video ergo sum: Meeting Peter Campus
29th December, 6 pm/9 pm

Free admission. Booking is required.
Please contact: cineclubcanudo@fastwebnet.it [subject: “video ergo sum”]

Cineclub Canudo, the Cinematic Culture and Electronic Arts Association, is pleased to present the fourth edition of the Avvistamenti video festival, with the support of Regione Puglia, Provincia di Bari and Comune di Bisceglie and in collaboration with UICC (Unione Italiana Circoli del Cinema), Ethical Imaging Italia. The event will take place at Teatro Garibaldi of Bisceglie on December 28th, 29th and 30th, 2006.

This year the complete Peter Campus’ videography: from the 1970s to the recent video works; from 1995 until the present day. Peter Campus is considered a pioneer in the history of video art with a distinguished career that includes closed circuit installations, photography, and computer-based images. Campus mapped the technical and symbolic parameters of the emergent medium as metaphors for the self. After 1976 he focused on photographic and computer-based works. In 1997, after an interruption of almost 20 years, Campus has returned to the moving image with a massive production of new videotapes and video installation.

“In this recent works Peter Campus has found a pictorial language that does not employ words to narrate, but find his way under our skin by using brief, newly created sequence of images and a few carefully chosen sounds”. (W. Herzogenrath)

During the first two days of the festival, we will be showing the new 2006 video, never shown internationally and some video of the recent years in European preview.

On December 29th Peter Campus will be present and will meet Avvistamenti spectators during the “Peter Campus: video ergo sum” meeting. The meeting will take place at 6pm in Teatro Garibaldi. We're sure the meeting with the American artist will provide young students (from academies and universities) the opportunity to better understand his work and aesthetics. Every year we have had a great response from young artists who have come to take part in our festival and this will be an opportunity for them to receive important impulses for their future art works.

December 30th will be devoted to the “made in” programme, that aims to promote worldwide video artist production, with works never shown before in Italy. After England, Poland and South Chorea, this year our attention has crossed the Adriatic Sea to Croatia video production (Ervin Babic, Tomislav Brajnovic, Tanja Dabo, Marko Ercegovic, Nicole Hewitt, Renata Poljak, Vedran Šamanovic, Sonja Vuk, Vlasta Žanic) in the same programme with Apulia artists. As a result we will present two section called “Made in Puglia” and “Made in Croatia”, to promote the exchange of ideas, cultural background and experience between Croatian and Italian artists. The two sections will be shown the same day.

We’ll have the presence of the Croatian artist Tanja Dabo and the curator Davorka Vucic, that on 30th, 10.30am, will carry out a workshop and later, at 6pm, will talk together with Italian artists Rossella Biscotti, Luca Curci, EGO (Gaetano Accettulli + Vito Livio Squeo), Lucia Leuci, Mario Materia, Carlo Michele Schirinzi, hoping in future cooperation and collaboration.

The Avvistamenti Video Festival is organized by Cineclub Canudo, Daniela Di Niso and Antonio Musci, curated by Antonio Trimani, and it is made possible by to the following artists and curators: Peter Campus, Wulf Herzogenrath, Barbara Nierhoff, Tanja Dabo, Davorka Vucic, Kathleen Graves; and the following institutions: Università di Bari, Accademia di Belle Arti di Bari, Accademia di Belle Arti di Foggia, Kunsthalle Bremen, One Take Film Festival, Kino Klub Zagreb, Unione Italiana Circoli del Cinema.

Peter Campus
Campus is considered as a pioneer in the history of electronic art. In a distinguished career that includes closed circuit installations, photography, and computer-based images, Campus' work in video is distinctive in its theoretical and formal significance. In an extraordinary series of videotapes produced from 1971 to 1976, Campus mapped the technical and symbolic parameters of the emergent medium as metaphors for the self. This rigorous investigation of the psychology of the self was undertaken as a systematic, phenomenological exploration of video's essential properties and formal foundations. After the 1976s Campus has focused on photographic and computer-based works. In 1997, after an interruption of almost twenty years, Campus has returned to the moving image with a massive production of new videotapes and video-installation. In these recent works “Peter Campus has found a pictorial language that does not employ words to narrate, but finds its way under our skin by using brief, newly created sequences of images and a few carefully chosen sounds” (W. Herzogenrath).

See also:
Leslie Tonkonow Gallery: www.tonkonow.com/campus.html
Electronic Arts Intermix: www.eai.org

Lyon 2007
There are now 103 biennials around the world, mapping news that is growing exponentially, apparently renewable at will, and interchangeable. Flux is prevailing over singularity. One hundred and three biennials, 103 lists of artists, 103 titles... a biennial opens roughly every three days, and they cover one another. Their mechanics inhabit and generate a perpetual present, stretching to infinity. How, then, can a biennial still have critical authority? In 2003 and 2005, we opened a debate on this new form of temporality – firstly on the programmed future, and then on duration.
And now the debate continues: starting with the conviction that there must surely be a history to news and an archaeology to the news of news (the undifferentiated present), I invited Stéphanie Moisdon and Hans Ulrich Obrist to reflect upon this challenge and conceive the 2007 Lyon Biennial. Their ambition is clear: to open the century and name the decade, but with humour. The 2007 Biennial will thus be a game, played as it should be with the utmost seriousness; it will explore issues to do with players, of course, but also with polyphony and, especially, the essential place occupied by the artist. (Thierry Raspail - Artistic director, Lyon Biennial)

The 21st century hasn't yet begun, the century has to begin! (Alain Badiou)

The next Lyon Biennial of Contemporary Art will open on 17 September 2007. The project devised for this 9th edition by Stéphanie Moisdon and Hans Ulrich Obrist is a history book written by a number of people. The history of a decade yet to be named; of a present that is endlessly arriving.
The project is structured like a grand game, with rules for selecting and casting the roles; a game in which some 50 “players” from around the world are invited to invite an essential artist of this decade. The ultimate purpose of this game, in which invitation is the rule, is to produce together an original landscape, to rethink the format and grammar of contemporary art biennials, and to create living matter from the archaeology of now.
This history book, published on the occasion of the biennial, is both the project's origin and its horizon. It is conceived as a space open to different voices and trajectories. It will comprise essays by philosophers, critics and historians, and the manifesto texts of each player, centred on a particular vision of the present and of what is happening on the contemporary creative scene. The dynamic system which develops through the formation of this community, enables us to reach beyond generational, geographical and thematic axes and to shift the hierarchies and conventions of knowledge into a feedback loop.

Wednesday November 15, 2006, at 6pm, the Abitart Hotel in Rome will inaugurate la the exhibit Impossible, by Luca Curci and Fabiana Roscioli.

The exhibit will present to the public a collection of 20 video stills from the video trilogy Impossible by Luca Curci e Fabiana Roscioli Conceived between 2004 and 2006. Impossible language, Impossible love, Impossible garden. During the opening the video trilogy Impossible will be projected and the show’s catalogue, by Giorgia Calo’ and Micol di Veroli will be officially presented.

It was both the curators’ and artists’ choice to bring the exhibit to a public space generally not prone to art such as a hotel. The hotel hosting the event was chosen as the ideal location for an works of Luca Curci e Fabiana Roscioli on the basis of its sensibility and active participation shown since its inception. In fact, the Abitart Hotel has been since a regular venue for exhibits on painting, photography, and digital art.

Art shows in hotels are a constantly expanding phenomena in Italy and elsewhere. Thus, it is not a coincidence that the work of Luca Curci e Fabiana Roscioli has been shown recently during an acclaimed international video fair, DiVA, hosted by the Kube Hotel in Paris (October 2006).

Luca Curci e Fabiana Roscioli through their video art and video stills engage the viewer in a diverse observation on the theme of impossibility. The first of the trilogy, Impossible Language, manifests an intent to find a reunion, a balance between the body and the mind, a continuity between the body and nature, subject and object, body and spirituality, convinced that there is no model whose laws go without nature’s dictation. Impossible Love, instead is a representation of a non-place, a binary vision in a dimension where a body-machine tries to interact and communicate, a struggle between essence and absence, between contact and vision, between silence and emptiness. The latest video, Impossible Garden, presented for the first time at this very event explores the new frontiers of communication in an artistic universe of mutation, where new encounters germinate images, new technologies, ethnic cultures, plastic surgery, theoretical manifestoes, architecture and psycho-physical relationships between the body and spatial identity.

IMPOSSIBLE
Luca Curci vs Fabiana Roscioli
15 novembre - 9 dicembre 2006

Abitart Hotel
Via Pellegrino Matteucci 10-20, 00154 Roma
tel/fax: +39 06 4543191 - mail: info@abitarthotel.com
www.abitarthotel.com

Info
Giorgia Calò: 348 8938489 - giorgia.cal@gmail.com
Micol Di Veroli: 339 8467653 - micoldv@gmail.com

"The visual aquivalent to Hip Hop’s sampling techniques” - Lodown Magazine, Berlin Germany

"His works carry the profound imprints of Pollock, Basquiat, and Rauschenberg which are drip painting, graffiti, and collage. Differing from them, Jansen opts for the figurative" - Zurban Magazine, Paris, France

"The initial rush of activity that Jansen invests at the beginning of a piece is retained in the painting’s tangible sense of motion which, along with his use of graffiti-like colors, helps create his signature style" - Lifescapes Magazine, Los Angeles, California

New York native and leading Modern Urban Expressionist Marcus Antonius Jansen will be featured in issue (#54) with a four page indepth interview in English in LODOWN Magazine, Berlin Germany. Previous leading artists featured were John Powers, David Ersser, Futura, Ron English, Kaws, the Clayton Brothers, James Jarvis. The magazine is distrubuted in Japan, HK, Singapore, South Korea, Australia, South Africa, Europe, North America, Brazil, Argentina, Mexico.

Available Dec. 01.2006. www.lodownmagazine.com

This is an exclusive interview with the "innovator of Modern Expressionism" according to Jerome A. Donson (Director of the American Vanguard Exhibitions Europe 1961). Jansen, managed to convert his life from a Soldier in the Gulf War to a leading Urban Contemporary artist and self made entrepreneur depicting often times forgotten urban scenarios in our modern settings including elements such as graffiti art while implementing social and political truth. Jansen, listed in "Who's Who in American Art" marquis publication has appeared on French, LCI national TV and Fox 4 News TV this year.

He has been commissioned by Ford Motor Company as their Centennial artist in 2003 and has exhibited in exhibitions with art royalty such as Robert Rauschenberg. Jansen, is referred to in Paris France as the American "Pope" of Urban Expressionism and is collected in respected Galleries, Museums such as recently the Smithsonian Anacostia Community Museum in Washingon D.C and the National Taiwan Museum of Fine Art, Taiwan . He was also selected for the 49th festival, Société des Beaux Arts de Garches France that has a reception on November 13. 2006 and was crowned "Best in Show" at the recent Juried competition (Strange Cities), The Unique and the Unusual in the Urban Landscape at Cheslea New York's Gallery 27.

His soley committed Jansen Gallery is located in Paris France where Jansen is on permanent display for viewers to acquire and collect his work.

Marcus Antonius Jansen TEAM
A Leader in Modern Urban-Expressionism
Fort Myers, Florida (U.S.A)
t: 239.369.0846
f: 239.369.0846
www.marcusjansen.com
info@marcusjansen.com

A new event organized by International ArtExpo Group is another occasion for the public to share with international artists the major questions of the avant-garde thinking\art. This festival is a multimedia story on TEMPORARY CITIES with temporary workers&lovers with temporary identities&dreams.
The possible emergence of the temporary cities in the future will be based on the aesthetics of speed&nomadism, flexibility&reconfigurability. The trans-architecture of such amazing cities is an intimate fusion of space with light, sound, colours and virtual reality, focused on conceptualism, minimalism, happening, irony&urban phantasy. Such a ''Citta Intermedia'' becomes a net where people are free to express their temporary trans-culture, creativity&identity, a place where even time is a creativity matrix. But the loss of the center, horizon, natural, normal, even human, will contribute to a diminution of the role of the ego&history. A culture dominated by temporary cities will be a post-historical and post-literary culture. (Constantin Severin)

The River's Edge Film Festival is destined for greatness. Bringing indipendent film to the smart, arts-oriented, mid-american river town of Paducah, Kentucky is an easy transition to make. Paducah already has a burgeoning visual and performing arts scene, and the film festival is right in the center of this cultural hub.

The River's Edge Film Festival is a four day event built around the showing of quality indipendent film from around the world. Our focus is both on the film lover, providing multiple venues in which to experience the best the world of cinema has to offer, and on the film maker, offering opportunities for exhibition, education, and networking with contemporaries.

The festival will be held in multiple venues, including Maiden Alley Cinema, Market House Theatre and Yeiser Art Center, which are all within walking distance of one another.

"Marcus understands the language of Contemporary Art. His work is loose and spontaneous. I have been in many Galleries and Museums and good work catches my eye, so did his". - Jerome A. Donson, Director of the Long Beach Museum and American Vanguard Exhibitions Europe 1961.

Modern Urban Expressionism, is renowned artist Marcus Antonius Jansens first solo book release showing a collection of the artists famous "Lifescape" urban paintings that cross urban graffiti elements with sophisticated abstract expressionistic brsuhstrokes in mostly full page spreads and offers a biographical overview about the artists world travels and experiences transforming his life from a soldier to the visual arts.

Viewers will find, photos and a critical essay by Florida resident and Author/Art critic Gerri Reaves Ph.D “From Exile to Redemption in the ‘Prairies of Stone’ as well as Testimonials by Renowned Digital artist Laurence Gartel, former instructor to Andy Warhol on computers and fellow classmate of Graffiti artist Keith Haring. Special reviews by Monty Montgomery - President of the American Academy of the Arts Florida and Jerome A. Donson, Museum Director and in charge of the American Vanguard Exhibitions Europe 1961, that included artists such as (Jackson Pollack, Robert Rauschenberg, Willhelm De Kooning and many from the abstract expressonist movement).

The Jansen book, follows three other releases this year were Jansen was chosen be featured in. Otherbooks include: Famous Contemporary artists by World of Art Books London and Illuminations book, supported by Nobel Prize winner Desmond Tutu. Jansen was selecte among over 180 artists from 43 different countries in the world. The book, (printed 1000 copies first run) will be available through Jansens representing Galleries in New York City, Naples, Paris France, Los Angeles California, Ft. Myers and Atlanta Georgia as well as online book stores accessible worldwide.

Jansen will appear on FOX 4, NBC 2 News and WGCU Radio. For Museums, Bookstores, Galleries, TV media, Radio and organizations wanting to schedule book signings with the artist in attendance or who would like to carry the book, after scheduled book release on November 19th 2006.

You may contact us anytime for wholesale prices. Preorders are now being accepted!

Between now and September 29th save $10.00, only pay $39.95 for your signed copy available November 2006. Book retail after September 29th 2006: $49.95. Only limited signed copies available!

Visit Marcus Antonius Jansen online to get on our (preorder list now!) and see preview and more: www.marcusjansen.com or write info@marcusjansen.com

Marcus Antonius Jansen TEAM
A Leader in Modern Urban-Expressionism
Fort Myers, Florida (U.S.A)
t: 239.369.0846
f: 239.369.0846
www.marcusjansen.com
info@marcusjansen.com

Launched in Melbourne with the inaugural South 1: The Gathering, the South Project emerges as a five year artistic programme designed to cultivate and engage in cultural exchange across the southern region.

Reflective of the increasingly strong lateral relationships between Australia, New Zealand and Chile, the South Project will host its third Gathering in Santiago from the 3-7 October 2006.
Following on from the success of the New Zealand Gathering in 2005 the South Project has turned its attention to Latin America, before heading to South Africa in 2007. The Gathering will feature a symposium titled Crossing Horizons: context and community in the south, bringing together leading critical arts thinkers from Australia, Chile and across the south. Including South African curator Khwezi Gule, who will co-curator the pan African exhibition CAPE 06, New Zealand curator and art historian Christina Barton, Paraguayan curator Ticio Escobar, renowned Australian artist Pat Hoffie, Uruguayan artist Carlos Capelán and Mai Abu ElDahab, co curator of Manifesta 6, among others.

Crossing Horizons; context and community in the South, will provide speakers and a Chilean audience the opportunity to debate and explore issues concerning contemporary art practice in the south, particularly notions of translation, political activism in the arts, conditions of exile, alternative structures and collective practices. Whilst predominantly art focused, the symposium will also raise poignant socio-political concerns affecting the wider communities of the south.

To compliment the symposium a comprehensive artistic programme will feature at venues through out Santiago. The South Project will present its first international exhibition to be developed under the South Project banner. TRANS VERSA, conversing across the south, co-curated by Zara Stanhope, Senior Curator and deputy Director of Hiede Museum of Modern Art (Aus) and Danae Mossman, Director of the Physics Room (NZ), features the work of thirteen established and emerging artists from Australia and New Zealand including Maddie Leach, Daniel Malone, Tom Nicholson, Selina Ou, Brook Andrew and Ash Keating. All avid contributors to the Australasian art scene, these artists’ practices are firmly grounded by a local vernacular yet progressively outward looking in their attempts to explore the tenants and threads of lateral connections, migration, travel and modes of communications. Developing from the vision to engage and connect artists and audiences with art and in dialogues addressing our cultures, TRANS VERSA supports artists to respond to the locale of Santiago and culminates with work made during the project exhibited in three of the leading venues in Santiago; the Museo de Arte Contemporáne, Galeria Metropolitana and Centro Cultural Matucana100.

Gathering programme is now available online, and registrations are being accepted. Visit website for further information. www.southproject.org.

For all media enquires please contact:
Nicola Harvey
nharvey@craftvic.asn.au
Tel: +61 3 9650 7775
Fax: +61 3 9650 5688
31 Flinders Lane, Melbourne, Victoria 3000 - Australia

UPORT PERFORMANCE is an new forum for Performance Art founded by Angelika Fojtuch & BBB Johannes Deimling 2006. The Port as a place of constant exchange between goods and persons, a daily in- and export of values is the basic idea to develope a forum for Performance Art in the baltic area. In Art Performances the port is the human body which exchanges his inside values with the outside world.

From the 6th to the 13th of August the international artists and Performance Art teachers Angelika Fojtuch & BBB Johannes Deimling (more informations about the artists on the website www.bbbjohannesdeimling.de) will give an intense workshop with 14 students from seven different Art Schools and Art Academies from Estonia, Germany, United Kingdom, Switzerland and Poland in the Trojmiasto area in Poland.

During the workshop the students will discover their bodies and spirits as tools with which they will create ephermal actions based on personal subjects like: Identity, Faith, Exchange, Food and others. The students will transform their personal bodies into an universal sign, that transports a private message.

On the 12th of August 2006 at 19:00 o´clock the members of the workshop will show the results of the intense week in a final presentation in the art place Modelarnia in Gdañsk. “CUMA” (HAWSER) is the Titel of this evening and underlines the idea of art in motion.

PORT PERFORMANCE will realize several workshops in the future: for example in Tallinn (EST), Brest (F), Gdansk (PL), Tel Aviv (ISR), Valencia (E), Havanna (C) and other Port cities. Interested persons write a mail to PORT PERFORMANCE and will be informed about the next workshops.

PORT PERFORMANCE cooperates with FUNDACJA WYSPA PROGRESS (www.wyspa.art.pl), MEHR LICHT! (www.mehr-licht.org) and SAMISDAT.

Program.

19:00 Opening

20:00 Performances by
- Stephanie Auth (D)
- Maks Bochenek (PL)
- Dionys Damman (CH)
- Ines Dunemann (D)
- Linda Franke (D)
- Daniela Gugg (CH)
- Anne Louise Hoffmann (D)
- Nina Hofmann (D)
- Silvia Lorenz (D)
- Dorothea Meyer (D)
- Agata Anna Nitecka (UK)
- Roma Piotrowska (PL)
- Christian Rall (D)
- Fideelia Signe Roots (EST)
- Angelika Fojtuch (PL)
- BBB Johannes Deimling (D)

23:00 Bar & DJ Klaman Party

Gulay Alpay’s work displays delicacy and fragility, revealing a deep respect for something fundamental, some primal, indigenous sense of shape and color, yet she creates with bursts of contemporary idioms. Her paintings are playful, spirited, freeform and deceptively complex. There’s not a single corner, hard edged, geometric line to be found in her composition, instead the shapes are as fluid as the submerged sounds that fuel her imagination.
There are connections to Sigmar Polk, Arshile Gorky, Kandinsky, Pollock, De Kooning, and less obvious, Josef Beuys.
Alpay’s oeuvre is organic, her shapes biomorphic. In her latest series, she’s inspired to save the whales, but the images are part of the abstract motifs with occasional words and phrases that are distractions from an otherwise controlled, well-articulated, passionate technique. It has been ten years since Alpay was initially inspired by the songs of whales, and her work has become freer and more experimental since this point.
The fact that almost all of her work is on silk is itself a trademark, a signature. Some of the work is unframed, hung like a banner suggesting freedom of material and color; the form does not confine them. On the other hand, when the works are framed, she places a layer of foam behind them that stretches the silk into deeper curves, extending the shape and colors. This method gives it a playful, satirical, even Pop-arty, dimension. Like taking a piece of exotic tapestry or embroidered pillow case fabric and framing it to the wall, Alpay plays with the boundaries between craft and fine art. It is humorous and ironic, and in the end you take notice: you are surprised by its beauty and grace. (Abraham Lubelski)

writer-criticer-artist: Yilmaz Zenger
I have seen the paintings of Gülay the first time in New York in Broadway Gallery’s archive. At first glance the material used have confused my mind: Silk. Besides, it carried me to my own past, to the silky dresses we have produced with Güler Umur. They had been hand-painted. Painting silk is inister. It is completely different from painting on canvas. It is a must on dressings, but here why as a peinture? First I thought maybe Gülay expects a kind of experimentalism for the form of the painting. But, where it reaches now -in her own words- the transparency and light-reflect ability of silk gives value to the painting as one can look at the paintings both from inside and outside. Gülay finds her material special and valuable due to its thin transparent texture, reflect ability of light, hard to get wrinkled, easy going with silk ink, openness to the spontaneous surprises… giving opportunity and freedom for big scale works, being light and easy to transform… presenting different material choices from canvas… easy to exhibit and most of all the best for the things Gülay wants to show. She loves her material, and thinks about it as a magical material upon which she can reflect her spontaneous expressions of her energy and spirit immediately.

It is obvious that she doesn’t intend to present paintings in the ordinary way. The carriers of art objects aren’t considered important, we don’t put them in the design process. Gülay turns this upside down and gives the best place to the carrier. Thus her paintings take the long way till she gets her brush in her hand. Besides, she says that she finishes the painting in her head before she begins to paint with brush. She says she works very fast and without break once she begins. Her paintings approve this speed and continuity as well. The paintings define the needs as they appear. Forms appear, articulate in this process and the content is vowen just like a silk. As a result, this extraordinary speed takes her mind after her hand and the paint produces itself by almost being woven on Gülay’s loom. An orgasm with all spontaneous sensitivities out of will -colours, calligraphy, but under control by the experience. Almost a physical satisfaction. A sharp conflict between the material and the content.

According to Gülay, her last work is an illuminated, transparent painting room for her paintings. Well. This definition clears her analysis upon the painting and audience relation. The two dimension of painting follows another here in this image-carousal surrounding the audience where she arrived with her instinct of passing over of the painting plane. In short, this micro cosmos which have been formed by the differentiation of relations with the paintings, forms a 3rd dimension which the relations call a mental benefit into being. She says that there will be the sounds of whales in the room -the original recordings of Jim Nollman. The audience will be able to walk in and around the art object. I think that music is the right support for this 3rd dimension. The desire for painting big scales is like an emulation to the productivity of a documentary camera. The so-called space is a clear definiton, almost cinematographicaly.... In short these are her dreams on the projection of painting.

If we come to the content of the paintings of Gülay, I am afraid that my knowledge of perception and design will be out of service. I feel in a place where I m not totally competent and I can tell about my feelings in the name of being an audience.

She is a professional painter who have stabilized, completed her way of painting, in the literal sense. When it comes to the content of the painting, experimentalism have been pushed back where it had to be. The analogy in her paintings is a product of this dignity. Why she says that “my painting involves concepts beyond the classical senses of time and space.. It is as if there is more than one space and time and where one finishes, the other begins is also unknown’’, and why she tightly holds on to the two dimension is maybe because of the pressure of our traditional art. It is also possible to say that her effort for third dimension is also a reaction to this pressure. Abraham Lubelsky defines her position in the painting cosmos as playful, satirical, even Pop-arty and he adds "Like taking a piece of exotic tapestry or embroidered pillow case fabric and framing it to the wall, Alpay plays with the boundaries between craft and fine art. It is humorous and ironic’’, “There are connections to Sigmar Polk, Arshile Gorky, Kandinsky, Pollock, De Kooning, and less obvious, Josef Beuys."

Until 17 September 2006, Mamco presents a new sequence of exhibitions called Conjonctions, the sixth installment in the cycle « Mille et trois plateaux ». The 3500 m2 exhibition space at Mamco, Switzerland’s largest museum devoted to contemporary art, is having a make over, a new presentation that will include nine monographic shows.

Luc Tuymans, one of the most outstanding figures of the contemporary art scene, will be showing a selection of his portraits, which is sure to be one of the major events in this new summer sequence, along with a show featuring some one hundred drawings by the Swiss artist Silvia Bächli. Several entirely new works designed specifically for the Mamco space are also on the program, notably Anita Molinero’s sculptures and a sound and visual installation by Laurent Faulon. The Cabinet des estampes, Geneva’s print museum and a regular guest at Mamco, will inaugurate a series of shows devoted to conceptual and minimal art from the 1960s and 1970s with an exhibition of Douglas Huebler’s work. Also scheduled for this summer, a video by Alfredo Jaar, which the artist shot in Angola, along with a video by the young artist Denis Savary; a series of variations on a single motif, a beef carcass, worked out in 36 different paintings by Philippe Cognée; and finally the urban photographs of Jean-Marc Meunier.

Along with these temporary shows, Mamco will also be opening several thematic and monographic galleries featuring the museum’s collections, and publishing a collection of interviews with Luc Tuymans. In short, it is to be an eclectic summer program that well reflects the pluralism of the contemporary art scene.

Read more > http://b-swiss.com/mamco/PressReleaseConjonctions.pdf

The paintings of California artist, Mark Rodriguez will be a part of an international exhibition. Opening this month in Lecce, Italy. Curator, Dores Sacquegna created the Baroque Blu Project in mind to experience a common link between artist and what lies beneath the creative shroud of blue. Twenty eight artists from around the world will participate in this experience.

Over the last thirty years the Philosophy of Mark Rodriguez has not changed. He believes art is a visual language that challenges emotions and stimulates a vocabulary of intellect capable of transforming a moment into an experience.

In Rodriguez work one can perhaps capture the conundrum of beauty versus deformity the tension between the gestalt of the entire work and the visual angst of the particulars. Although rendered and satisfying to behold his work will often point a deconstructive finger at the insanity of modern life.

Primo Piano Livingallery.
Contemporary Art. Lecce Italy
www.primopianogallery.com

Carola Syz Sarzi-Amadè exhibits «Sguardi clandestini» ("Stolen Glances") at the Pevero Golf Club in Porto Cervo, a selection of black and white images printed on aluminium.

Through these pictures, the London-based photographer pays tribute to femininity. All the pictures were taken in real settings, but they feature a surreal atmosphere obtained through a specific composition of the image, enhanced by means of solarization (obtained digitally by Carola), a process invented accidentally by Man Ray in the darkroom, and used by this master of surrealism to add effective plasticity to the image.

Carola’s inspiration comes from lights and shadows and reflecting surfaces, which led her to experiment with unusual materials rather than photographic paper. Aluminium is used in this case by the photographer to accentuate the picture’s “glow”, and to stimulate the interest of the observer. Due to the reflecting qualities of the pictures, spectators can see their own reflection in the photographs, entering and becoming a part of the mysterious and dreamlike setting in which girls dress up, or playfully hide behind Venetian masks, veils and laces. A deeper, meaningful world lies beneath, recalling Schnitzler-figurines laden with secrets and desires.

Aesthetics and the composition of the image are essential to Carola. In certain cases her lens focuses on a single detail with a tendency towards abstraction (in the pictures portraying parts of the body), in others she obtains a picture of the woman “in feathers and corset”, Newton-style, a self-assured woman flaunting her image. Once again, in works portraying a dancer in her vaulting and contortions, tricks of light and shadow - enhanced as far as possible by means of digital solarization - create a fantasy and surreal world, bestowing extremely plastic qualities on the bodies. And the urban landscape of London, seen in the background of several pictures, helps in increasing this feeling.

For further information and high-definition pictures:
Press Office Rosanna Tripaldi - rostrip@hotmail.com - Tel. +39 338 1965487

Two Argentine Artists Being Introduced
At ArtSpace/Virginia Miller Galleries

Two Argentine artists, Mateo Argüello Pitts and José Benito, dominate the exhibition “Enigmatic Figures” at ArtSpace/Virginia Miller Galleries in Coral Gables. Pitts, who often uses a male boxer as a metaphor for everyone’s daily struggles, is represented by 13 paintings. A typical work shows the boxer on his hands and knees, mouth open in a possible scream of anguish or triumph, carrying the burden of a tree symbolizing his family and heritage. Other paintings show an eccentric androgenous figure wearing a skirt and mis-matched hose, possibly representing artists as iconoclasts. Three sculptures and two paintings by Benito feature his typical themes of children clasping something precious and male-female relationships. The children and their undefined treasures may be the artist’s comments on everyone’s cherished memories or possessions. A third work shows a male head emerging from beneath the skirt of a headless female figure. Although both Pitts and Benito have exhibited widely in Argentina, this show marks their first major exhibition in a Florida gallery.

Also in the exhibition are sculptures by Aurora Cañero of Spain and Maria Gamundi of Venezuela. Cañero’s five-foot bronze-and-stainless steel work shows a figure surrounded by spheres, suggesting that each of us has our own place in the universe. Cañero is a well-established international sculptor whose works frequently are exhibited in leading international art fairs. Gamundi, whose tabletop classical female nudes are familiar to gallery regulars, is exhibiting a nearly life-sized bronze of a reclining nude female, her languid form resting on a bronze cube. A 12-inch tabletop bronze shows a female nude in a compressed yoga position.

A virtual tour of the exhibition can be viewed at www.virginiamiller.com. “Enigmatic Figures” will be shown through July 5th at ArtSpace/Virginia Miller Galleries, 169 Madeira Avenue, Coral Gables (Miami), Florida. Gallery hours are 11 a.m. to 6 p.m. Monday through Friday and by appointment.

Hubert Dobler
Jack The Pelican Presents
487 Driggs Avenue, Brooklyn
Through July 2

In an endlessly looping video, a driverless motorcycle bucks and roars like an enraged bull, its handlebars chained to the flaking concrete ceiling of an abandoned industrial loft. As the chains grow taut it clumsily pirouettes, the engine kicking into a deafening whine while the bike briefly becomes airborne before crashing down, the madly spinning rear wheel spitting out debris like shrapnel. In the gallery itself, the floor is covered with entwined skid marks—some scorched deep into the plywood-made when this Austrian artist snaked his Honda through the long, narrow space, occasionally stuttering up the walls to create ersatz wainscoting. Like Pollock, whose empathetic gestures are frozen in the graceful arcs of his drip paintings, Dobler has captured his own movements through time and space, eschewing paint in favor of jerry cans of fuel and a gas mask for protection from clouds of burning rubber.

Gasoline Alley
by R.C. Baker
June 8th, 2006
village voice NY

June 08 2006 was the first official Urban Expressionism Art opening in Paris France this year, held at the "Le Garage on aue Lauriston in the heart of the City. Urban Art has been by many predicted to take on a new dimension for the 21st Century and American Art Gallery is a leading force behind the number one American Urban Expressionist's today, New York native artist Marcus Antonius Jansen.

Jansen's successful solo exhibition "Voice of a Generation" last week, was led by the American Art Gallery located in the famous le Marais art district 14 rue des Jardins 75004 Paris France and curated by owner Jean Marc Alphan-Pontet. It was the first time for the exclusive Jansen Gallery in Paris to hold an opening in a simple but exciting contemporary Urban Garage setting to ad to the Urban feel paintings of Jansen's recent collection. Over 150 distingushed guests attended the VIP reception that included renown and distguished guests and celebrities from Paris including Art personality Monsieur Pierre Cornette de Saint Cyr Florence Portier, Marcus Antonius Jansen, Jean Marc Alphan (CEO American Art) and Monsieur Pierre Cornette de Saint Cyr at opening event in Paris The "Le Garage", was crowded with with an (A) list invitation , some lineing up first outside of a slightly late opening debut due to the artist being held for filming and interviews in the City. At 8:00 pm the crowd was finally welcomed in by security and staff. The show was a solo exhibition of 27 original works in an (URBAN-STYLE). Urban Art, which is known in the artworld to be quickly changing the face of the more traditional contemporary art scene.

Mr. Jean Marc Alphan-Pontet, son of an Embassador, ex- TV producer of and renowned in Paris as the 1968 Inventor of the illuminations de Noël de l’avenue des Champs-Elysées which takes place in Paris during the christmas holidays once a year, discovered Jansen's work six years ago and partnered with Jansen to open the first exclusive Jansen Gallery in the heart of Le Marais art district Paris France being the artist's exclusive representative in France.

Distinguished guests were French designers , celebrities and various personalities from France. After the press refering to Jansen "The American Pope of Urban Expressionism", Jansen made his appearance at the show by speaking from a windown dressed in a black suite wearing dark shades in the Garage introduceing his new collection (Voice of a Generation).

Voted "New Artist of the Year" 2004, by the Alliance for the Arts in Fort Myers Florida USA as well as Ford Motor Companies Centennial artist, Jansen's work was noted by the French press as well as a mix between Pablo Picasso and Jean Michel Basquiat by the publication (Homme en Ville, Man in the City) . He is featured in the recent June issue of Skin Magazine www.skin-online.com with full spread and "Zurban Magazine" Paris's leading Urban Magazine, as well as "Le Journal du Dimanche", "French News", Radio NRJ and LCI TV, (French CNN News Channel) which will be airing on Friday 16th 2006 with an interview and showcaseing the event.

Back in the US, Jansen has managed to become one of the top new and exciting painters in his state as well as a winner at the recent "Over Current Overview" Biennial at the Tampa Museum of Art Curator was Dr. Jeffrery Groves from the Atlanta High Museum. He was also selected among 13 finalist by the recent OASIS art competition lead by Real Estate Guru "Mr. Jorge Perez" from Miami's The Realtor Group of Florida.

Artist's from over 500 submissions in the state of Florida selected by a highly respected Jury which included: Ron Bishop, Director of the Bob Rauschenberg Gallery at Edison College and John Wetenhall, Director of the Ringling Museum, Bonnie Clearwater, Director of the Museum of Contemporary Art, Mayor Jim Humphrey of Fort Myers served as the Honorable Chair and W. Jeffrey Mudgett of the Fort Myers Public Art Committee were selected for the permanent collection of the Oasis Towers in Fort Myers USA.

Jansen is also featured in the Famous 100 Contemporray artist book from London UK and recently voted among the "best in Florida State" by Kennedy Prodiction books.He appears on the cover of Fort Myers Magazine in Southwest Florida for the July/August 2006 issue and will be publishing his first Jansen book this year.

For information regarding this event or about the artist please contact:

United States:
Call Mrs. Michaela Jansen at: 239.369.0846 or email info@marcusjansen.com for details and imagery.
www.marcusjansen.com

Europe:
Call Mr. Jean Marc Pontet at: +33-0-140-279-697 for details or contact:
Press Inquiries: Anne Quémy – Tél : +33 0 1 44 83 01 10 24, rue de Chabrol – 75010 Paris France aquemy@club-internet.fr
www.americanartgallery.fr

Stay tuned for a video documentary being released soon. Visit us for the first released Photos now online in our (photo) section at: www.marcusjansen.com

Marcus Antonius Jansen TEAM
A Leader in Modern Urban-Expressionism
Fort Myers, Florida (U.S.A)
t: 239.369.0846
f: 239.369.0846
www.marcusjansen.com
info@marcusjansen.com

The Anton and Annick Herbert Collection housed in the Belgian City of Ghent represents important positions in Conceptual, Minimal Art, and Arte Povera that can be described as paradigmatic. The collection is marked by two historical cornerstones; 1968 and 1989. It is on the one hand the political events of these two years that exert their influence on this extraordinary collection and thus lend it an unmistakeably political profile. But it is above all the choice of the work that uniquely reflects these periods of European change on an intellectual and philosphical level. The artists, for whom Annick and Anton Herbert have shown and continue to show such a committed interest, have each been involved in a radical new orientation, charging their works of art with critical consciousness.

Together with the Austrian artist Heimo Zobernig a radical presentation has been devised that aims to follow the collection’s chronological sequence.

Artists: Carl Andre, Giovanni Anselmo, Art & Language, John Baldessari, Robert Barry, Marcel Broodthaers, Stanley Brouwn, Daniel Buren, Jean-Marc Bustamante, André Cadere, Hanne Darboven, Jan Dibbets, Luciano Fabro, Gilbert & George, Dan Graham, Douglas Huebler, Donald Judd, On Kawara, Mike Kelley, Martin Kippenberger, Joseph Kosuth, Sol LeWitt, Richard Long, Mario Merz, Reinhard Mucha, Bruce Nauman, Giulio Paolini, A.R. Penck, Michelangelo Pistoletto, Gerhard Richter, Thomas Schütte, Robert Smithson, Niele Toroni, Jan Vercruysse, Didier Vermeiren, Lawrence Weiner, Franz West, Ian Wilson, Heimo Zobernig.

When Life Becomes Still is an exhibition of a series of still life imagery using the human body in a series of 15 photographs. The images capture the moment of life in meditation. The camera freezes the moment, making the life of the human body still as in the still life imagery of Cezanne.

exhibition curator: Aneta Szylak

workshop curator: Berenika Partum

www.wyspa.art.pl

“Ewa Partum: The Legality of Space” is planned to be a non-typical, synchronic retrospective of Ewa Partum – the eminent Polish early conceptual and feminist artist, whose career started in 1965. The project speaks from the today’s perspective on the creative output of this legendary figure, that left Poland in 1980s and by invitation of Wolf Vostell settled down in Berlin. Her achievements still remain to be not enough examined in critical reflection on conceptual art in the country nor significantly represented in Polish art collections. The aim of the exhibition, publication, workshop and panel discussion is to undermine the historic and fragmented rhythm in the reception of her oeuvre and to reconstruct the most important, original and innovative plots in her art. In parallel, due to the specifics of the subject, the project targets toward the issue of documentation of ephemeral art, asks about the role of the recording and re-enactment and reaches for the archival to broaden the field of reception of Ewa Partum’s art.

The project title originates from the conceptual installation made by Partum in 1971 at Plac Wolnosci (The Freedom Square) in Lodz. The phrase is also being turned into the conceptual tool aimed to ask the question about role of the female artist and a woman in the public discourse from 1960s up to now and to investigate the perception of feminist and conceptual art as well as the impact of the public image of a female artist on the reception of her art. In course to achieve that, the exhibition will feature several documentary recordings of her performances and direct speeches by the artists as well as the films of 1970 and 1980 that tried to capture the phenomenon of Partum. Although its major content refers to the earlier pieces, the exhibition will feature also newly developed projects, showing the significant shift in artist’s area of interest – the piercing criticism toward economy and politics as well as institutional critique.

From the impressive output of the artist and connected with her creativity additional materials have been chosen those that define the presence of a woman in the public space and outline the artist’s personal space. The exhibition at Wyspa Institute of Art puts on display the most important areas of Partum’s art and the specific relations between those spheres. It will generate the contextual relations both with conceptual tradition and is musealization as well as the specific location at Gdansk shipyard. The exhibition leaves also the walls of Wyspa and encroaches the public space to confront her historic works with new cultural and political reality. New senses generated through this endeavor will stimulate new perspectives in observing this still incredibly contemporary and asking essential questions work.

The exhibition is preceded June 1-7, 2006 by the workshop for young performance artists "Reproducing the Past" at Modelarnia, run by the artist’s daughter, an art historian Berenika Partum. The workshop will analyze and re-enact early performances Ewa Partum and extrapolate it into the new artistic, political and architectural context. In some part of the workshop the artists will be present. The new versions of performances will be presented to the public and video and photography documented.

The book “Ewa Partum”, edited by Aneta Szylak, including the texts by Prof. Grzegorz Dziamski, Prof. Andrzej Turowski, Lukasz Ronduda and Dorota Monkiewicz, Angelika Stepken and the exhibition curator, will be published during the exhibition. The role of the book is to bring together the variety of positions in looking at and interpreting art of Ewa Partum, to deliver the precise information on her output, especially its chronology and to problematize the specific plots of her art. The publication is being prepared and will be co-published and distributed in collaboration with Revolver Archiv für aktuelle Kunst in Frankfurt.

Organization: Wyspa Progress Foundation, Büro Kopernikus, Signum Foundation and Badischer Kunstverein in Karlsruhe.

Wyspa Progress Foundations is non-profit non governmental public charity organization entered in the National Court Register under number 000063731.

The project takes place in the framework of Büro Kopernikus. German-Polish Cultural Projects, an initiative of the German Federal Cultural Foundation (Kulturstiftung des Bundes) www.buero-kopernikus.de.

"Woman: Self Portrait" is a group exhibition composed of seventeen local and international women artists; offering a multi-cultural view of the contemporary female experience. As the title suggests, the artwork provides an insight into how women perceive themselves as artists, professionals, children, parents and members of society. In addition, it comments on how those self-perceptions might clash with their surrounding social and political environments.

This exhibition hopes to raise questions regarding roles, identity, responsibility and expectations related to gender, and most importantly – raise alertness to gender based violence. Above all, it hopes to welcome the viewer into one moment within the cycle of a woman's life.

Although each artwork represents a personal and intimate experience of an individual artist, the issues raised here are very much universal. Whether the artist is from Iran, Indonesia, Israel, Mexico or the US – concepts such as female identity, sexuality, body image and sexual abuse (among others) are all translated into the language of art. Many of the participating artists have used art not only as a tool to express themselves, but also as an essential source of healing.

"Woman: Self Portrait" is a benefit exhibition to raise awareness and funds for the non-profit corporation V-Day (The 'V' stands for Victory, Valentine and Vagina). This organization distributes funds to grassroots, national, and international organizations and programs that work to stop violence against women and girls. This exhibition is part of UNTIL THE VIOLENCE STOPS: NYC, a festival of theater, spoken word, performance and community events created to bring the issue of violence against women and girls front and center in the culture and the community. The festival will take place during June 12 – 27.

*** FREE Special Event:
June 15th 6:30pm: In collaboration with V-Day’s campaign “Until the violence stops” - Artist talk by Erika Harrsch followed by Dr. Danielle Knafo, a psychoanalyst who will give a lecture entitled: "Revelations and Rage - Violence against women in the work of female artists.”

*10% of all sales will be donated to V-Day
For more information on V-Day and complete schedule of festival events please visit vday.org.

Mark Rodriguez will be exhibiting one of his wall installations “Attention Given To Something” Fourteen arms modeled in wood are individuality nailed across the gallery wall. Empty frames hang off the nails and rest on each individual shoulder. Perhaps, questioning the attitude that is given or carried regarding America and its faith.

Over the last thirty years the philosophy of Mark Rodriguez has not changed. He believes art is a visual language that challenges emotions and stimulates a vocabulary of intellect capable of transforming a moment into an experience.

Rodriguez works in a number of mediums. Though often called dark or cynical, his painting, sculpture and installation Art. Convey a note of irony and humanity. Working within the realm of visual beauty, he views his work as an attempt to help one understand. “To understand is to question, and to question is to understand oneself”.

Canvas Art Gallery is located in the historic Goodyear Building in Exposition Park. Dallas Texas. U.S.A. Director, Angela Marple (214 - 674 -5143).

The Italian artist Giusy Lauriola is participating in the most important photography festival of Eastern Europe, the fifth installment of the International Festival of Photography in Lodz, in Poland, which is being held from the 18th to the 21st of May 2006.

This year, the festival has a particularly significant title: “Killing Paradise” setting forth the goal to analyze the latest painful events of our contemporary society through the presentation of the images and works of various artists.

Giusy Lauriola was invited to present, in one of her six solo exhibitions, her project “Changelove” (Cambialamore), already presented at the Salon Privé Gallery in Rome in October 2004. Her work is expressed in an installation composed of a single 30 meter strip as well as through a video-clip. The strip is a large “photographic fresco” in which the images extrapolated from the media are manipulated and reassembled in a sarcastic and provocative manner.

The Festival is organized by the Polish Foundation for Visual Arts Education and is an event which hosts various exhibitions, workshops, meetings, presentations, and other cultural events. Various established artists will be present, but young photographers from various countries are also invited to participate in an open competition sponsored by the FEW. This year there are 4000 anticipated guests.

The FEW is part of the PHOTO FESTIVAL UNION, the association which unites 28 European photography festivals and was founded in Lodz in October 2005. Its purpose is to promote collaboration, cultural exchanges, exhibitions, and educational activity among various photography festivals organized throughout Europe.

The Foundation for Visual Arts Education has its permanent seat in a complex industrial plant from the early 20th century, more than 6000 square meters in size and recently renovated into a museum and an exhibition hall. This suggestive space will be the frame of the photographic exhibition of the festival and the exhibition of the Italian artist Giusy Lauriola. Lodz, the second largest Polish city, is the cultural capital of its cinema, photography, and contemporary art.

Indifference, cold like a mirror or television screen, is the theme of Giusy Lauriola’s project, “Changelove” (Cambialamore). The project is expressed with an installation composed of a single, pointillized photographic strip, 30 meters long, and with a video-clip. The artist draws her inspiration from the stream of images supplied by mass communication, released into the miscellany of the network, both tabloid and web, and handed over to the imminent obliteration of commercial logic.

The strip is a large “photographic fresco” in which the images extrapolated from the media are manipulated and reassembled in a sarcastic and provocative manner. The images flow from one to the next; scenes and symbols encoded in our unconscious: the towers of the World Trade Center in flames, Afghan women in burkas, American soldiers shooting, combat airplanes and helicopters, and the tortured prisoners of Abu Ghraib.

In this work, human pain is contaminated by the hedonism of a society that does not suffer. The result is a unispacial space of paradoxical coexistence between the tragedy of a tortured humanity and the indifference of those who have learnt to close their eyes in the face of the suffering of others.

The video-clip, “Changelove”, tells the story of a young woman making herself up in front of a mirror, while the radio delivers information on the war in Iraq. In the mirror, the lipstick on her lips reflects with indifference to pain and death.

Giusy Lauriola, before professionally dedicating herself to art, also worked as a journalist and communication manager. This experience has reinforced a particular link with reality, photography, advertising, and new technology. To realize her works, Lauriola utilizes images extrapolated from various mass media, re-elaborated by her computer, and painted on industrial supports (such as Plexiglas and synthetic materials). She also expresses herself through video art and writing to narrate her creative journey. Lauriola lives and works in Rome. AGNIESZKA ZAKRZEWICZ - Curator of the Exhibition

“Contrast is the key to my work. I began to use contrast in 2004 on the occasion of the Fourth Forum of the Alliance of Cities Against Poverty, at the Convention Hall in Rome. I created works for “Terres des Hommes” Italy, a non-profit organization. My photographic works on Plexiglas represent the streets of Rome and the glances of children from lands stricken with hunger and war, inserted onto large advertising boards.” G.L. International Festival of Photography in Lodz, Poland.


International Festival of Photography
Tymienieckiego 3 - 90-365 Lodz - Poland
tel/fax + 48 42 684 20 95
www.few.pl >> office@few.pl
info@fotofestiwal.com
www.fotofestiwal.com

Printing Office in Italy:
Carola Assumma – tel: +39 3386927855
Agnieszka Zakrzewicz – tel: +39 3398708668
a.zakrzewicz@alice.it

Printing Office in Poland (May 16-22 2006)
Agnieszka Zakrzewicz - T: +48 604 679 283

A special memorial event celebrating the life and work of legendary artist Nam June Paik (1932-2006) will be held at the Guggenheim Museum.

Speakers will include Yoko Ono, Jonas Mekas, Russell Connor, Shuya Abe, and Wulf Herzogenrath, in a program organized by John G. Hanhardt, Senior Curator of Film and Media Arts, Guggenheim Museum, with Ken Paik Hakuta, Manager of the Nam June Paik Studios.

The event is free and open to the public.

Opening: May 25, 2006, 19.00 hours, Skateboard Park Herastrau. Agent MC performance and launch of a limited edition of skateboard plates draw by Dan Perjovschi.

Artists: Erik Binder/Eduard Constantin/János Fodor/El Perro/Rainer Ganahl/Kátia Lombardi/Agent Mc/Sebastian Moldovan/Pedro Motta/Ioana Nemes/Ilona Németh/Tatsumi Orimoto/Dan Perjovschi/Catalin Rulea/Janek Simon/Áttila Stark/Aya Tzukioka/Wang Qingsong

“The icons produced with common meanings and messages in this process are the patterns of art, political life, religion, culture and subculture. The common adoption of the meaning of these units gives the basis of any visual language. From the perspective of our approach to the question of confusion, the change of the role of icons plays an important part in the sense of chaos. The signs of a politically and ideologically conducted world in any kind of totalitarian system could play with the visuals by segregating the ideological from the commercial, and moreover by separating the local use of symbols from their global sources and essential meanings. Democracy as a system opens up all of the possible uses of visual messages, which leads to parallel appearances of very different patterns. The reading of these differences is open to intellectuals up to the point where the symbols are no longer a part of the self expression of local or global - less known - subcultures. The long history of the function of this practice of communities creating and using images is without doubt, just as the quantity of the used images increases with global culture, linked to the possibility for greater access to these languages, something that becomes more and more difficult.” (Extras from Zsolt Petranyi, “Chaos: The age of confusion”, Pavilion no.9/reader BB2)