of you as a creator, the appearance of a man as a self-perceiving being in the context of your creation – is it a challenge for the whole, a division into a subject and an object: inside – into feeling, and reflection? Please share your thoughts. A.C.B.: Mine is a humanistic and emotional vision, and therefore subjective. We are conditioned by the time that passes ... me, my thoughts, my face, and my body change with age and so do my desires, my visions... We look in the mirror and it is us, but also not ourselves, and this upsets and confuses us, because in the end we don’t really know what we have become. ZITA V.: We often talk that now is the time when a person is given the opportunity to feel more than ever, what is your attitude as a creator to the current situation in the world? How much does it lead to the transformation of your creation? A.C.B.: A man will be able to progress only with technique, but not with himself... a man will never change unfortunately: he will always have to deal with the same problems, the same fears, the same confusion that have always afflicted him since the dawn of humanity. Another problem is that man is an animal endowed with speech and reason, endowed with future hunger, drives and bewilderment. Finally, I think of the phrase “Homo Homini lupus” wrote the great philosopher Hobbes in 1700, and I find there a great and sad truth. © Alfio Catania Bruciovento (Italy) Title: “Dream like tree” acrylic and oil on paper, 90 x 60 cm, 2020 24

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ZITA V.: Looking deeper, the world has no guarantees, the possibilities are indefinite, the being itself may not be absurd, it is indifferent, it has no human goals. If nature has any intentions, it is certainly not human nature. However, no one has yet shot fate. What do you think of this? A.C.B.: We have no guarantees of any kind, none that will save us from the final shipwreck and from the illusion called “Faith” where religions are nothing more than reversed anthropologies. The ancient Greeks had to invent myths to survive and what do we have to invent now? I only know that to live you need lightness and irony, you need beauty, you need to know how to be distracted well. ZITA V.: What would you like to say to our readers if you were talking face to face right now? A.C.B.: I wish I could tell them to live authentically with themselves, to dare, because in the end we are only what we dare. Doing all this with self-irony, surrounding yourself with beauty, even if in these days beauty has become almost relative. We would all need grace and lightness, and a little art can offer it to us. ZITA V.: Thank you very much for your thoughts.

CURATED COLLECTION

NONIA DE LA ROSA (SPAIN)

A journey through the heart of light when an architect builds with photons... Digital paintings by Nonia de la Rosa. The artwork of Nonia proposes us with an enigmatic question. Is she a painter, a creative designer, an artist? Or is she simply a sensitive draftswoman capable of expressing the movements of air, the color of the wind, the desires of flowing liquids and dreams like ether expanding into a poetry of the cosmos? If we could climb inside the spirals of cool blues, dizzy viridians, and religious lapis lazulis, which interpret secrets of lovers in the abstract figures that her powerful paintings contain, we would never be able to leave again. Her way of capturing the awe of space, full of dramatic metaphors soaked with sensitive meaning. The moon obsessed with the ocean, the crimson and amethyst, impregnated with passion like the sensual flower of a woman unfolding its carnal petals, revealing its deep warm twilight tones of desire to the man she loves. Interpretations

of emblazoned shapes carrying the eye towards a horizon full of living mystery and unsolvable Euclidean geometrical problems. Dreamscapes where the immortality of time is perceivable like an everspinning wheel; Unique and perfectly situated forms in a cosmic chaos, controllable only by a rigorous optical balance. Their kinetic movements emanate vibration, exquisite visual music. Vivid sculptures modeled as if by the fingers of a goddess. Her work has an overwhelming euphoric effect of pure oxygen, flowing onto our retinas and enveloping our brains in a spasmodic rapture of pleasure. Masterpieces of tangible energy existing in a dimension, which goes beyond our wildest imaginations. Nonia is gifted with the most sensitive of pictorial expression. Her ability of creating original worlds invites us to explore their labyrinths in an ever-surging process of evolution. Translation by Maria Bailey based on the artistic evaluation written in Spanish by Salvaloren

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ISSUE 04 © Nonia De La Rosa (Spain), Title: “Amor brujo...“, digital print, 100 x 100 cm

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MICHAEL GRØNLUND (DENMARK) The beginning In 2001, Michael Grønlund made the decision to “jump out” as a performing artist after 13 years as advertising manager in a large international company. His wife Bente had just started as a self-employed engineer, so a bucket was thrown into a somewhat more uncertain life. They chose to go on a well-deserved vacation or a “What-do-we-now-trip” to make plans for the future. The trip was to Tenerife. Bente was told by her coach to bring a canvas and some colors to feed her “square” engineering brain with something creative for the right hemisphere. Michael bought in, and also bought just one for himself. He had not painted on canvas since his time at the Academy of Free and Mercantile Arts, so he thought it might be fun to try again. One of the days, canvases and colors were found on the patio. However, Michael had forgotten to buy two brushes, so instead he went in and found a butter knife in the drawer. It turned into the picture on the opposite page. The picture was titled “GUANCHE”. They named their island “Chineche” – White Mountain – after the volcano Tiede. A human in their language was called “Guan”. “Guan a Chineche” was a man from Tenerife. It was contracted to “Guanche”. He gave “Guanche” to his wife after returning home. Her picture suffered a sick fate and she decided never to paint again. Michael, on the other hand, went completely into himself and for the next six months, he lived almost in the newly decorated studio.

Background The artist Michael Grønlund was born in Maribo on Lolland, Tuesday 26 May 1953. His parents were manufactory trader Eric Grønlund Thomsen and his wife Lillian Gertrud Kraschawa Thomsen. He had at that time a three-year-older brother Henrik. After five years, the family moved to Hvidovre, when the father had got a job as an advertising consultant / advertising designer at the newspaper Berlingske Tidene. With him was the family grandfather Jens Christensen, who had been alone the month before moving from Lolland. Jens lived with them for 10 years before he died at the age of 90. Before the grandfather’s death and 11 years after Michael’s birth, another brother came along, Thomas. When the father had time off, he always drew, while the mother did so in yarn dyeing, batik, and fabric printing as well as flower tying. The family often visited museums of various types, however, their special interest was in various art museums and galleries. It also turned into many visits to the father’s sister Ruth, who was married to the artist Knud Hvidberg. Perhaps this is exactly where Michael Grønlund’s real interest as a performing artist was founded. He loved when the coffee was consumed in his uncle’s studio. Also in the luggage is the story that the world known sculptor Bertel Torvaldsen and Michael Grønlund have the same ancestor, since Torvaldsen’s biological father Anders Grønlund, 1742 - 1807, was the son of Underfoged Grønlund in Holbæk, who was just Michael Grønlund’s great-grandfather. Anders Grønlund had an “illegitimate” child with the maid, and when it was not possible to marry during his stay, Underfoged Grønlund bought an Icelander to marry the maid. This Icelander was named Torvaldsen and was a sculptor. The mother called herself Grønlund until her death.

ISSUE 04 © Michael Grønlund (Denmark), Title: “Smoking Havana in Louisiana”, acrylic on canvas, 90 x 80 cm

ISSUE 04 © Michael Grønlund (Denmark), Title: “Dancing is happiness”, acrylic on canvas, 100 x 100 cm 40

ALIAS LEBAUDY (FRANCE)

Alias Lebaudy is à self-taught artist. Engraving Art made its way to his life by accident. A simple mistake while ordering “canson paper” took him by enchantment in a New world. In front of him stands a black board an engraving card of an absolute black color hiding a virgin white layer. It was up to him to scratch the dark matter, find words, put his soul into it. So many riches, so much baseness accumulated in one existence. This existence to finally put, spread like a perfume of eternity, on the designed matter. So many scratches, as hazards of life, to embellish, to render as arabesques, to magnify. Faith, hope on the tip of a blade. Serenity of the one. Affected by her dreams. The artist will humbly say of its art “what a majestic coincidence to have found the extension of his eyes, his hand... himself.” 42

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HAMIDOU KOUMARE (MALI)

Hamidou KOUMARE is a young sculptor painter who lives and works in Mali. A graduate of the National Institute of Arts (INA), he entered the Conservatory of Multimedia Arts and Professions – Balla Fasseké Kouyaté in Bamako, to continue his higher education in plastic arts, from which he graduated top of his class in 2014. We can safely say that Hamidou has found his calling in sculpture. He plays with materials such as iron, nails, wood, plaster, cement, clay, or even fabric, generally dealing with topical issues and living together. This vocation for art, he perceives it mainly as a legacy of his father: Mamadou Koumaré. An internationally renowned sculptor, the patriarch is the author of several monuments in the Malian capital, including a stele dedicated to the illustrious writer and man of culture Amadou Hampaté Ba. Drawing an important part of his inspiration from female dance, Hamidou gives priority to the intimate aspects of the female body. He transcribes in his own way the dexterity of the dancers, the flexibility of the figures performed, the feminine beauty quite simply. Indeed, for this artist who is deeply passionate about sculpture, feminine lines are entitled to representations, even of metal, as this material bends easily to his will.

This choice turned towards characters with generous and round shapes, is partly explained by the status it confers on women. For him, the woman is LIFE. “If you take care of life like your wife, there will be fewer problems in the world, “ he says. In addition, whether she is “mother, sister, or wife, the woman is more mobilizing in many situations compared to the man, “ he adds. Since these first workshops in 2008, these trips to Europe, Asia, and other African countries, to these recent creations in 2021, Hamidou KOUMARE has come a long way. Moroever, the artist intends to continue on this momentum, in order to always offer us a discourse that is both committed and poetic about our society and its living forces.

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SCULPTURE

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MICHAEL SASSERSON (DENMARK)

Art school in Aalborg trained social educator independent artist in Bosat St. Brøndum A VISIT TO THE ARTIST MICHAEL SASSERSON If you come to Denmark You can take a trip to Brøndum, a little village of Rebild community. Here lives Michael Sasserson – the city’s artist, whose preferred materials are wood, soapstone, bronze, and aluminum. The surroundings are marked by the

fact that a bachelor lives here, who does not go into much detail in either decor or garden design. He, on the other hand, is deeply preoccupied with the possibilities that lie hidden in the individual things. On the way into the garden, we pass a meter high horse’s head carved in wood. “I’m working on that at the moment,” says Michael Sasserson. On a covered terrace stands a table filled with the artist’s projects. Many things are happening at the same time. Here is “Mother Earth,” which has almost become Michael’s signature figure. It just needs to be sanded and polished. 51

PLOWED FROM THE LOCAL SOIL Curiously, you are led on through the garden to Michael Sasserson’s workshop. On the front door hangs “Elder” – one of the figures from Norse mythology. During a visit to Udgårdsloke, according to the myth, Thor was challenged to fight against Ælde i.e., old age in the form of an old crooked wife. It was an odd battle that even Thor could not win. Sasserson’s sculpture consists in all its simplicity of a large piece of bog oak, which was plowed up on a nearby field. The couple, who owned the land, handed over the find to Sassersen with the words, “that he could probably find out to use it for something”. When the piece of wood was cleaned, a headless body stood out clearly. The head was subsequently found by Michael Sasserson in a pile of alabaster stones. The two elements merged in the figure “Old”. We move on further into the workshop. On the way we meet another “Mother Earth” with a “tail” on. “There has to be something to hold on to when it has to be sanded,” explains Michael Sasserson. He proudly draws attention to the many sacks of beer and soda cans. “67 remelted cans go to a Mother Earth figure, and it MUST be cans that are collected in nature,” he points out. Naturopath and artist in one and the same person! Outside the workshop is a giant tree trunk that has been cut into several smaller pieces. “I used one of the pieces for the horse’s head,” says Michael Sasserson, who has received good help cutting it up from a neighbor who has the right equipment, because such task requires more than just an ordinary chainsaw. “There are many good and helpful neighbors in St. Brøndum ,” says Michael Sasserson with a smile. A SPRINGBOARD TO ART Michael was born and raised in the port of call in the working-class city of Aalborg. It was a tough environment where fights and trouble between the neighborhood boys were part of everyday life. To get away from the bad company, Michael was first sent to Boarding school. After finishing school, he spent six months at sea as a ship boy on a ship that sailed Greenland. When he returned home, his mother had found an apprenticeship for him at blacksmith. A choice he himself did not have much influence on. However, it would later turn out that the craft education became the springboard to the art that ended up becoming his livelihood. He was trained as a blacksmith, and worked as such for some years until the 1980s, when he, like so many others, was hit by unemployment. It gave a new twist in life, which meant Michael Sasserson came to art school.

“Sitting by oneself, drawing and painting, it has been a place where I could immerse myself ever since I was a child.” 52

“It was a girlfriend who got me thinking about it, but I could also feel that I was looking more and more in that direction. Sitting alone, drawing and painting, it has been a place where I could immerse myself ever since I was a child. “ At the art school in Aalborg, Michael Sasserson gained insight into the basic techniques around colors, materials, sketches, and graphics. After 4-5 years at the art school, he was employed at Aalborg Historical Museum, where he as a draftsman had to reproduce finds from the Viking Age. Here Michael Sasserson learned to look at things in order to reproduce even the smallest details as accurately as possible. “I was eventually vomiting over sitting and drawing potsherds, but this is where I learned a lot. I sensed the excitement that even archaeologists experience when making an exciting discovery. There was room to philosophize about what things might have been used for. In that field of tension, I could feel that one could meet in art. “ GREENLANDIC CULTURE AND MYTHOLOGY Michael Sasserson’s girlfriend had a disabled child, a girl he cared about a lot. The company with her turned something on in him, which made him search for a new direction. By complicated detours, he ended up at Seminarium, where he was trained as a social educator. After finishing the studies, Michael got a job At Kofoed’s School in Aalborg. Michael Sasserson came to work with the Greenlandic users, and through them he got to know the Greenlandic culture and mythology, and he came to work with soapstone. “This is where I really started making sculptures,” says Michael Sasserson. Here the artist was born. DISCOVERED BRØNDUM It was a summer of Camping in Rebild, where Michael Sasserson explored the area’s nature and culture, which opened his eyes to the Rebild community. It dawned on me how much this area has to offer both culturally and naturally. Here was an inspiring environment, so I had a hard time returning to Aalborg. With my girlfriend, I started looking at houses in different places around Rebild, but no matter where we looked, it was as if all roads led to Brøndum. So that became my home. Michael Sasserson became involved in municipal politics and in the civic association in St. Brøndum, which created a lot of contacts. “There is a big difference between country and city. Here in the country, you talk more together, you are in many ways closer to each other and more helpful to each other, “ he said pointing the mover how great the helpfulness is in these corners of the country. There was not one thing that Michael could not get help for or could borrow. If it was the tractor the farmer was sitting on, he just had to tell. “I was just standing there like a big gaping question mark. If you mentioned that you were missing something, it usually sounded like that, I can help you with that, or I have one like that. “

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FROM SMALL TO LARGE A flirtation with the Vikings taught Michael Sasserson about wood, stone, and bronze as well as first and foremost the Nordic mythology, which he is deeply fascinated. Visits to Norway brought him around the Norwegian stave churches. “It is the craft itself, the way the Vikings have worked with wood, that fascinates me as an artist, and the culture in the mythological way seems attractive.” A small “men’s club” of Vikings from near and far moved into Michael Sasserson’s backyard, where they began working with bronze. Initially mostly smaller jewelry that was made in a primitive way with an old vacuum cleaner as extraction. A visit to a Bronze firm in Støvring it off turned upside down his life. Here a whole new world opened up for Michael Sasserson when he saw how large sculptures could also be cast in bronze. “It was as if the sacred fire was lit and it completely took over when I discovered that it was possible to make something much bigger than what we had been tinkering with in my backyard.” Here came Michael Sasserson’s past, which also benefited him when working with large machines and the casting process itself. Michael Sasserson began attending exhibitions and people bought his sculptures. Just as quietly, the thought of a future as a freelance artist began to creep into him, but at first it was not an easy way of life. GIFT TO THE COMMUNITY When Michael was able to celebrate his 50th birthday in 2014, he gave a gift to Rebild Community in the form of the sculpture “Mother Earth” made from remelted beer and soda cans found in the nature. The sculpture was placed by the stairs to the underpass under the railway at St. Økssø. It is the best gift I have given away, because every year 70,000 people visit Mosskov to go for a walk, so “Mother Earth” has suddenly became famous. It has given a lot of publicity, and has resulted in other tasks. Many of the things I have been involved in locally could never have happened in a big city. Here is a short way from idea to action to finished result. That is the difference between the larger and the smaller urban communities if you ask me.

By: MARIA OHRT-NISSEN, HENRIK BUGGE MORTENSEN

Anima Mundi Academia Jurgis Dieliautas

EXHIBITION

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POETRY AND PAINTING

An event dedicated to the interaction of poetry and painting took place in the AMA Migrating Gallery (2022, February) (Siauliai). The pretext for this event is the creative collaboration of the painter Ina Budryte and the poet Solveiga Masteikaite, the smooth and correct ingenuity of their work, the improvised ability of these two creators to complement each other orally and visually. This is how a creative or reproducing, drawing, casting, becoming, appealing, and improvising relationship meets as well as the worded, imagined meetings develop. The creative word appeals to the creative image and vice versa, the self-creating image accepts comments. The rhetoric of narration and representation turns into the rhetoric of exclamations, flashes, visions, and remarks. Verbal rhetoric responds, becomes a response to visual rhetoric. Poetry and painting are currently a creative response to the rhetoric of the spectacle. In the course of the event, in the open discussion, in the commentary of one’s work, in answering the questions of the participants, some important things were clarified. The word is heard as the primary word, the image of the drawing is visible, it is the primary relationship, the primary

opening of the reality of the drawing. Both authors correct and problematize the openness and experience of creation, offer to look for creativity in everyday life on aquariums, in stark eye, everyday verbal or visual fragments. Painting in its original style, the primary premise goes like poetry to the encounter with the world. Both rhetorical textures raise questions about creative perception and primary perception. Perception is then a complex trap, visual or verbal trap. A network of colors or sound captures and obstructs, captures certain intonations. Caught intonations are sometimes caught strings or threads. They begin to spread their visual and visualizing, often migrating sounds. In the author’s sense, otherness, alienation in itself, change and otherness in oneself are also hindered. Somewhere in myself I am different, different, unknown to myself. A creative verbal or such a color breakthrough, it is the appearance of texture, it is an obstacle, a barrier, a firewall. The poetic word responds to the spoken, consumed, usurped, deformed screensavers. A different, alternative, situational grasp is needed. In the field of creative action and creative interpretation, the grasp turns into a lintel or support, a defined frame or field of activity. The primary relationship between poetry and painting is a creative posture. She leaves, suddenly taking herself further beyond any formalities. The fast and incoherent language of the media, endless fragments or paraphrases, sluggish corrections, stagnant repetitions, duplicate replicas, are all works of poetry, but all this is at the same time an extensive work of painting. The drawing defines, bypasses, and at the same time brings the necessary intonation. The word creates exactly the same circle of understanding. Consequently, the necessary differences that have been argued and tried to establish for a long time are not here. Both painting and poetry problematize another important thing, the very existence of sensory language. Sensory language, a potential language seeking its ultimate articulation, a vibrating and flickering language, is not brought directly into universal language. There is no exact translation here, only endless improvisation, at the same time only self-seeking intonation. The same happens with the language of painting, with its utterances. There are threads in the drawing that approach the word threads. Verbal and color ringing look for consonances of everyday expression.

herself uses different techniques to show, demonstrate, and adjust the possibilities of abstract expression. In addition to such, direct pictorial-technological controversy, a different field of controversy is visible here. Another field of pictorial controversy is the aporias of mediative social expression. The confusing, influential, doomed lines of reality damaged by endless development are varied and diverted by the author, directed in completely different directions. Expressive and intense visual narratives, in which the author finds and shows the way in a drawn route. Her drawing route, the strategy of her chosen drawing, is a drawing strategy of interchangeability and acceleration. The strategy of exchange is enshrined here in paraphrases of neurotic density, psychotic exclusion. The density of neurotic routes, the density of obsessive statements, the density of crooked visions are the densities of cartoon life. Following the path of the neurotic line, she unexpectedly presents a slightly different version of popular neurosis in her drawing. In the erroneous intrigues of fear and fear, she finds a line of thought and liberation. In the planes of psychotic expression of the drawing, it takes us to remote places and places of exclusion. A new path of liberation opens up from those contaminated visions, from those distorted fragments, from those masks and grimaces. Our intrusive and naive reality, the visual, expressive confusion of our viscous everyday life, the intrusive visualization that mediates ourselves, the traumatized and stigmatized escort of visions. Such is the power of drawing that leads and does not mislead the power in the conventional confusion of playing games. In the inevitable and only horror-inducing noise of rhetorical separation, eroded, scattered by the scare of communities and comrades, the masquerade of magnifying and zooming out, cracking, cracking hysteria, one or another obscure line is felt everywhere. The development of alignment is not directly understood, not immediately mastered, cracked or flawed, cracked, crushed. The line is dislocated, immersed in excess flows. To find all those lines, to understand it all, it takes a line of influential drawing of a different nature, with a different tempo and a different intonation, a resistant line. Such a support of the line, such a support of it, it overcomes all compositional collapses. A paper drawing, it comments, it treats the variability of the linear world. It accepts and manages intoxicating moments of visual collapse.

The cycle of Ina Budryte’s works, aptly named “Fallen Cats”, greets us with a mixed painting, immediately turning us into the whirlpool of her pictorial expression in a few different ways. But such a drawing is conditioned by several different visual intentions. Her authorial drawings introduce us to the planes of different controversy. One of those planes is visual controversy, a pictorial discussion with dominant discourses of abstract expression. Here, the author

Solveiga Masteikaite’s poetry book “Lunch Middle Nowhere” stops and disturbs us, makes us wander in the totality of self-creating fragments, images, and paraphrases. In a smooth and distant creative whole, the author hypocritically and at the same time chronically introduces him to the struggle of words, to the planes of expressiveness and positiveness. On the other hand, such a poetic strategy introduces us to a self-creating half-way, to the half-

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way of excessive linguistic, persuasive, verbally stopped chic. Poetry leads to different planes of linguistic visions, actions, and mountainous lusts, to intricate environments, to hallucinatory environments. There are many different poetic actions here. But everywhere there is that intense, ironic expression, the most trustworthy. That confessions or openings do not turn into puzzles of sentiments that memories, dreams, visions do not become only protocols. There are attempts to describe the confusion and disorder acoustically and visually. It is an attempt to hear in different ways what is flowing through mediated noise. Common and intertwined situations, when completely different reserves are found within. The reserves found are a poetic, aesthetic excess. It’s just like openings, graceful openings. But basically a completely different situation is seen and heard here. These texts are airtight in the intonation sense. It is necessary to catch and discover the appropriate, nuanced, well-balanced intonation in the utterance. Proper poetic intonation allows you to hear visible, perceptible ambiguity, constant skipping and inconsistency. Many poems are based on a guitar and an improvised poetic inquiry. A set of rhetorical inquiries, a set of poetic questions, and the endless controversy that ensues. Controversy with artificial immersion, conventional statics, with the prerogatives of absurd conventions. When poetic insights are heard that transform that normal well-being, and a new feeling allows you to redefine your being, to find new names in your being. Sometimes these are long, long and patiently repeated names. An attempt is made to recapture the current situation or to catch the situation with a peculiar poetic utterance. The saying turns into a poetic fascination. A paused or cracking saying becomes a frame. Dreams or visions, altered forms of consciousness, ecstatic fragments, it is an increasingly poetic controversy with forced speech, a struggle with a language that no longer says anything. In this way, the discourse of language is rediscovered, which sometimes becomes a poetic rite or a mesmerizing act, an ironic incantation. Rapid and unexpected situational change, new power, and slowed-down ironic generalization. He is in no hurry to say it all of a sudden, he has not yet heard it. There is a common situation of spontaneous change. In some places, there are ironic stories that require patience. Poetic irony seeks to break down ordinary boundaries, to dismantle unfortunate orders in order to find ways to convey one’s self, one’s own statement. The feeling of liberating, emerging from the restraining plaques of experience. The goal is to expand oneself in the senses, to reassemble oneself, to reconcile oneself. There are open poetic replicas to an incomprehensible reality. From those replicas, from those customary

Poetry is our primary, already self-creating, directly existing mythical relationship, as it is a condensed, condensed relationship with the world of all our influences and needs. A thick relationship is always a thick visual or verbal relationship, a complementary relationship. It introduces into the density of the world, into the density of meanings and expressions. To the ignorant paths and to the creative, self-destructive path. Painting is a capture of the density of the world, the cross of the world. The compressed ratio is a dense color and at the same time light, sometimes a fragmented section of intensity that turns into a medium of action. The cross turns into an intersection and metabolism of effects. The whole visual destiny is fulfilled here. Another verus is all this creative left. This is the favor and preference of the moment. When favorable creators meet, in this case the creators, they bring them, with their intensity and declared intensity, to the place of the world, an open place, an intense place that does not have the usual cartography. Such a pointing and telling place is the place of our primary relationships, our spontaneous interactions, verbal and visual influences. A place where it is difficult to separate surplus from shortage, waste from savings. Crosses of words and lines, intonation twists and turns, these are the twists and turns of life that have caught us. The primary relationship is that relationship that is already included,

introduced, invited by someone, the relationship of tense intonation, swaying, vibrating flow. The primary relationship, the initial situation, is a situation of awakening, retreat, perception. In an environment of mediated siege, mediated destiny, re-establishment of mediality, universal notoriety and coercive knowledge, it is here that that provocative, self-initiating drawing, its phrase, its opening is needed. Poetry expresses it in its own way, painting shows it in its own way, derives it from the omnipotence of appearance and imagination, from a simplified, primitive, artificially conventional obligation. In an era of coercive relationships, captivating and only institutionally visible relationships, artificial modernity, intrusive moderation, here, like nowhere else, is that fresh and original relationship needed, a word for self-liberation needed, and only a line drawn for oneself. Without any artificial archaic, without any despotic regulation. The primary relationship is a thread or line, phrase, or other route to a forgotten or dormant, mechanized, or reserved freedom. Freedom is a creative establishment, a selection that rediscovers itself. At the same time, it is a poetic and pictorial direction and performance. The creative tandem of Ina Budryte and Solveiga Masteikaite is an application, at the same time a kind of blink of an eye for artificial academism, institutional scientism, and at the same time eclectic despotism. The laws of control, often extreme or complicated laws, can be understood in the rhetoric of the poetic relationship. The sketchy, fragmentary testimony of the associative collaboration of both developers is full of renewal initiatives. The AMA Academy, a migrating gallery joins this search. The Academy is looking forward to new initiatives and applications, examples of a poetic breakthrough.

improvisations, one develops one’s own language. With inserts, with hearsay, quotes, voices. When one’s own language begins to sound, when it is already recognized, then the processes of transformation and translation begin. Then the ordinary language becomes completely incomprehensible. Finding fragments on a linguistic level, their poetic alignment, is the key to today’s hypermedia language. The everyday set of scattered and inconsistent phrases, the circumstances of rhetorical contradiction can all be turned into good poetic language. The primary poetic relationship, the poetic utterance, the performance of poetry, the recreation of the practice left behind, lost, dismantled in various communication planes. Connections of fast and schizical linguistic performances, emotional contradictions, unsuccessful phrases that have not found the addressee or achieved nothing, they are a self-creating poetic appeal. Mixed-style poetry, efforts full of different intentions, all say that poetry is more than just a fixed language. Poetry adjusts the usual articulation, looking for the beginning of the transformation of the inner language created by the exercise of creative controversy. Sophisticated and excessive articulation is an appeal to creative thinking that has its origins in poetry. Poetic incoherence is the key to unrelated, pulsating streams of consciousness. Poetry allows you to hear the words you say and forget in the sentence. The language of poetry speaks the language of impressions and images.

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VAIDE GAUDIESIUTE: AN EXTENDED DRAWING OF A VISION

The reality of what is being drawn and turned into a drawing is the development of art, the development of artistic mediation, the miative vision. The development of a vision is a continuation, a continuous and constant visual statement, a conceptual statement. It develops as if in itself duplicated, it hesitates on its own as the drawing itself stops the finite process, and only the process is completed, completed, completed. The drawing has already developed and is constantly evolving in its own right. The current or potential perception of perception has already been fulfilled, already created, in the completed development. However, the development itself is constantly adjusting the existing capture networks in the image of the drawing, re-networking and re-networking them, introducing and inserting new trap threads. This makes the drawing an extended drawing. An extended drawing is, on the one hand, a closed, hermetic, intricately intertwined system of meanings and meanings. Expanded drawing, on the other hand, is constantly moving closer to

ART CRITICISM

Anima Mundi Academia Jurgis Dieliautas

life’s historical drawings. Drawings are included in the stories of life, felt and imagined, become stories that become themselves and become something. The development of drawing in its direct or only derived confrontations, in the situations of appearance, in the field of images and concepts of appearance and proof, here becomes a peculiar mediation of the expression of painting. The confrontation of such an extended drawing is the confrontation with everyday random or culminating, pictorial mediation. Here is the intrigue of approach and distancing, here is the play of different areas and spheres. The drawing here is that expanded, potential, visual perception. A perception that is already tied to the perception itself, statics is tied to dynamics here. Approach here is related to approximation, problematization of proximity, approximation of thematization. Perception of a drawing is also a kind of distinctive and authorized approach to a drawing. As we approach the drawing, toward its expanded coverage, or just to remain, to survive, to retain the origins of intimacy, we still hope and believe in some generalization. We believe in an understandable and findable summary. But we believe even more in the generalizations that have already come true and are still coming true. We believe in end uses and compelling divisions. Although the drawing itself with its powers of expression avoids everything with its compositional allusion, because drawing immediately involves us in linear flows, in peculiar contouring sayings. In the format of a small drawing, in the frame of a small action, something else is fulfilled. The format accommodates and does not create unnecessary form conflict. Format rotation does not create unnecessary congestion. It was all in the framework of a complex, abundant action, because that is the sufficient basis here. The basis is based on the inclusion of images. In summary, Vaide Gaudiesiute’s strategy is that fluid and metaphorically volatile „The daily life of wings“ („Besparnie kasdienybe“). This is also suitable for the depiction and naming of a whole picture, because that is how it responds. Moreover, such a name,

which leads to a lot of things, is a good name for many other drawings. The ambitions of such a drawing are full of haste. The certainty turned into a chronicle or a report is not a stable and constant certainty. The utterance cries out a visual reference, an expression reference, thus a new concentration emerges. The reality expressed and generalized, the reality locked in the goals and conclusions, is looking for new references. In the lines of the drawing something starts to flow, in the intonations of the lines something starts to rain. The implied and expected outcome suddenly ceases to apply. We can no longer approach the drawing, because after looking close and in our knowledge, in our known closeness, simple things, known images suddenly become disturbed. Not because of interference, not because of visual communication noise. Due to the narrowness of different visions and visuals. Images without magnified or exceptional euphoria, stagnant poses, gestures. It’s as if it’s quite open drawings, but with a plethora of ever-changing visual notes within itself, in their content. These visual notes are breakthroughs, calm and consistent breakthroughs. The motif of everyday life here is a careful and meticulous drawing. But the longer you stay, the more you can see the constant change, the more you can see the change that stops us and meets us in a new situation. Metabolism is change, change, discrepancy, or overtaking. Historical change meets us with registered and classified statics. One motif suddenly escapes to another environment, another expression awakens in another motif, and the new expression is a new compositional coherence, a new vow. Because such intertwined, sometimes mixed narrative circumstances are full of visual changes. Changes of visual transformation, lined formwork transformation, plane floor. Full of metamorphoses, curiosities, hesitations, and doubts. Often there is that self-defeating drawing here. What we see here is what we find in these intense spectacles, it’s all like an extended drawing. A drawing whose development is influential is a layered development of many visual effects. In such a layered development, there is always room left for an important and magnified detail that stops the quick perception of the visual accent, of any intonational bend in the stylistics of the drawing. For a detail that is important, because it is not just a detail that complements the event, but sometimes overshadows the drawing event itself. The accent that stops is muted as if in a very scattered mode. Then we see a migrating, intonational hinge. Such a hinge of self-created intonation brings back, towards hastily left and insurmountable sources, towards a renewed effect. Every new return made by the bending of the drawing is a renewed perception. Sometimes, in its intensity, drawing draws its beginning. And this is the beginning of craving and inclusion, a source that has escaped from a fixed beginning.

Confusing aphorias, discursive situations, denied states, not only attention, but also the artist’s stylistic statement and visual statement. There is trust in the confusion of being, the self-correcting, self-complementing sophistication of stories. The visual intricacies of engaging oneself and the intricacies of the drawing itself seek one’s inner stories, the true beginning of one’s actions. Looking for minimal motives to start with. Without any imposing or provocative, obsessive display. The power of silent and hidden, scared, and scattered stories is believed and is drawn. It is visually believed and the drawing shows that there is no such thing as a strict start. Because in such sophistication, in such a flowable ornamentation of drawing, that multidirectional process is always established. The process as an appeal of history, as a correction of history, as a spread of different rhetoric. Due to such intensity, due to such visual surplus, the motive for the change of sizes is visible, the exchange of meanings of visions and at the same time their struggle. The self-depicting process of self-depiction is constantly visible here, where the illustration of something refines itself, moves itself. There is that kind of local definition, but something else works in such a local definition as well. On the other hand, a vital action is seen here that engages in or involves all other actions itself. Such an action is a stuck action, an action stuck somewhere. Stuck in a conflict of interpretations, an action left in the visions of concepts. Such an action does not break anywhere and is not in a hurry, it is always enough for oneself. Enough vitalism, enough energy emanates from this compositional vision. Stuck in a vital action, the coverage of the territories of events, their aporia, the practice, and the action of tangling itself, slowly swaying. Although it has already involved us, it has already noticed us and pushed us. Not only do we observe this action of the drawing, the action itself begins to observe us, the intricate and tangled images of this drawing begin to observe us. Begins to observe our attention, begins to appeal to our stagnant or inert power of perception. Often it is not only an intimate, but also a vertical extension of a drawing, an action above another action, from another action, a story next to another and from another story. We are greeted and unexpectedly surrounded by an intricate environment. There’re all such intricate surrounds and a little bit of a hasty refinement, some nuanced, reserved addition. As if such a drawing was corrected by an infinite action of memory, a tortuously lined action of memory. As we search intensely and actively for essence and center, we are suddenly activated by a motive of remoteness, marginalization, or fallout from somewhere. A motive that came from or appeared in another sphere, a different taxonomy. Motives that have reduced themselves and their intensity recede, intertwine into a minimalist, moniral narrative, motives left behind, or lost increase themselves.

ISSUE 04

Drawing Vaide Gaudiesiute’s settings contain a medium filled with images of stories. The medium of insects or beetles is known and recognizable from scholarly catalogs derived from scientist purposes and collections. What happens when an isolated, localized, surrounding environment suddenly moves to all other spheres? The zoomorphic medium begins to comment on social or historical motives that have disappeared or gone astray in their stillness and expressiveness. Such a zoomorphic medium comments on social or political history. The expression of the drawing, the appearance of the drawing begins to comment on atlases, chronicles, reports. The visual rhetoric of the drawing turns in a completely different direction, as if in the opposite direction.

Coverage gives us some ornamental hints. Sometimes it takes a different speed of perception to get around, to cover all the ornamental marks of the cathedral. The crawling perception of the beetle then requires a very slow grasp of organics, masonry organics. The beetle, as a commentator, must bypass and enter the demonic, mystical, sacral struactures of intimacy with its creepy gaze, creepy, creepy, inaudible step, low gaze. In those masonry textures, in those lines of the structure of the building, certain visual routes are broken down and formed. Sometimes not the flight, not the distance, but the crawling in the vicinity of the lines allows you to read the masonry texture. The step of the beetle and the gaze of the beetle, silent and inaudible sight. A step in its power, the zoomorphic dimensions meet the cultural dimensions. A stop or disruption is a meeting of different dimensions, different criteria. On the other hand, it is an attempt to actualize even more complex criteria with a drawing to create possibilities for the interaction of human and zoomorphic reality. The drawing is filled with manifestations of such possibilities.

Everyday life is endlessly different consciousnesses, endlessly different sensory intersections. Sometimes it’s excess and overload. Hwever, everyday life carries it all, it all floats. The visual capacity of everyday life, its burden, its course are the intricate linear connections of a drawing. Here is the reaction itself, which summons and invites a host of living, animal forms. In the components of the whole of the drawing, there are many shapes that observe each other and want to separate from each other. Sensory tropics, planes of different realities, connections of impossible, completely unstable stages. And all this is not scattered, all this is not some kind of contingency. Apparently, it

is a manifestation of the consciousness being drawn, a vision being drawn, a saga of complex expression, an expanded visual story that is evolving here in the flexibility of the drawing and its lability. Of course, it is the story of vision that engages or attracts different regenes, bringing many different representatives into such a field of fullness of drawing. Only such a drawing, only into such a drawing, only by introducing and placing in it a new visual element is created. The thread is sometimes just an intricate line of drawing, running down the rhythm of metaphors into different plots, instilling different collections and just edging. It offers flexibility and durability to the same structures and knots to different structures. The thread breaks down, separates from one texture, passes through different transformations, dives into the structures of change, and runs to completely different structures. Perception seems to stop at an ambiguous half-way, in an inseparable and inseparable equilibrium, where one becoming cannot exist without the other’s power of becoming. The thread flows into one verse, then dives into another exchange, but its current becomes temporary. The power of a thread in its pursuit, the power of a saga, or vision dives from one influence to another. The suggested line in the metaphorical route polemicizes with the pure line. The drawing is a thread paraphrase, a route paraphrase.

ISSUE 04

The metaphor of fog, the fog of the city, is also the metaphor of the fog of figures, the fog of the participants. It’s not just a fog of origin, not just a fog of origins or influences, but it’s a fog of curtains and partitions. The fog of the maritime city, the fog of Klaipeda city, where the fog of overhangs and changes, exclusion and subordination has instilled a set of different forms of fog. Therefore, there are so many forms that have left the usual subordination or moderation, or perhaps lost it, and so many participants in different dimensions who are figurative. A gift in a visual sense is a complex presentation, a presentation of a drawing, a presentation filled with semantic structures. The old gift, the gift as a gift, the manifestation as a gift opens here and at the same time the act of giving. This act of drawing leads us to the tasks of action. A gift, a gift in the form, its presentation is already a gift. The drawing itself, its cartoon form is a gift. A forgotten or somehow deleted act, an event that has fallen somewhere requires waiting to be revealed, to be opened. The metaphor of the chest offers a version as a presentation, a presentation in its oblivion not so much detached. Often the parts that are not at all, the parts that are not desired or desired, open up. There are completely different aspects to the gift field. The gift is waiting for its capacity and expects opening. Then all the capacitance bursts, all the self-destructive depth that bursts. A playground is a layered interplay of games where one game is initiated or usurped by another type of game. The narrow and cramped spatial, temporal area still accommodates and endures a variety of play. Learn and inherit, install and forget games, they are the cache of this game. Pleasant and rough, instantaneous and personal, domestic and metaphysical games, they are all localized somewhere, they are all delegated by someone else. The embedded components of rituals and traditions are forgotten games that seek their continuation in visions and dreams. They are a modal repetition, a repetitive one that cannot end in any way. The journey is the size and scope, parameters and criteria, dimensions and properties. Large journeys lose their consistency in their tension, in their own time, in their peculiar fatigue or in their entertainment, they lose a single implied direction. Their circle, their course, their bends create or recreate the experienced landscape. The size of the journey and its magnitude diminishes, collapses, breaks down, and then other, overlapping, dive-up, or slump-down routes stretch. Purposefulness and directionality get stuck, tired, only a drawing from the side.

The drawing that tells us, offering us the thread of our narrative, the visual narrative, opens up a visual arch, a confusing and intertwined, untwisted beginning. The media drawings of mimicry and mimetics, zoology and dendrology are paraphrases of our human lives, of human stories alone. The visual story we tell, with its

sophistication, suddenly begins to tell itself. Vaide Gaudiesiute’s bold, ambivalent stories are an open and subtle controversy with the new media. There is confidence in the sophistication and expressiveness, the rhythm of the line and the composition that leads to situational queries. The author believes in drawing atry to polemicize with uniform forms of drawing power. The initial and expanded drawing is a never-ending, open illustration of threads, commanders, lands, nets. 67

ART ANIMA MUNDI ACADEMIA

AWARD

ANIMA MUNDI ACADEMIA together with ANIMA MUNDI art gallery and international JURY organize

COMPETITION FOR ARTISTS ANIMA MUNDI ACADEMIA invites artists worldwide to participate in the International ANIMA MUNDI ART AWARD competition. We are open to photography, 2D digital art, video art, interactive art, painting, sculpture and installation art, music, dealing with new/various/different views and perspectives on subject matters.

CATEGORY: - Photographs & 2D Digital Art - Video & Interactive Art - Painting, Sculpture & Installation Art - Music Selected works in different categories will be published in our new special edition of ANIMA MUNDI ACADEMIA ART magazine with critiques. 6 selected artists will get interview in our magazine and possibility to represent their works in our online gallery for one year with promotion of our staffing agency. The winner will get ANIMA MUNDI ACADEMIA ART award and contract for promotion for 1 year with ANIMA MUNDI gallery.

For your submission and more Information first connect our team through email iaf.animamundi@gmail.com Deadline: October15, 2022

ISSN 2783- 6053

JULIET VLES (Switzerland) ALFIO CATANIA BRUCIOVENTO (Italy) VAIDE GAUDIESIUTE (Lithuania) ALIAS LEBAUDY (France) NONIA DE LA ROSA (Spain) MICHAEL GRØNLUND (Denmark) HAMIDOU KOUMARE (Mali) MICHAEL SASSERSON (Denmark) INA BUDRYTE (Lithuania) SOLVEIGA MASTEIKAITE (Lithuania)

ANIMA MUNDI ACADEMIA ART magazine 4th ISSUE, SUMMER 2022

Articles inside

J. Dieliaustas “Step and gaze”

Juliet Vles (Switzerland

J. Dieliaustas “Poetry and painting”