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A R T G U I D E E A S TAlbaniaBelarusBosnia-HerzegovinaBulgariaCroatiaCzech RepublicEstoniaHungaryKosovoLatviaLithuaniaMacedoniaMoldovaMontenegroPolandRomaniaRussiaSerbiaSlovakiaSloveniaUkraine19 Bratislava 21 Riga 26 Bucharest 418 Bucharest 0 gms Sofia 35m2 Prague 3x3 Liberec A Panevėžys A.M.180 Prague acb Budapest Ad Astra Kuřim Agency Art Moscow AgraArt Warsaw Aidan Moscow Aiurart Bucharest Akademija VDA Vilnius AL Saint-Petersburg Alis Bucharest Alkatraz Ljubljana Alma Riga AMG Prague AMT Project BratislavaAna Cristea Cluj – New York Anaid Bucharest Anca Poterasu Bucharest Andreiana Mihail Bucharest Ann Kiev Anna Nova Saint-Petersburg AnnArt Bucharest Arhipelag ClujArka Vladivostok Ars Aevi Sarajevo ARSkontakt Brno Art Depot Sarajevo Art Market Vilnius Art re.Flex Saint-Petersburg Art Today Plovdiv Art Yourself Bucharest Art4.ru Moscow ArtConsulting Prague – Brno ArtDepoo Tallin Artinbox Prague Artmark Bucharest Artnewscafe Plovdiv Artpro Prague ArtXpert Bucharest ASA Art SarajevoAsymetria Warsaw Atelier35 Bucharest Aukso Pjüvis Kaunas AV17 Vilnius AVS Kiev Baltic Tallin Barbarian Zurich Baroti Klaipėda Barrel Zagreb Bazis Cluj – Berlin BB Kraków– Wroclaw Belart Minsk BlackBOX Sarajevo Bochenska Warsaw Boris Smoje Sarajevo Bottega Kiev Brucie Collections Kiev Bulart Varna BWA Warsaw Caesar OlomoucCalina Timisoara Cargo Děčín Ćarlama Depot Sarajevo Cin Cin Bratislava Collection Kiev Colors Bucharest – Paris CT Bratislava Cypriána Majerníka Bratislava CzarnaWarsaw CZD Prague D137 Saint-Petersburg Dailininku mené Vilnius Dea Orh Prague Desa Modern Warsaw Desa Unicum Warsaw Diehl Moscow – Berlin DOM WarsawDovin Budapest DOX Prague Duplex/10m2 Sarajevo Dvorak Sec Prague Elena Vrublevskaya Moscow Enter Bratislava Entrance Prague Equrna Ljubljana Erarta Saint-Petersburg etc. Prague Faica Bratislava Faur Zsófi Budapest FF Lódz Fine Art Moscow Foksal Warsaw Fotograf Prague Fotografic Prague Fotografija Ljubljana FotoloftMoscow FPSW Warsaw Freta Warsaw Frolov Moscow Futura Centre Prague Galateea Bucharest Gandy Bratislava Garage Center Moscow Gary Tatintsian Moscow GatePrague Gelos Moscow Gisich Saint Petersburg Glaz Moscow GMG Moscow Godot Budapest Goldart Bucharest Gregor Podnar Ljubljana – Berlin Grinberg Moscow GuelmanMoscow H’art Bucharest Haus Tallin Heppen Transfer Warsaw Hest Ljubljana – Maribor HIT Bratislava Hunt Kastner Prague Ideas Belgrade Inda Budapest Iragui MoscowIvan Bucharest Izolyatsia Donetsk Jaroslava Fragnera Prague Java Sarajevo Jecza Timisoara Jeleni Prague Jiri Svestka Prague – Berlin Juskus Vilnius Kabinet MoscowKálmán Makláry Budapest Kapelica Ljubljana Kapsula Ljubljana Karas Kiev Karas Zagreb Karol Winiarczyk Vienna Karousel Bucharest Kauno Fotografijos Kaunas KaunoLangas Kaunas Khankhalaev Moscow KIBLA Maribor Kisterem Budapest Kodl Prague Kogart Budapest Kolonie Warsaw Konstant Oradea Kontseptsiya Minsk KonturaZagreb Korners Kiev Kournikova Moscow Kressling Bratislava Krokin Moscow Krokus Bratislava Kuda Novi Sad Kyiv Fine Kiev Kytka Prague La Femme Prague LaboratoriaMoscow Laboratorio Prague Langhans Prague LaSandr-art Minsk Lateral Cluj Lazarev Saint Petersburg Laznia Gdansk Le Guern Warsaw Leica Prague Léna & RoselliBudapest Leonid Lerner Moscow Leonid Shishkin Moscow Lessedra Sofia Leto Warsaw Lietuvos Aido Vilnius Little Yellow Bucharest Lokal30 Warsaw Lumiere BrothersMoscow Luxfer Prague M Kharkov M17 Kiev Madl’ Belgrade Magma Sf. Gheorghe Magnum Ars Moscow Marisall Zagreb Mastatstva Minsk Medium Bratislava MeetFactoryPrague Meissner Prague Melenia Bucharest Meno Nisa Vilnius Menu Tiltas Vilnius Mihai Nicodim Bucharest - Los Angeles Millennium Prague Mironova Kiev MiroslavKraljevic Zagreb Miroslava Kubíka Litomyšl Mission Art Budapest Mono Budapest Nadja Brykina Moscow – Zurich Nautilus Krakow Navrátil Prague Next Art BudapestNF Ústí nad Labem Nova Bratislava Open Moscow Open Bratislava Ostoya Warsaw P74 Ljubljana Pál Miercurea Ciuc PANEL contemporary Budapest Paperworks MoscowPassage Ljubljana Pecka Prague Peles Empire Cluj Peron Prague Photon Ljubljana Piekary Poznan Pies Poznan Pinchuk Kiev Pintér Sonja Budapest Plan B Cluj – Berlin PMZagreb Pobeda Moscow Polina Lobachevskaya Moscow Polswiss Warsaw Pop/off/art Moscow – Berlin Posibila Bucharest Prinz Prager Prague Prodajna Belgrade ProektFabrika Moscow Profile Warsaw Promenade Vlore Propaganda Warsaw Prospekto Vilnius Proun Moscow Public Room Sarajevo Quadro Cluj Raster Warsaw RecyclenestBucharest Regina Moscow – London Remont Belgrade Rempex Warsaw - Cracow – Sopot Rigas Riga Ring Zagreb Roman Petrovic Sarajevo RuArts Moscow S Prague SabotCluj Sam83 Třemošná Sariev Plovdiv Satelit Bratislava Simultan Timisoara SIZ Rijeka Školská 28 Prague Škuc Ljubljana Sofa Druskininkai Soga Bratislava Sovcom MoscowSpace Bratislava SPZ Prague Starmach Cracow Starter Warsaw Stella Art Moscow Stereo Poznan SVIT Prague T Bratislava Temnikova & Kasela Tallin Terra ecognita VilniusThe Chemistry Prague Tifana Riga Tobacco 001 Ljubljana TR3 Ljubljana Trafačka Prague Triumph Moscow Tsekh Kiev Új Kriterion Miercurea Ciuc Upper Town MinskVáclava Špály Prague Vartai Vilnius Vernon Prague VIA Art Prague Victoria Samara Viltin Budapest Vintage Budapest Virág Judit Budapest Visconti Ljubljana VltavinPrague Vostochnaya Moscow Wannieck Brno Winzavod Moscow X Bratislava XL Moscow XX Panevėžys XXL Louny „Y” Minsk Ya Dnipropetrovsk Ya Kiev Zacheta WarsawZak Branicka Berlin Zdeněk Sklenář Prague – Litomyšli Zderzak Cracow Zeta Tirana Zezula Brno Zona Zagreb Zorzini Bucharest ZPAF i S-ka Cracow Zvono BelgradeVOL.3. •March – April 2013bi-monthly contemporary art guide of the CEE region by RadaRSisyphus in Metropolis – Adam Magyar’s artby Norbert Vass, translated by Izabella Porcsalmycode-like background. It creates an apocalyptic,desolate land in black and grey, freefrom neon signs and billboards. Magyar stillsnoisy city centres as if by magic and thus, theartist’s Urban Flow reveals the essence of citylife. The rhythm of the series’ compositions isdetermined solely by people’s speed walkingpast the camera and the density of the crowdthey create.Music is a significant characterisitc of Magyar’sworks. His images are the music sheetsof the city, in which people substitute for thenotes. In these elegiac photo etudes, we seebarren super-highways crowded with Ahasueruseswearing backpacks, holding theirmobile phones. These wanderers don’t talk.Some take determined steps, others trudgelike zombies following in the footsteps of othersin front of them.The images of the Squares series were madefrom pedestrian bridges. As if Magyar hadtaken these photos from the perspective ofa skyscraper voyeur, and then multiplied thesection of the square photographed. Thushe creates an artificial network modellingexposed, hard-working man-ants wanderingin a Kafkaesque forest. Magyar’s collage isa framework for them in which they can seeand notice each other.© Ádám Magyar: Tokyo IV, (2007–2009)In the photos of the Stainless series, we face121 × 180 cm, inkjet print, edition of 6passengers arriving to the subway station.They look frightened, dumb, longing, grumpy.It is the busy marketplace that reveals theinto space. His third eye is a finely polishedseries we can see crossings buzzing withThey are fidgeting with their phones, they aremost about a village or a city. Adam Magyarlens, and citizens might take him for a travel-life from an unusual perspective. Owing tokissing or making gestures. Time stops aroundis well aware of this millennial knowledge. Theler from the future, due to all this equipment.the technique utilizing the scanner’s operat-them for a fraction of a second. We see themFREEyoung Hungarian photographer sees the cityand makes it seen as nobody ever before him.Adam Magyar takes photographs of 21st-ing principle but reversing its image-makingmethod, these special images reveal onlyas never before. The ray and mass of lightspeeding by in front of citizens’ eyes severalSimilarly to wandering monks of old times, hecentury cities. The photos he took with hispassers-by and vehicles identifiably. Statictimes a day suddenly reveals characters. Al-strays about city agoras. Rather than a crook-self-developed one-pixel-wide slit cam, andobjects remain invisible to the camera. Thethough we see their clothes and mimics only,ed walking stick however, he holds a futuristicprocessed with a programme he himself hasbuildings and shop windows appear as lines„faceless people” turn into personalities inmetal tripod in his hands, and has a computerwritten, make the heartbeat of enormous cit-only, and every now and then, even buses im-hidden in his rucksack that transforms timeies audible. In the pieces of his Urban Flowmobilized by a traffic jam blend into the bar-continues on page 2www.artguideeast.org

© Ádám Magyar: Flow – #1089 , London (2008), (detail)26 × 240 cm, inkjet print, ed. 8,continued from page 1.pressed against the subway’s window MagyarWorks by Adam Magyar – currently livinghe uses state-of-the-art technology to pub-records the arrival of a train to Alexanderplatzin Berlin – can be found in a number of ma-lish his findings. Magyar’s photos ask: willthese photos. A selection of these works arein Berlin. In this video, a copy of which is injor collections across the world, such as thewe ever get from A to B, or similarly to theexhibited at Light Work Media Center, Syra-the collection of the Houston Museum of Finecollections of Deutsche Bank and the Honghard-working Sisyphus, we roll the miles ofcuse, USA until the middle of March, 2013. AArts, a throbbing-humming adventure in-Kong Heritage Museum. His works were ex-our lives in front of us to no avail.few photos of the Stainless series taken incredibly rich in detail, slowed down to 1/50 ofhibited at the Helsinki Photography BiennaleTokyo are included in the publication of theactual speed is projected on our screen. Weand the Brussels Fotofever Art Fair in 2012,>>Read our interview with Ádám Magyar onHarvard Graduate School of Design entitledfeel we can hear newspapers rustling, peopleas well as in Germany, the United Kingdompage 14.

LONDON’S GLOBAL ART FAIRGALLERIES 20132902 Gallery Singapore / Akinci the Netherlands / Albemarle Gallery UK / Art Sawa UAE /Artspace UAE / UK / aye Gallery China / Jack Bell Gallery UK / Boers-Li Gallery China /Brancolini Grimaldi Italy / UK / Nadja Brykina Gallery Switzerland / Russia / Cais GalleryHong Kong / South Korea / Cda-Projects Turkey / Circle Culture Gallery Germany /Cynthia-Reeves USA / DAM gallery Berlin|Frankfurt Germany / Dark Matter StudioUK / Deweer Gallery Belgium / Domobaal UK / Eleven UK / FaMa Gallery Italy / SelmaFeriani Gallery UK / The Fine Art Society Contemporary UK / Flowers Gallery UK/USA/ Fold Gallery | London UK / Galleria Fumagalli Italy / Gajah Gallery Singapore / GanaArt South Korea / Gazelli Art House UK/Azerbaijan / Geukens & De Vil Belgium / MichaelGoedhuis UK / HackelBury Fine Art UK / Hakgojae Gallery South Korea / Purdy HicksGallery UK / Galerie Kashya Hildebrand Switzerland / Michael Hoppen Gallery UK / RebeccaHossack Art Gallery UK / USA / Hua Gallery UK / Jealous Gallery UK / Amelia JohnsonContemporary Hong Kong / Ivo Kamm Switzerland / Robin Katz Fine Art UK / KleinschmidtFine Photographs Germany / Pearl Lam Galleries China / Singapore / Hong Kong / LazaridesUK / Leehwaik gallery South Korea / Levy Galerie Germany / Diana Lowenstein GalleryUSA / maerzgalerie Germany / Kálmán Makláry Fine Arts Hungary / Primo Marella GalleryItaly / China / Laura Mars Germany / John Martin Gallery UK / Meshkati Fine Art /Austin / Desmond Fine Art UK / Galerie van der Mieden Belgium / Gallery MinskyFrance / Galerie du Monde Hong Kong/Macau / Anna Nova Art Gallery Russia / AlexanderOchs Galleries Berlin|Beijing Germany / China / October Gallery UK / The OutsidersUK / Paragon UK / Galerie Paris-Beijing France/China/Belgium / Ph-projects Germany / PifoGallery China / Galerie Ramakers the Netherlands / Everard Read South Africa / RiflemakerUK / Ronchini Gallery UK / G10 / Rossi & Rossi UK / Galerie RX France / Galerie VincenzSala France/Germany / Richard Saltoun UK / Karsten Schubert UK / Carrie Secrist GalleryUSA /Alon Segev Gallery Israel / Paul Stolper Gallery UK / Galerie Heike StrelowGermany / Gallery Sumukha India / Sundaram Tagore Gallery USA / Hong Kong /Singapore / Galerie Tanit Germany/Lebanon / Tolarno Galleries Australia / Torch theNetherlands / Vanguard Gallery China / Galerija Vartai Lithuania / Volte Gallery India /XVA Gallery UAE / Galerie Olivier Waltman France / USA / Workshop | Michela BruzzoItaly / ZieherSmith USA / Galeri Zilberman Turkey / Zipper Galeria Brazil /Jerome ZodoContemporary Italy / Faur Zsófi Gallery HungaryYOUNG GALLERIES 16thline gallery Russia / Aando Fine Art Germany / Magda Danysz Gallery France/China /Galerie E.G.P. France / UK / Eb&Flow UK / Hada Contemporary UK / Ceri Hand GalleryUK / The International 3 UK / alexander levy Germany / Man&Eve UK / mc2gallery Italy /Pertwee Anderson & Gold UK / Daniela da Prato Gallery France / Salon Vert UK / Hiddevan Seggelen Gallery UK / Gallery SoSo South Korea / Maria Stenfors UK / Viltin HungaryLONDON FIRSTAranapoveda Gallery Spain / Athr Gallery Kingdom of Saudi Arabia / Brundyn + GonsalvesSouth Africa / Chan Hampe Galleries Singapore / Galerie Dukan France / Gallery Em SouthKorea / Patrick Heide Contemporary Art UK / IMT Gallery UK / Galerie Martin KudlekGermany / Lawrie Shabibi UAE /Ani Molnár Gallery Hungary / Tatjana Pieters Belgium /rahncontemporary Switzerland / Scaramouche USA / Temnikova & Kasela Gallery Estonia /Yeo Workshop UK/Singapore / Galerie Zimmermann Kratochwill Austria / PhilippinesNOT-FOR-PROFITINSTITUTIONSCass Sculpture Foundation UK / Daegu Art Museum South Korea / Dundee ContemporaryArts UK / INIVA UK / The Photographers’ Gallery UK / Positive View FoundationUK / Royal Academy of Arts UK / Serpentine Gallery UK / UCCA Limited Editions China /Whitechapel Gallery UK / Zabludowicz Collection UKGallery list correct at time of printBOOK TICKETS NOWwww.artfairslondon.comFollow us on Twitter @Art13London | Like us on Facebook.com/Art13LondonOlympia Grand Hall1 3 March 2013art13_gallery_list_artguideeast2_005.indd 1 20/02/2013 17:42www.artguideeast.org

Art from All Corners of the Worldinterview with Stephanie Dieckvoss, FAIR director of Art13 Londonsomething different. Art13’s global dimensionwill stand out from any other fair that’s on inthe city. We are also convinced that the timingand location of the Fair will give it a uniqueflair which will attract collectors and generalvisitors alike. We feel that the end of February/ early March is a perfect time of the year forthe Fair and an exciting time in London followingLondon Fashion Week & the BAFTAs.We offer prints and editions as well as havinga selection of not-for-profit stands to ensurethat new collectors are properly engaged andfeel empowered to buy from lesser knowngalleries. We are putting a lot of effort intoeducating galleries and collectors to navigatethe art world in London and have plans to expandon this further.Stephanie DieckvossFair Director Art13 LondonYour gallery list is very varied. Do you thinkyou can keep it like this in upcoming years?We’re proud of the level of diversity we feelArt13 London is a very fresh and new art fair Art13 London has to offer in terms of its artistand gallery lists. This international scale isin London. What would you highlight as itsunique features?something that will continue to be a hallmarkArt13 London is unique in its approach to of the Fair for years to come. I am very keenbringing a global art fair to London. It is the to further strengthen the Modern section atfirst time that a European art fair aims to reflectthe change in global artistic production exhibitor lists even more – we are currentlythe Fair in future years and to diversify thewhile also presenting Western and non-WesternArt on an equal footing. Our aim is to mix ern Europe for example and are keen to workdoing more research into other areas in East-art from all corners of the world to create a more with galleries from the region.forum for a rich and rewarding dialogue betweengalleries, artists, curators, critics and How do you plan to reach more galleriescollectors… For example, in our section LondonFirst, advised by Lisa Le Feuvre, Head tries or Eastern Europe? It is very expensiveworldwide, especially from remote coun-of the Henry Moore Institute in Leeds, we to travel to, and exhibit in London.present galleries which are under 6 years of This year, 70% of the galleries at Art13 will beage, and have never shown at a London art participating at a fair in London for the firstfair before.time. It’s great to see such interest in takingWe’re thrilled that over 128 galleries from 29 part in the Fair, and we’re confident that thiscountries will be represented at the Fair, with level of interest can be sustained. We are veryboth established and emerging artists being committed to visiting galleries in their homeshowcased. Art13 London will be accessible countries to get a feeling for the markets, theto both experienced and novice collectors, as gallery scene and the way artists work andwe will have three special sections – Young believe this underlines our dedication to ourGalleries and London First as well as the main stakeholders.gallery section with special focus on Photographyand Prints & Editions. We hope that we A few galleries are coming from Central andcan engage with collectors of all levels and Eastern Europe with the majority of thesefeature both works they are expecting to find from Hungary. Is it only a coincidence?at the Fair as well as allowing lots of opportunitiesfor discovery.Europe has a lot to offer in terms of the artistsNot at all – we feel that Central and Easternand galleries from the region. We’re excitedYou worked for Frieze Art Fair as well – do to be able to provide a platform for galleriesyou consider Frieze as a competitor for Art13 from the area to show and share their artists’London or you will complete each other at work. We are thrilled that this year the HungarianGalleries have taken a leap of faith andsome point?With Art13 London, we’re looking to offer have shown commitment to a new fair.What do you think about Central and EasternEuropean art? What are our strengthsand weaknesses from your viewpoint?I am always impressed by the energy of artfrom this region – and am personally thrilledto see such a strong representation from thearea. I particularly engage with the wonderfulmodernist tradition in the region whichcan sometimes be overlooked in the Westernmainstream commercial markets. We feel thecultural heritage of the region is a big strength.There is a younger post-communist generationproducing art that deals with issues of anewly expanded Europe that we feel needs tobe foregrounded on an international stage.It’s only a short time left until the big day!Are you happy with your first year’s organisation?The start of the Fair is fast approaching andwe’re very much looking forward to ThursdayFebruary 28 (VIP Preview, Fair dates 1-3 March).I am very happy for the galleries, partners andall supporters who have already worked sohard to ensure the first edition of the Fair willbe a success. The advisory board of the InternationalAdvisory Board has been promotingthe Fair tirelessly in their specific regions.How do you see Art13 London’s future?Where would you put it on the world artfair’s map?We believe Art13 has an interesting future– London’s vibrant art scene, financial basisand central positioning mean that it hasTianbing Li (China): Self-portrait with Arrow2011–2012, Oil on canvas, H 200 × W 250 cm, © Kashya Hildebrand, ZurichWe keep hearing from contemporary galleriesfrom our region that the collector base world. We feel that there is a high demandbecome an important centre within the artis fading away. Do you know any collectors in London for a global art fair featuring thecoming from our region? Can you reach very best London & UK galleries combinedthem?with really great international galleries fromThroughout my travels I have come into contactwith artists, gallerists and collectors from are looking for a platform in London. We haveEurope, the Americas, Africa and Asia whothe region and I am confident that we will created a Fair for today’s London and today’shave visitors from the area that will be keen market – a global art fair that is accessibleto attend the Fair. We certainly have leading with a focus on quality. We plan on buildingHungarian collectors coming to the Fair, some on this year’s Fair to ensure the next editionsof whom are based in London. Yet we feel it will further strengthen the Fair’s position as ais also important to expose the art works at stand-alone international event which will beArt13 London to a range of international collectors,rather than solely segregating collec-a fixture in the international art calendar.tors and their tastes by region or nationality. The Fair is sponsored by Citi Private BankYury Alexandrov (Russia): Welen bone carvers1991, Oil on canvas, 183 × 228, © ANNANOVA Gallery, St PetersburgChiharu Shiota (Japan): Zustand des Seins (Fotoapparat) / State of Being (Camera)2012, Metal, yarn, camera, 30 × 30 × 30 cm, © Alexander Ochs Galerie, Berlin

Art13 London Art Fairpart of the young generation of Russian artist.He creates abstract painting. His workson history. While Mindaugas Lukošaitis mostlyuses a classical academic style of drawingGENERAL INFORMATION“See artlove artbuy art…“are present in many important collectons inthe USA,France and Russia. The third artist isRostan Tavasiev. He is a very well known artistin Moscow,, popular for his objects wherehe uses soviet toys. This is considered to bethis formal method is merely a superficialstance conveying the artists’ unique sense of‘realism’. Lukošaitis was chosen to representLithuania at the 26th São Paulo Biennial; hisseries of drawings can be found in the collec-Art 13 London, sponsored by City Private Bank, is a modern and contemporary art fairshowcasing over 120 galleries from 29 different countries. It presents art from 1945 to thepresent day and almost every artistic media is represented: paintings, sculpture, multimediainstallations, prints, editions and of course, photography. Visitors can choose froma wide range of performances and talks as well as children’s activities and non-profit artists’commissions. During the fair Contemporary Key is hosting a series of guided toursproviding the audience with the opportunity to familiarise themselves with the attendinggalleries.some kind of new Russian pop art. Anna NovaGallery just started to work with Tavasiev thisyear. Before Anna Nova Tavasiev worked withAidan Gallery, which closed last year.tion of the Louisiana Museum of Modern Artand the Art vectors collection.Žilvinas Landzbergas (born 1979) is adream weaver, known for placing the viewerin uncanny artificial surroundings equippedwith cognitive triggers that seem familiar anddistant in the same time. His artistic practiceis concerned with storytelling through themedia of sculpture and three-dimensional in-It is also a good opportunity for art lovers and arts collectors to expand their collection, asthey can browse among works of art for prices ranging from £100 to £500,000.stallation, where the viewer becomes both aparticipant and a spectator – the narrator andcharacter in the story.This year Art13 London will take place between 1-3 March 2013 (VIP day 28th February)at Olympia Grand Hall in the heart of West London. Amongst its more than 120 participantgalleries 7 are coming from the CEE region. You can find Kálmán Makláry Fine Arts(HUN), Galeria Vartai(LT), Faur Zsófi Gallery (HU) and Nadja Brykina Gallery (CH, RU)in the “Main Section”, 16th LINE (RU) and Viltin Gallery (HU) in the “Young Galleries”section which will feature 18 galleries under six years of age, and Molnár Ani Gallery (HU)and Temnikova&Kasela Gallery (EE) in the “London First” section, which presents younggalleries under six years of existence from across the world that have not participated atan art fair in London before.Art13 London – Statistics• 128 is the total number of exhibiting galleries• 93 galleries will exhibit in the Main Galleries section© Rostan Tavasiev: Antique, plaster, poliester2005 (courtesy of Anna Nova Gallery)© Zilvinas Kempinas: Fountain2011, fan, magnetic tape, 330 cm(courtesy of Galeria Vartai)• 18 galleries will exhibit in the Young Galleries section• 17 galleries will exhibit as part of London First• 31 territories will be represented in total across the Fair• 50% of work presented at the Fair will be by non-western artistsGaleria Vártai – STAND I5LT-01119 Vilnius, LithuaniaFaur Zsófi Gallery – STAND H7H-1114 Budapest, Hungary• 70% of galleries will be participating at a fair in London for the first timeAt the Art13 London art fair five LithuanianWith technological development, countlessOpening timesThursday 28 February (VIP day)Collector’s Preview 4pm–6pm (by invitation only)First Night6pm–9pmFriday 1 March11am–6pmSaturday 2 March 11am–6pmSunday 3 March 11am–5pmartists will be presented by Galerija Vartai.The gallery focuses on contemporary artworks which combine conceptual and visualways of expression through various media,including painting, drawing, photography,video, sculptures and installations.Arnas Anskaitis (b. 1988) works in fieldsnew devices and new dimensions appearedin our lives.Photography changed how we look at theworld, and made it possible to capture themoment in passing time.In relation to these influences, Faur Zsófi Galleryis intending to present the solo-showof Ádám Magyar, who is one of the heirs ofTicketsAdult: in advance £11, on the door £16First Night: in advance £25, on the door £30Concessions, Groups: in advance £8, on the door £13Children (Under 16yrs): Freeof photography, video, performance and conceptualart. The young artist was noticed byart critics and curators in the last year of hisstudies at Vilnius Academy of Arts. His originalityamong his generation comes not onlyfrom his powerful imagination, which the art-the great past of Hungarian photography.The gallery will exhibit three different seriesof the artist (Urban Flow, Squares and Stainless),in a completely coherent programme.Experiments, refining technological devicesand mixing various technologies are essentialTo book tickets visit www.artfairslondon.comor call the ticket hotline on +44 (0) 844 854 0503ist puts to work when it comes to choosingthe most appropriate media for his projectbut also from a philosophical approach andin his artworks. Magyar is not only interestedin Hungarian or local problems but his worksalso reflect on questions of other countriesLocationOlympia Grand Hall, Hammersmith Road, KensingtonLondon W14 8UXa particular interest in linguistics, namely thetension between the sound of a word and itsmeaning.Žilvinas Kempinas (b. 1969) is best knownand continents. He uses „wide optical lenses”to look at our world. The concept of the standaims to direct attention to our environment.Magyar works on capturing the stillness ofFor visitor enquiries please contact info@artfairslondon.comfor his perception and space-altering installations,which invite the viewer to participatetime, the continuity of life, and to reveal differentworlds in reality. His photographs focusin the art event as it unfolds. Using magneticon mankind and our surroundings, the uniqueEXHIBITING CEE GALLERIESa specialty and characteristic feature of thetape as the main medium for his installations,Kempinas’ art acquires multiple points of in-relationship between everyday life and thetranscendent/perpetual world.Anna Nova Art Gallery– STAND C10Anna Nova Art Gallery. The gallery’s principlescombine freedom and flexibility towardscreative concepts and formats, characteristicterpretation. Magnetic tape at once becomesa ready-made, while its use addresses thelaws of physics and phenomenology. Kem-We believe that Hungarian photo-artists mayagain be an essential part of the internationalscene. It is our mission to weight our artistsSaint-Petersburg 191014, Russiafor contemporary art, with strict criteria inpinas represented Lithuania with the instal-on the scale of international spectators, arttheir approach to maintaining the standardlation TUBE at the 53rd Venice Biennale inconnoisseurs, art lovers, and the works ofSt. Petersburg gallery Anna Nova, opened inand quality of art projects.2009. Recently he was awarded the Lithua-these artists may well deserve their place be-2006, nowadays is one of the leading RussianThe gallery is highly active in the internationalnian National Culture and Art Prize.side the famous predecessors.galleries working in the field of contemporaryart market, participating in significant Rus-Tim Kliukoit (b. 1984) is constructing cham-art.The gallery purposefully sets out to promotecontemporary visual art, presenting and sell-sian, European and Asian contemporary artfairs. As a result, the position of the gallery’sartists in the art world is outstanding. In itsber-size wall-mounted objects from scavengedor gifted items or trinkets acquiredfrom flea markets. These objects largely de-Kálmán Makláry Fine Arts– STAND C5ing works of Russian and foreign artists of dif-implementation as a business model and waypend on the look of the viewer and his/herH-1055 Budapest, Hungaryferent art trends: from underground mastersof artistic support, the Anna Nova galleryability to feel shape and texture through thatto the celebrities of modern art.pays special attention to elucidative work,look. By playing with the tradition of classicalSam HAVADTÖYThe gallery initiates original innovativewhich encourages a better understanding ofpainting which is meant to create an illusionHavadtoy is an English born artist of Hungar-projects, which apply the fundamental ide-the newest art by the public.of different shapes and factures, Tim choos-ian origin who lived and worked in the vibrantas of XXI century art, providing access toAt the Fair Anna Nova Gallery will show projectes materials with exclusive textures (glass,New York art scene of the 70’s and 80’s. Forthe newest achievements of the modern artmade by 3 artists of the gallery. They are: Jurywood, fur, sateen, plastic, sandpaper) placedtwenty years Havadtoy shared his newlyworld to a wide audience. Presented in theAlexandrov with two works from his projectat different distances from the wall.American life with the quintessential creatorssolo projects and thematic group exhibitions,“Contemporary art of Chukotka”, well knownIn his graphite drawings Mindaugasof pop art and music, such as Yoko Ono,there is the wide range of art diversity andin Russia. In this project the artist has shownLukošaitis (b. 1981) invites the beholder toJohn Lennon, Andy Warhol, David Bowie, andmedia: painting, drawing, sculpture, objects,a mix of traditional Chukotka images togethertake an in-depth look at certain aspects of im-Keith Haring.installations, video-art, performance etc.with provocative themes of contemporary art.agery, the tendencies of human imaginationThis dual-identity determined his art. OfLarge-scale and complicated installations areYoung Saint-Petersburg artist Vlad Kulkov isand strives to promote a responsible outlookcourse, the wild, impertinent and playfulwww.artguideeast.org

American pop-art made a powerful impact onhis style but he was also deeply influenced bybut remained true to their own artistic pursuitinstead.As a sculptor, BaJóTa creates constructionswith the aim of variability, but for both artiststions – they appeal to the spectator througha hedonistic, ironic and personal view. Herthe frustration of the freedom-less East-Euro-Their works are displayed across more thaninteraction with the exhibition space is also ofrecent works approach visibility and non-pean petit-bourgeois expectations on art.800 square metres. A repertoire, which oncegreat importance. The initial form created invisibility which point towards recent actualTo date the art-loving audiences in Centralwas only loosely shown to the public outsidethe studio can take another state due to theproblems of Hungary’s publicity.and East Europe have received Havadtoy’sthe Soviet Union has now been made acces-interaction generated by the changing envi-art in the most sensitive manner, since hissible to the Western world. After the Per-ronment. This phenomenon is different fromDue to Szilárd Cseke’s versatility his ouvreconcept on art raises all the problems facedestroika, their creations were acquired andthose precedent-setting site-specific installa-is covering complete epochs. In his latestby the East-European cultural environment.exhibited by the most significant Russiantions of the 20th century, where the minimalworks Cseke maps the post-socialist situationHavadtoy’s art suggests an intriguing com-museums. Nevertheless, their creativity haschange coming from the incidental rebuildingin Hungary, his impressions of the presentbination of the bold slap-in-the-face Ameri-long been practically unknown by our localon another site gives them a new visual look.merge with his own subjective experiences.can pop art juxtaposed and intertwined withpublic.They build and then dismantle, deconstructHe makes mobile objects to set models forthe inhibited, suppressed, secretive, andAll artists are dignified in retrospectives thattheir works in a new form. The art of BaJóTamacro mechanisms functioning beyond thehypocritical East-European life: existence inshowcase their works from different periods.is characterized by this sculptural startingborders of everyday life and simultaneouslypain and distress covered-up by neat em-Since 1994, Nadja Brykina has been con-position. He raises questions originating fromhe creates series of paintings around variousbroidery.stantly releasing monographs, artists’ booksreality, practicality and realism, which createsubjects to contemplate the matter on a mi-In 1978 he established, the Sam Havadtoy Gal-and exhibition catalogues in four languagesa sculpturally exciting situation, but whichcro scale. Cseke focuses on phenomena orig-lery and Interior Design Studio, and became(German, English, French and Russian). Pub-will fade into meaninglessness intellectually.inated from past traumas of the society. Hegood friends with Yoko Ono, John Lennon,lications further include documentary filmsThe starting points of his latest works origi-examines the situation of workers defined byDavid Bowie, Andy Warhol, Keith Haring,unravelling the artistic life of selected artists.nate from the above concept, but their sourceglobalism and he arrives to the subjects of mi-George Condo, Donald Baechler and manyThe exhibitions organised from the works ofis personal memory. In the case of his workgration and commuters who tend to dwell in amore artists.these artists are complemented by photo ex-entitled ’Trap’, it is the simple concept of thesector between the center and periphery.The most monumental bronze sculpture inhibitions and cultural events such as concertsmouse trap made from a fruit jar and a halfKeith Haring’s oeuvre, the Winged Altarpieceand readings giving further insight into theirwalnut-shell back in his homeland, Transyl-Veronika Jakatics-Szabó, as a young,– was created with Havadtoy’s co-design andartistic world.vania. Regarding form, he investigates theemerging artist, gives a searching look onlimited numbered manufacture. Years later,relations between the clean factual minimalthe ambiguities of culture in the city. She cre-the Ludwig Museum in Budapest receivedand the organic. Behind the serious sculpturalates a peculiar personal city-myth reflectingthis rare work as a gift to the permanent col-goals, there is irony, humour and playfulnesson social situations, isolation in the society,lection from Havadtoy.hidden at all times.mingling of different cultures, etc. In the newIn 1992 he established a gallery in Budapest,body of work undertaken by the artist col-‘Galéria 56’ and exhibited works by Keith Har-laborating with the poet Zoltán Rónai-Balázsing, Andy Warhol, Agnes Martin, Cindy Sher-– whose works she terms ‘comic poems’ – Ja-man, Kiki Smith, Robert Mapplethorpe, Rosskatics-Szabó takes the story-board narrativeBleckner, Donald Sultan, Donald Baechler.structure of graphic novels, and emphasizesGreat Hungarian artist, László Moholy-Nagyboth figuratively and in subject matter thewas also represented in his gallery.reality that bubbles under the surface of theIn 2000 he returned to live in Europe and haseveryday moments of Hungarian society.homes in Budapest and Szentendre in Hungary,and Liguria in Italy.© Zsolt TIBOR: Hide Yourself2011, graphite, acrylic,adhesive tape, paper,150 × 162 cm, (courtesy of Viltin Gallery)Molnár Ani Gallery – STAND LF16© Szilárd Cseke: Deep Look (project)© Marlen Spindler: Composition(London First section)courtesy of Molnár Ani Galleryon Ultramarine GroundH-1088 Budapest, Hungary1983, tempera on cardboard, 116.5 x 70.5(courtesy of Nadja Brykina Gallery)Ani Molnár Gallery started its activity inTemnikova&Kasela Gallery2008, focusing on presenting emerging– STAND LF4© Sam Havadtoy: GEISHA2006, silkscreen on canvas 100 × 100 cmViltin Gallery – STAND YG17and acknowledged artists, aiding their representationin Hungary and internationally.(London First section)Tallinn EE-10146, Estonia(courtesy of Kalman Maklary Fine Arts)(Young Galleries Section)It provides solo and group exhibitions giv-H-1054 Budapest, Hungarying high priority to curatorial concepts withTemnikova & Kasela gallery is located inNadja Brykina GalleryThe mindset of East-European artists isthe aim to present quality in contemporaryinstallation art, painting, drawing and sculp-Tallinn and is based on partnership of galleristOlga Temnikova and contemporary culture– STAND B8strongly characterized by an investigatingture. Taking part in international and localpromoter Indrek Kasela. The cooperation of8001 Zurich, Switzerlandand collecting artistic attitude that tends toart fairs and shows, in 2012 for the first timeKasela and Temnikova came out of necessityreflect on social and thereby cultural past. Itamong Hungarian galleries it exhibited atof creating new type of art institution, withThe gallery was founded in central Zurich inoften involves social or direct political reflec-ARTISSIMA 19, a fair specialized in curatedinclination to break out of dysfunctional aca-2006 by Nadja Brykina. Its repertoire focusestions, and also an interpretation of the statusconceptual projects. From 2011 the gallery isdemic gallery image and of course go on withon Russian art from the second half of the 20 thof the contemporary East-European artista participant of VIENNAFAIR, the most im-representing and introducing establishedcentury up to present time. The gallery repre-in a universal European art medium. VILTINportant fair focusing on Central- and Easternand emerging authors from Baltic region andsents the artists Marlen Spindler, Igor Vulokh,Gallery introduces two such artists and theirEuropean art.beyond. The gallery follows participative artVladimir Andreenkov, Alexei Kamensky, Yuriworks based on the importance of searching,At ART13 Ani Molnár Gallery will present thetrends, creating new rituals for perception ofZlotnikov, Valery Yurlov, Andrei Krasulin andcollecting and this ’historical’ thinking that re-exhibition In/Transitive Relations with a con-contemporary art through organizing inter-Vladimir Soskiev as well as members of theflects on the near past. From the artefacts ofcept reflecting upon the actual social and po-disciplinary dynamic events, optimizing inter-younger generation, such as Mikhail Krunovcultural memories discovered this way theylitical situation of Hungary viewed through itsnational idea circulation.and other artists. The spectrum of their workscreate works presenting their own individualchanging relations to the western world alsoranges from painting to illustrations; fromconstellations.emphasizing the global prospective.Theygraphic works to sculptural pieces.Zsolt TIBOR basically starts out with ahave chosen artists Emese Benczúr, SzilárdMany of these artists rank among the non-’painter’s’ approach, then he bulids and drawsCseke and Veronika Jakatics-Szabó who dealconformists. They lived in the Soviet Unionaccording to the outcome of his perceptionswith these topics in their works. Szilárd Csekeunder desperate circumstances. In their isola-and investigations. He interprets and re-in-was chosen by the curators to represent Hun-tion, they followed their own artistic pursuit.terprets the current position of drawing. Hisgary at the fair, his work ‘Deep Look’ will beThey did not join the ruling party, neither itsset of tools ranges from acrylic and oil paint,installed in the project space of ART13.official art – social realism – nor did they jointhrough various adhesive tapes and foundEmese Benczúr is one of the most remark-the politicising underground. In exchange,objects, to the projected image – but first andable representatives of conceptual installa-they renounced to acceptance. They put upforemost, it is the pencil that plays the lead-tion art in Hungary. She approaches realitywith deprivation, or worse, persecution. Theiring role as favoured drawing implement. Histhrough tactile sensations and the primacynon-conformism was absolute and was ad-works are two-dimensional experimental me-afforded to the manufactured artistic object.dressed not only to the Soviet ideology butmorials: experimental in a sense that we doThrough explicit textual references she pro-to all attempts to affect artistic works. Evennot recognize at first sight what we are sup-vides conceptual dimension to the content of© Krista Mölder:with the emergence of the Perestroika theyposed to remember. These are all constitu-her works. These texts refer to temporality,Inazumi Corridor Red Carpetdid not adapt to the vogue of the art marketents of a collective memory.everyday existence and the futility of our ac-(courtesy of Temnikova&Kasela Gallery)

www.artguideeast.org7

ART PARIS 2013“The springtime event for modern and contemporary art”Art Paris will take place at the Grand Palais between 28th March and 1st April this yearbringing together 144 galleries from around the world. The fair has 74 new arrivals and atotal of 43% of the participating galleries are coming from outside France.For the first time in its history the fair will have an honorary guest country, Russia . Approximately90 Russian artists will be represented by 26 galleries. The main section of thefair will give space to the 11 galleries coming from Russia which shows the fair’s exceptionalfocus on the art scenes of the East (Central and Eastern Europe, the Middle Eastand Asia).producing, exhibiting and promoting the Bosnianand Balkan arts scene with partnerships,art projects and art professionals from allover the world. At the international Art ParisArt Fair 2013 Duplex100m2 and its partnerL’Agence will showcase works by three Bosnianartists - Adela Jušić, Milomir Kovačevićand Radenko Milak - with the support of theagnès b. fund. Using distinctive media (photography,video, painting), all three artists explorethe multifaceted notion of memory.Presented artists: Radenko Milak,Adela Jušić, Milomir KovačevićIn 2013 a brand new section named “promises” will be introduced dedicated to the promotionof young galleries under five years of age. There will be another section called“artdesign platform” showcasing eight “cutting-edge” galleries presenting exclusive contemporaryartefacts made by artists who explore the connection between design andcontemporary artThe fair in figures…• 6 500m 2 in Grand Palais in the heart of Paris• 144 exhibitors from 20 countries• 1 500 artists, 48 000 visitors• 43% international galleries and 57% French galleries• 52% new participantsGalleries coming from the CEE region(followed by their stand numbers):• 16thLine Gallery (Rostov-on-Don) – G4• Arka Gallery (Vladivostok) – F8• Erarta Galleries, (Saint-Petersburg, London, Zürich) – G1• Duplex-10M2 (Sarajevo) – F11• Heritage International Art Gallery (Moscow) – F6• Galerija Fotografija (Ljubljana) – A1• Gallery Grinberg (Moscow) – G2• Galerie Iragui (Moscow) – F7• Inda Galeria (Budapest)– B2• Kálmán Makláry Fine Arts (Budapest) – D17• Marina Gisich Gallery – Ural Vision Gallery, (Saint-Petersburg, Ekaterinbourg) – G5• Nadja Brykina Gallery, (Moscow, Zürich) – F9• Pechersky Gallery (Moscow) – F7• pop/off/art gallery Moscow–Berlin (Moscow, Berlin) – C8• Várfok Gallery (Budapest) – E2GENERAL INFORMATIONAccessGrand Palais, Avenue Winston Churchill, 75008 ParisBy invitation onlyTrade afternoon for professionals, Wednesday March 27th, 2013: 2pm – 6pmOpening event, Wednesday March 27th, 2013: 6pm – 10pmSpecial time slots for collectors and professionals – Saturday March 30th, Sunday March31st & Monday April 1st 10.30am – 11.30amOpening hoursThursday March 28th, 11.30am – 8pmFriday March 29th, 11.30am – 10pmSaturday March 30th, 11.30am – 8pmSunday March 31st, 11.30am – 8pmMonday April 1st, 11.30am – 7pmTicket pricesAdmission:Adults and children over age 10: €20Students and groups of 10 or more – half price: €10Free admission for children under age 10Catalogue & BagCatalogue, available at the exhibition: €20Admission + catalogue special offer: €35 (normal price 40€)Bag, available at the exhibition: €8Admission + bag special offer: €25 (normal price 28€)For further information about the fair please visit www.artparis.frEXHIBITING CEE GALLERIESAfter seven years of activity in Sarajevo,“Galerija10m2” and art centre “Duplex” wereDuplex100m2 - STAND F11joined together in July 2012 to create Duplex100m2in a new structure and spaceObala Kulina Bana 2271000 Sarajevolocated in a converted apartment in theBosnia Herzegovinacity centre of Bosnia-Herzegovina’s vibrantwww.duplex10m2.comcapital. The new facility is expanding on thefoundations laid down in the previous years:Radenko MilakPresented work: «And what else did you see?– I couldn’t see everything!»“02. april 1992, Bijeljina, Bosnia and Herzegovina”“The last series of his paintings rest on a famousphotography of an American photo reporterRon Haviv shot in the first days of thelatest war, showing a member of the Serbianmilitia in the Bosnian town of Bijeljina, kickingthe body of a woman on the street. The photoshocked the world. It revealed the austerityand crimes of Serbian paramilitary and militarygroups towards Bosniaks and Croatiansrevealing the real casus belli of this war - ethniccleansing. Milak replicates this photographywhich became a media icon in his seriesof paintings. It is a cathartic action, a personalappropriation of this excruciating scene thatacts as confrontation with the crimes executedin the name of his people. The magnitudeof this gesture is ever bigger, provided thatuntil the present day, the majority, and fromall sides was not able to confront the fact thatcrimes were pursued in their name. It is always“Others” who did it. Milak, in his statement,which is part of his work, asks himself whetherthe photography which influenced the worldwideopinion, communicates all about the formerwar?” (Dunja Blažević, Director, SarajevoCentre for Contemporary Art)(c) Radenko Milak: S ta ste jos vidjeli -Nisam mogao vidjeti sve!(courtesy of Duplex 100m 2 )Adela JušićPresented work: «The sniper»Video : color/sound, 04 min 09sYear of production: 2007Edition of 6 + 2 APThe aggressor’s sniper campaign against thepopulation of the besieged Sarajevo duringthe war was an inhuman violation of therules or customs of war directed principallytowards civilians.My father has been a member the BosnianArmy from the outset of the war through 3December 1992 when, as a sniper, he penetratedthe enemy territory and got killed by asniper bullet which hit him in the eye.Right before his death I found his notebookinto which he continuously, over severalmonths, listed how many soldiers he hadkilled during his combat assignments.Except for that book, in this work I am usingmy father’s last photography made by someonea few days before he died. A lot of soldierswere making photos for their families, so theycan have the memory of them in case they getkilled. My father did it for the same reason.(c) Adela Jusic: The Sniper (1, 2, 3)(courtesy of Duplex 100m 2 )In this work I am not questioning the positionof victim, but questioning the patriarchalcreation of heroism and war.Milomir KovačevićPresented work: «Tito in war», gelatin silverprint, 43 formats 58x41cm, 1992-1995I was born and grew up in Tito’s era. For meand my generation, Tito represented the symbolof peace and cohabitation of all peopleof Yugoslavia. Tito’s pictures were an essentialpart of everyday life: in schools, municipalbuildings, grocery shops, public places...Even after his death they remained a part ofpeople’s lives who saw in Tito a guarantee forYugoslavia and peace.With nationalist parties rising to power a newhistory was born manifesting itself in the destructionof Tito’s pictures in public places.Regardless of these changes, Tito’s pictureshad been present in Sarajevo at the beginningof war. The army, which guarded Titoduring his reign, was now destroying his pictures.Nevertheless, those pictures remainedas silent witnesses of a tragedy. Some of themhave been completely destroyed, while otherssurvived defying the evil. Most of them, however,were transformed into new pictures.© Milomir Kovacevic: Tito(courtesy of Duplex 100m 2 )

Kálmán Makláry Fine Arts– STAND D17taposed bright colours and monochromaticsurfaces has reached a high level of devel-collections. In 2009, Tavasiev participatedin the 3rd Moscow Biennale of Contempo-cities and the traces they leave behind’ – theseare the main topics to unfold on the prints.opment in Korea. This unique, atmosphericrary Art within the exhibition ‘No Toys’. UntilThe works turn into an absolutely fabricated10 Falk Miksa str.world, achieved with the playful juxtapositionMarch 2013 he is being exhibited within thepicture as Misetics becomes the ‘director’ ofH-1055 Budapestof monochromatic and multicoloured sur-show ‘Decoration of the Beautiful. Elitismthe scenes taking place in front of us.www.kalmanmaklary.comfaces, appeared especially during the Joseonand kitsch in contemporary art’ at the StateThese different periods allow the visitor to getperiod, on 15-19th century textiles, in secularTretyakov Gallery.a brief insight into an unusual era in Hungary’sOn the Art Practiceand Buddhist architectural painting, in folkhistory of art, during which some tendenciesof Hur Kyung-Aepaper art, and on folding screens made fordo follow ‘Western’ directions in art, but inFeaturing bright colours, yet poetically re-special occasions. Hur Kyung-Ae generates athe same time stay very much characteristicserved in their tone, Hur Kyung-Ae’s unmis-similar atmosphere in her artworks, kindlingof the local context.takable artworks stretch the usual bounda-the senses of the viewers.(Dr. Beatrix Mecsi,ries between painting and sculpture.PhD)Each of her works resonates the joy of life. Herpaintings feature an array of colours in a sensualand expressive complexity, yet they aremade to align to a systematic order. The multicolouredlayers of paint often emerge fromthe ground, or more precisely, from under thecolour that covers the multiple coats of paint,revealing a small portion here and there, thusgenerating colourful and flickering surfacesthat are nevertheless imbued with a meditativeatmosphere.© Mátyás MISETICS: Artificial light No. 1These objects attest to the process of their© Hur Kyung Ae: Number.1462007, giclée print, Ed. 5 + A.P., 80 × 100 cmcreation, the joy of making them: they are the2012, acrylic on canvas, 97 × 13 cmcourtesy of Várfok Galleryproducts of the human hand shaping them(courtesy of Kalman Maklary Fine Arts)© Rostan Tavasiev:and allowing them to take form during thecreative process, without preliminary planning.Construction and deconstruction arePechersky Gallery – STAND F7Your place in the history of art(courtesy of Pechersky Gallery)pop/off/art gallery MoscowBerlin – STAND C8the characteristic phases in this process:scraping off and cutting into the carefullyWINZAVOD, 4th Syromyatnicheskiy per.,1/6Moscow, RussiaVárfok Gallery – STAND E21, b.6, 4 Syromyatnichesky laneWinzavod Centerbuilt upper layers of paint, the artist enjoyswww.pecherskygallery.comVárfok u. 11.105120 Moscou Russiethe unexpected results. It is an activity full ofH-1012 Budapestexcitement, yielding surprises. The artworksPechersky Gallery was founded by Ma-www.varfok-galeria.huMommsenstr. 35reveal wonderment at the world, and a senserina Pecherskaya in January 2011. Since then,10629 Berlin Allemagne (Deutschland)of joy arising in its wake.the gallery has changed three locations, heldVárfok Gallery, founded in 1990, chosehttp://www.popoffart.deWhen a work has been completed, most art-several successful exhibitions and participat-to present a specific reflection of Hungarianists remove any unwanted drips and smearsed in parallel collaborations at the 4th Mos-contemporary art from 1945 to the presentPop/off/art gallery opened in Moscow inof paint, and waste. Hur Kyung-Ae, however,cow Biennale of Contemporary Art, the Kyivthrough the works of four artists, all part of2004. Since September 2011 it is located athas chosen a completely different path: sheArt Fair and VIENNAFAIR.its international permanent circle .the Center for Contemporary Art Winzavodcollects the fallen dust of paint and the dryIn 2012, Pechersky Gallery proudly opened aThe vibrant organic surrealism of Endre RO-the place where the main metropolitan galler-strips of the layers that she has scraped off,new venue at Winzavod Center for Contem-ZSDA (1913-1999) will be presented throughies are situated. The new gallery space startedand reuses them: she re-pastes them onto theporary Art with showcasing works by Alexeiartworks created in Budapest between circafunctioning in summer 2012 in Charlottenburgsurface of the painting. By doing so, she con-Kostroma. Besides Russian artists Pechersky1945-50. These paintings (rare consideringdistrict in Berlin. Among the artists of the gal-nects to the train of thought that she has readGallery works with artists from the USA (Rich-this period) precede the next stage of hislery are the best known names in contempo-in Didi-Huberman’s “Genius of Non-place”:ard Hambleton), Germany (Alexei Kostroma)śuvre already unfolding in France: his longrary Russian art, from acknowledged classicsthe artist inhabits a place, i.e., in her case, theand Ukraine (Arsen Savadov, Iliya Chichkan).stay (until his death; he worked and lived from(Erik Bulatov, Andrew Grositsky) to the maincanvas and the world comprised of the layersPechersky Gallery aims to accompany its1979 at the Bateau Lavoir, Paris) ‘begins’ inauthors of the recent decades (Anatoly Os-coating the canvas, which she gradually de-showcasing activity with profound research.1957 with an exhibition (Galerie Furstenberg)molovsky, Olga Chernysheva, Gor Chahal, Vi-constructs and abolishes. The work, however,In 2012, it was preoccupied with researchingintroduced by André Breton’s text. Rozsdataly Pushnitsky), from rising stars to rediscov-preserves all the traces of abolishment andthe New Wave movement in Russia. Exhibi-would be celebrating his 100 th birthday thisered artists. We show different types of arttransformation. The artist points to this facttions presenting VGLAZ artists and Oleg Ko-year, therefore an exciting series of eventsincluding photography and new media, butby re-introducing the fallen layers of paint.telnikov (one of the founders of the renownedwill commemorate the jubilee during 2013 atmainly we devote attention to painting, sculp-She addresses the process of creation, which‘New Artists’ group in the 1980s) followedVárfok Gallery and in the Hungarian Nationalture and objects in their current understand-is an experience in itself, seeking to share hereach other and in the end aroused interestGallery, amongst other places.ing. The principal feature that unites all theexperience wih the viewers so that they canfor the underexposed but influential and em-Stepping forward towards the period aroundartists of the gallery is really high quality art.also see and understand the process of joyfulblematic Russian art movement. Discussions1968, although Hungary was still oppressedDuring the Art Paris pop/off/art gallery Mos-creation in their minds.held on the New Wave let artists Gosha Os-politically, officially ‘banned’ artistic trendscow Berlin in cooperation with Blue SquareSuch an immersion into the creative process,tretsov, Georgy Litichevsky, Nikita Alexeevwere emerging. The Hungarian ‘Hard Edge’,Gallery (Paris, Washington) presents on itssuch a “consuming” of the paintings, is similarspeak their minds on the topic. Pecherskyshowing singular local characteristics, will bestand several generations of Russian artiststo the joy provided by eating colourful cakes.Gallery now plans to create a public forumrevealed at the Grand Palais through paint-who live and work all around the world – anCrumbs and morsels keep falling while youthat will allow artists and curators to holdings by István NÁDLER (1938) completedintimate panorama of art, which has Russianare immersed in the delight of eating them.conversations with the general public andin the 1970s. These works guide us throughroots or matters, but speaks the languagesOn special occasions, such as someone’s firstyoung collectors and to promote the under-an unusual, personal internal emigration. Ná-of international contemporary art. We repre-and sixtieth birthday, weddings or other joy-standing of contemporary art in Russia.dler – one of the leading actors of the presentsent the lines of Sots art and conceptualism,ous events, people in Korea make, displayIn 2013, besides its internal exhibition pro-Hungarian non-figurative picturesque scenethe newest post conceptual and postmodernand consume similarly colourful cakes. Thegram Pechersky Gallery plans to accomplish– discovered gestures in the 1980s: since thenmovements, with the emphasis on the leftrice cake called siluddeok appears in the col-two major group shows. One of them is go-they became major components of his śuvrewing social ideas or the material which sharp-ours of the rainbow on such occasions: thising to touch upon the relationship betweenwhile he keeps discovering new depths in thely outlines the physical relations.mujigae-ddeok, or rainbow rice cake, as it isthe government as a client and an artist as anfield of colours.The list of artists represented is:called, resembles the layers of paint that theexecutor of the governmental order. AnotherThe 1980s meets the liberation of the picto-Olga Chernysheva, Arkady Petrov, Anatolyartist applies on her canvases. The groundshow is an international curatorial projectrial language: a strong expressivity sweepsOsmolovsky, Grigory Maiofis, Rostislavcolour of the rice cake is white, to which col-which involves significant artists from all overacross Europe and America with differentLebedev.ourful layers of various flavours are added.the world.‘outcomes’ depending on the countries (FreePrepared in a large earthenware steamer,Within Art Paris Fair Pechersky Gallery isFiguration, Neo-Expressionism, Transavant-this kind of rice cake is made of powderedplanning a solo show presenting Rostangarde). In Hungary, one of the important rep-rice flour, layered in a similar way by addingTavasiev. Tavasiev was born in Moscow inresentatives of New Sensivity (a group ensu-various flavours: sweet red bean, red-orange1976. He graduated from the Institute of Con-ing of this tendency) is László MULASICSAsian persimmon, fruits, nuts and seeds, andtemporary Art. The artist exploits the topic(1954–2001) who later finds his unique pathother plants yielding colour. As Hur Kyung-of stuffed toys and works in different media,through his perfected encaustic technique:Ae confessed, her works are similar to theseincluding installation, graphics and painting.some of the first ‘results’ of these experiencesfamous Korean rice cakes: during the proc-Tavasiev featured shows in Moscow, London,will be presented at the fair.ess of making the paintings, she eats up, asParis, Miami and Bologna. His works are inPhotographs by Mátyás MISETICS’ (1982)it were, the colourful layers. She also madethe collections of the Moscow Museum oflet us discover a world of artificial luminous© Olga Chernysheva: Untitled (Park)such cake forms out of, powdered paint mak-Contemporary Art, Multimedia Art Museumsources where the relation and the interac-2007, Gelatin-silver fiber based print.ing reference to such an elemental connec-(Moscow), the Moscow Branch of the Nation-tion of Man and space are analysed. Solitude,60 × 90 cm. Edition of 4 + 2APtion to the joy of eating. The aesthetics of jux-al Center For Contemporary Art and privatealienation… ‘the experience of people in large(courtesy of pop/off/art Moscow Berlin)www.artguideeast.org

10Transforming Realityinterview with Guillaume Piens, director of Art Paris Art Fairby Zsuzsi Fieszling Duplex Gallery from Sarajevo among usas it will show the best of what is happeningon the Bosnian scene, and well as 16th Linefrom Rostov on Don.Why Russia? (as guest of honour)Guillaume Pienspicture by Marie Amar ©Art Paris is 15 years old this year. If you lookback what do you think were the main milestonesthat made the fair as successful as itis nowadays?When it was set up in 1999, Art Paris tookplace at the same time as the FIAC. From thebeginning, it set out to be different by distancingitself from the fashionable trends ofthe art world, which by definition are passing,and by showing strong support for theFrench art scene. In 2006, it was the first artfair to be held in the Grand Palais after majorrenovation works. It changed dates and becamethe event for modern and contemporaryart held in the spring, as opposed to theFIAC that takes place in the Autumn. In 2009,under the leadership of Lorenzo Rudolf, a newconcept was launched with the title of ArtParis Guests. The idea was to open up the artworld and blend contemporary art with otherdisciplines like architecture, gastronomy andfashion. This created a confused situation andthe idea was dropped in 2011.In 2012 the fair was brought under new managementand was re-named Art Paris Art Fair.It has since worked to establish a unique identityas a fundamentally European fair that isopen to the promotion of the art scenes ofthe East, meaning Eastern and Central Europe,the Middle East and Asia.Last year we read a lot about your new conceptsof rediscovering identities and territories.How are you following this route (in thefuture)? What do you think it will change?Entrance of Art Paris Art FairGlobalisation has meant that art and the art ingly conventional, formal and also frivolousmarket today has become more and more work we see today.homogenised and unified. In the face of this, The difficulty for the region is a lack of meansit is crucial to turn our attention to the very to distribute and show its contemporary artrich local art scenes that are distinguished by production abroad. The institutions are weaktheir own personalities and identities. I like to and the galleries do not have the means tothink of it as “cosmopolitan regionalism.” export their artists onto the internationalWe are also interested in widening our field scene.of prospection and discovery of contemporaryart and to bring together contemporary Considering your background: Photo orArt Brut and work from the emerging scenes Paintings? (and we are curious why…)of Africa, Asia, the Middle East and EasternEurope. These days, it seems vital to developa specific identity and be different from I got involved in photography thanks toMy background is in contemporary art butother fairs.Paris Photo. Strangely enough, I collect artistswhose work often has photography asWhat do you (honestly) think about Centraland Eastern European art? Is there a work tends towards the painterly. I like botha starting point, and photographers whoseuniqueness we can show up or do we need photography and painting when they transfixto change attitude/technique/viewpoint/ the instant and transform reality.management strategy?This year you will have 75 new galleriesWhen I was director of Paris Photo, I invited (by the 30/01/2013 data) some of themCentral Europe to feature as guest of honour. from countries who rarely represent theirThis experience had a profound effect on me. contemporary art on big art fairs. Did youUnlike the countries of the West, central Europeannations have undergone fundamental booth prices or maybe something else forchange your selection structure or lower thesystemic shocks: Communism, the fall of the this to happen?Berlin Wall in 1989, the advent of democracyand capitalism. The young artists of the regionhave documented and commented on travelled and prospected in a large numberFirst of all, we went out looking for new talent,these transitions, and that is what makes their of cities including Moscow, Budapest andwork special and specific. It is poetic and politicalat the same time. It confronts us with section called “Promises” for 12 young galler-Vienna. Secondly, we have introduced a newthe realities of recent history and poses existentialquestions. It stands out from the bor-sponsored. We are particularly proud ofies for whom 50% of the participation cost ishav-Russia will be the first chapter of our explorationof the art scenes of the East. Thereis a lot of talk about Russia, but strangelyenough, the Russian scene is almost invisible.This is the first time that Russia is invited asguest of honour in a French contemporaryart fair. The objective is to show the wealthand diversity of the structures in Russia.There are Modern Art galleries like Heritageor Brykina, photography galleries suchas Grinberg Gallery, contemporary gallerieslike Pop Off, Arka, Marina Gisich ou Erarta,and new up-and-coming outfits like Iragui,16th line and Perchesky. They all show differentfacets of Russian art: from the artistsof the diaspora to the non-conformists whoopposed the cult of Soviet power between1960 and 1991 to the rising stars of the contemporaryscene.If I am right opening a section for contemporarydesign is a fairly new thing for Art Paris.What is the concept behind this? Is it somethingyou will build into Art Paris’ portfolioin the future?These days there is a close relationship betweenartists and designers. Some designersare shedding the shackles of the functionalto create ambiguous objects that come closeto contemporary art. For this reason it seemslike an interesting idea to create an “artdesign”space where the two can meet. This isthe aim of the platform which brings togethernine cutting-edge galleries that show exclusive,one-of-a kind or very limited editionpieces by contemporary talents. We are excitedabout the prospects for this new contemporarydesign space.What’s Art Paris’ next step?My aim is to ensure Art Paris Art Fair continuesto be a place for discovery and prospectionas well as continuing to focus on and promotethe art scenes of the East. Next year, in2014, China will be Guest of Honour.What’s your next step?My wish is for a successful edition of Art ParisArt Fair in 2013 and to be able to contribute tothe promotion, understanding and appreciationof Russian art on an international level.Courtesy of Art Paris Art FairCourtesy of Art Paris Art Fair

Photography One by One: Moldovainterview with Tatiana Fiodorova, artist and curator, by Zsuzsi FieszlTatiana Fiodorovaartist and curatorWhat do you think photography means inMoldova today?This is a difficult question, perhaps not onlyfor me but for all those involved in photography.At first glance, compared to previousyears, there is a growing interest in photographyboth from professionals, and ordinary citizensof Moldova, most notably in social networks.For several years, there is portal foto.md, where people who are passionate aboutphotography, can post their photos and comments.People are increasingly, turning tothis media as a way to visual communication.Also, private photo schools open, but most ofthese are of commercial nature. They a wonderfullyprepare photographers for weddingsand other celebrations, teach a trade, but thisis not for creative fulfilment.Can you see Moldavian contemporary photographybeyond your country’s borders? Ifyes, where? What are you (and other Moldavianart professionals) doing to make contemporaryphotography visible internationally?Generally speaking Moldavian photographyis practically scarcely present on the internationalscene. Almost all Moldavian photographersare only known on local level. Few canshow their work in western galleries, and thisis of course connected with the lack of institutionsthat could promote and develop Moldaviancontemporary photography. If we talkabout the personal experiences of the Moldavianphotographers, they very often do nothave full information on how to be visible inthe western world.How do you see, is there a real market forcontemporary photography in the Centraland Eastern European region?Such thing does not exist.What are the strong suits of Moldavian photography?I think Moldavian photography has huge resources,like the whole of our country does- thisis our land. Our space is unique both historicallyand geopolitically. Western colleagues liketo be here. We have something to shoot andtalk about. Moldova for me is, first of all a post-Soviet space. It is impossible not to talk aboutthe Soviet utopia project in which we lived for70 years. And today’s topics in Moldova, bothsocial and political in the present period oftransition may also be of interest.Of course we have talented people with ahuge potential, but the lack of knowledge andexperience does not allow photographers towork in the framework of contemporary photography.What do you think are its weaknesses?The primary weakness is the lack of infrastructure,not only in photography, but in the culturalsector in general, and of course the lackof the art market. We have individual photographers,but we can’t talk about a photo community.It has, unfortunately not developed.In the 80s there was a popular and famousphoto club in Chisinau called Contrast. Iconicphotographers of that time were Valery Volontir,Vladimir Gaidash and Constantin Grozdev,who were awarded honorary degreesAFIAP, then EFIAP. Today the club has almoststopped its activities.Of course, the burning and the most importantquestion is the financing of activities aimedat developing Moldavian photography. In ourstate, including the Ministry of Culture, thereis no clear and well thought-out policy abouthow to promote contemporary art, or contemporaryphotography in particular. Thereforephotography develops spontaneously andrandomly. There are no programs or strategiesfor the development of this field.One should also add that though photographyis taught as a subject at the Academy ofMusic, Theatre and Fine Arts only few of thegraduates continue to pursue photographyseriously after the Academy. Most likely, this isdue to the lack of understanding of how theycould further develop as photographers.There are, of course, attempts to changethings. The Chisinau Centre for ContemporaryArt held periodical exhibitions whereMoldavian artists working in the field of contemporaryphotography, could exhibit alongartist working in other media. .In 2009, I created an online platform, www.artploshadka.wordpress.com to popularizecontemporary art, including photography, bydoing interviews with artists and photographers.Who do you think are the most well-knowncontemporary photographers from yourcountry in 2013?Photography in Moldova is very differentfrom what you would expect.Of course, in Moldova many know the nameof the photographer Mihai Potarniche who ispraised on Moldavian land for his lyrical photographiccompositions. Abroad, however, he isonly scaresly present, like the majority of Moldavianphotographers. In the genre of photojournalismit is necessary to note teacher andphotographer Nicolai Pojoga, who occasionallygives lectures in the USA. Oleg Kaneev isknown in Moldova for his macro and landscapephotos and sketches. On international level,the Dutch contemporary photographer (bornin Chisinau) Ilya Rabinovich is well known forphotographing public spaces like schools andmuseums in the absence of people presentingthe way in which the social system we live inmakes us live in a certain way.Contemporary photography is not supportedor funded by anyone, therefore Moldavianphotography mainly developed as a commercialgenre. Two commercial photographersin great demand in Moldova are Roman Rybalev© Dorin Goian / Gipsy girlA roma girl from a poor family, 28 childrenfrom 3 different families living in a 2 bedroomapartment in Soroca, Moldova 2009and Gulnara Vishku. A very interestingcreative project in my opinion is the Night ofshams by Gulnara Vishku where the artist wastrying to visualize dreams through photos.Also, interesting young authors appearedworking in the various genres of photography.For example, young photographer likeDorin Goian, Ramin Mazur and Donica Neluproduce interesting works in photojournalism.Dorin Goian has an interesting series of worksentitled Hospice Angelus. It is about the firsthospice providing palliative care for patientssuffering from incurable diseases. Ramin Mazurcreated an online photo magazine: http://angleimages.com which presents documentaryphotography. Donica Nelu also tried tomake film. This year he released his wonderfulfilm Nastea & Sioma about a Moldavian villageand its inhabitants. The main characters areshepherds who very sharply characterize theMoldavian rural context of our time.© John Donica: Workers, 2012It is worth mentioning Irina Grabovan as well,a photographer who invited Western photographersto exhibit in her gallery, Aorta.Unfortunately, at present this gallery almoststopped functioning .In fine art photography is used in order tomake collage by artists like Egor Tetushev, IrinaLesik and Andrei Shushvalyuk. Ivan Yalanzhi’snude black and white fotos also received internationalevaluation and recognition.Photos are also very often used in projectsmade by contemporary artists as DmitriiOboroc, Alexander Raevski and Max Kuzmenko.I often turn to photography in myprojects as well. Sometimes I use a photographas a document of reality, though it is still conceptualby nature. Very often the photo is onlypart of the project. It can be supplementedby video works, made into a photo object orgo into a multimedia installation. It may havea social or political sense. For example, for aperiod of more than two years I made a photodocumentation about the protest a Moldavianwar’s veteran named Tudor, who lives in a tentnear the Government and insists on the Governmentto provide him with a house becausethe one he owned was destroyed by authority’smistake. By visiting http://protesttudor.wordpress.com you can see how this mancontinues to protest for more than two years.I also worked with the archival photo material Igot from my father, who was an unknown artistand photographer in the Soviet time. Youcan see his works at http://unknownartistmuseum.wordpress.com.You probably review many portfolios. Whatdo you think about the new generations?Are there changes in how they see photographynow compared to the ways in whichphotography was viewed for example 10-15years ago?Of course, there are many updates, mutationsand newly appearing forms in photographythat were not popular 10-15 years ago. On theone hand there is the use of computer technologyand the use of new methods while onthe other hand there is a return to the aestheticsof old manual photography. Also, there aremany young people who are passionate aboutusing the photo application called Istagram.You said there are no institutions whichwould represent contemporary photography- other countries organise photo festivals,photo months (like the European PhotoMonth). Have you considered organising anyof these? Do you think the Moldavian contemporaryart audience would be interestedin this kind of events?I think the interest would be huge not only forthose who are engaged in contemporary art,but in general, as many citizens are addictedto photography.What kind of fundraising opportunities doyou have? Do you use EU funding at all?Moldavian NGOs received funding from theEU, but most of this funding does not go tothe development of contemporary photographybut goes in general for the developmentof contemporary art. I myself was invited toparticipate in international projects as a partnerfrom the Moldavian side and in the caseof the project dealing with documentary photographywhich will be implemented this year,the association of photographers Sputnic receiveda grant from the Visegrad funds.Are there art collectors in Moldova? If not,what about Russian collectors? Are they interested?If we talk about investors and collectors ofphotography I can say mostly no than yes.How do you think the situation of Moldavianphotography might change in the near future?The situation will surely improve in the future,I think we have already started. In collaborationwith Natalia Anisimova, directorof Mediart Dialog we are trying to developand create projects related to photography.For example, in 2011 I curated a photo exhibitionentitled Moldova. The choice is yours. In2012 we planned to organise an exhibition ofdocumentary photography, where photographersof the CIS were to be invited but, unfortunatelyRussia refused to finance the projectat the last stage of its implementation. Now Iam involved as a partner from the Moldovanside in an international project organized bythe International Association of Photographers“Sputnik. This year we plan to organiseworkshops for Moldovan photographers, anda group of young Moldavian photographerswill visit the Czech Republic. Let’s hope thatour work will influence the development ofMoldavian contemporary photography.More about Tatiana Fiodorova:www.tatianafiodorova.wordpress.com©Tatiana Fiodorova:Sublime Object of Ideology, 200911www.artguideeast.org

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KINETIC LABEast London Design ShowShoreditch Town Hall London6–9th December 2012KINETICLAB is an experimental collaborationbetween Balint Bolygo and Elod Beregszaszi,exploring potential applications for kineticforms of expression encompassing the fieldsof Art, Design & Commerce.Elod Beregszaszi runs Popupology DesignStudio to explore all aspects of paper manipulation,concentrating on single sheet foldablestructures utilising the technique of OrigamicArchitecture. He has set up a unique businesswhere the boundaries of art and its commercialapplications are explored in an ingeniousand creative way.Balint Bolygo is an artist working with timebased sculpture and explores the process ofmaking from a science and engineering perspective.His kinetic contraptions use everydayforces to investigate space, mark makingand time, and reveal a new perception of ourenvironment.Kinetic Lab was created by two Hungarianborn artists who both grew up in the UK. Theirartistic paths crossed at the end of 2012 whenthey saw common threads running throughtheir work and the potential to explore newdomains within their practice. CollaborativeP R O J E C T R E V I E Wwork often liberates the artist from the dogmaticapproaches that are habitually adoptedover years.The exploration of ideas becomesless weighed down by the ego and the desireto conform to a consistent artistic practice.The often resisted field of searching for commercialtake on artistic practice is also sidestepped.The debut project for Kinetic Labwas at East London Design Show in Decemberlast year. Bolygo and Beregszaszi have literallycombined their artistic practice to createan interactive platform on which the publicwere given an opportunity to be directly involvedwith the ‘act of making’ the artefact.Beregszaszi’s pre-cut paper templates weremounted on Bolygo’s Pendulum Harmonograph,drawing mechanism. By interactingphysically with the weights in motion, uniquemathematical patterns known as Lissajouscurves were drawn onto the paper modelwith various coloured pens. After about 5-10minutes of drawing time the paper cut formswere folded into popup sculpture that spatiallyextruded these fascinating forms on thepaper folds. The result was a unique artworkevery time from a multiple design, through aprocess that was not only on show but wasopen for the public to participate in.Kinetic Lab aims to explore the potential ofsingle sheet rigid foldable (popup) structuresas a kinetic form that can be customised toclient and site specification. The possibilitiesof applying kinetic paper structures to art, interiordesign, fashion and even architecture isenormous. Kinetic Lab has exciting opportunitieslined up in London and are working onnew ideas and projects planned to be showcasedduring 2013.13Kinetic Lab ©BerlinIntroducedAGE asked Zak Branicka Gallery,BerlinIs it worthwhile representing Central andEastern European artists in Berlin? What areyour experiences? Does the fact that you arenot a “Berliner” gallery make you unique?Vlatka Horvat, Beside ItselfRoman Opałka, OctogonYes, it is definitely worth it! Although thereexhibition view at ŻAK | BRANICKA,exhibition view at ŻAK | BRANICKA,are many high quality institutions and galler-2011, Berlin,2011, Berlin,ies in Berlin, the percentage of them repre-Copyright and courtesy ŻAK | BRANICKACopyright and courtesy ŻAK | BRANICKAsenting and supporting art and artists fromCEE countries is fairly low.What do you think are the main differencesIn fact, we are not really concentrating on theAre there any other galleries who are on thebetween German and Eastern European art-Western market only. We still work very oftenforefront of the CEE region? Do you work to-ists? Is there any difference at all?together with many Midlle- and Eastern Eu-gether sometimes?There are certainly differences. For one, CEEropean collections and museums. The sameYes, there are a few very good galleries hereartists have a very close connection to his-applies to curators from the CEE.in Berlin that represent the CEE region be-tory and include and refer to historical mate-What do you think about the art scene inlot more affordable than in all these othersides us. Very good examples are Galerijarial in many of their works. They also workBerlin? Would you change your location forcities.Gregor Podnar and Gallery Plan B. We do notextremely conceptually and many of themexample to Cologne, Paris or London? AreJózef Robakowski, Der Linie nachnecessarily collaborate on exhibitions but weexperiment with a diverse array of mediathese markets different at all?exhibition view at ŻAK | BRANICKA,are good friends and share thoughts aboutinstead of just focusing on one medium.At this moment, we would not want to2012, Berlin, Copyright and courtesy ŻAK |the market and especially the situation in andTechnically speaking, the artistic educationchange to Cologne, Paris or London. TheBRANICKAaround Berlin.given to CEE artists had a very high stand-only location we would consider would beDo you feel that there is an increasing or de-ard, which has given them expertise in theirNew York, for example. Berlin, for us, is stillWhat were the biggest changes in the lastcreasing interest in artists coming from Cen-respective fields.the perfect spot in Europe since we are still3-5 years in Berlin on the contemporary arttral and Eastern Europe?You are more focused on targeting the West-very close to the CEE region and are alsoscene? Were there any significant changes?Over the course of the last five years, we haveern world – do you still have a connection toclosely connected to the general EuropeanFor us, the most significant change in the lastbeen working closer and closer with an in-CEE galleries, collectors and curators? (Ammarket. We go to fairs in Paris, London, andfew years was that art from the CEE regioncreasing number of German and internationalI right when I presume that your market isCologne (either with a booth or just visiting),received a lot more attention within the con-collections.more Western?)which gives us a much better opportunity totemporary art scene. Collectors and curators,connect to the people there. In this case itas well as the general public’s interest in-is not necessary to also have an exhibitioncreased noticeably. This means for us that wespace on site. The American market is a dif-as a gallery, and our effort in promoting artferent thing though.from the CEE countries is finally visible andDo you think there will be a Berlin Art Forumhighly appreciated within the contemporaryagain?art scene in Berlin and abroad as well.We don’t know.Which cities do you think are your biggestMore about Zak Branicka:competitors? (Berlin vs London vs Paris vswww.zak-branicka.comNY etc.)Joanna Rajkowska, Born in Berlinexhibition view at ŻAK | BRANICKA,2012, Berlin,Gorgona, Please Attendexhibition view at ŻAK | BRANICKA,2013, Berlin,We can’t really speak of competitors. All ofthese cities are completely different. In Berlinyou are still closely connected to the art-AGE art tips for April: Berlin Gallery Weekendwww.gallery-weekend-berlin.deCopyright and courtesy ŻAK | BRANICKACopyright and courtesy ŻAK | BRANICKAists. Furthermore, rent and living are still awww.artguideeast.org

14Introducing Ádám Magyarinterview by Bálint Ferenczy, art historianThe image comes first. By this I mean thatno matter what device the light is goingthrough, the resulting image has to be genuinephotography. The camera can be ana-I am turning to film now. Somewhat morethan a year ago, I made a slow motion videowith the support of Optronis. This video wasintended to be an illustration for my StainlessAdam, as far as I know travelling is verysiency, our temporary existence, the drama oflogue or digital, yet it‘s no more than a de-photo series and an experiment between stillimportant in your life, and also essential incoming in and going out of the world as wevice. If you find that your concept requiresphotography and motion picture. The videoyour artistic approach. Did you know whatknow it, the flow of existence and human livesa different technology, that’s what you needreveals dimensions in time that I can hardlyyou were looking for when you started trav-being overlapping chapters in it. The ques-to use, and if the technology needs some ad-wait to explore more.elling?tions are the same. What happens betweenjustments, you make those adjustments. TheEverything that was unfamiliar. I just wantedto know what the world has to offer. First itwas simple curiosity, which then grew intoexperiments like what happens if I keep returningto the same place or decide to spendmonths at one spot.entering and exiting this flow? Can we leaveany trace behind? Do we have a genuinechoice when deciding which track we follow?Do you find the digital/technical part ofyour work ideologically important, or thisspecial, self-built camera is just a tool/de-bottom line is really simple. Each conceptneeds the right device. If any choice is wrongin the process, the end result will be nothingmore than a try.Finally tell us about what do you find challengingright now? Do you have any newMore about Ádám Magyar:www.magyaradam.comand www.galeriafaur.huTo have a look at his photos now, visitthe Faur Zsófi Gallery stand (H7) at Art13London!vice to achieve your goal?projects in mind?How did you actually learn photography?I’m a self-taught photographer. I started withdocumentary photography using analoguetechnology and spent years in the dark room.There was a point however, when I realized,I just cannot convey my message this way.That’s when I started to build my own camerasand unconventional camera systems, usingindustrial cameras.You are going to exhibit three different seriesat Art13 London (Squares, Urban Flowand Stainless). Should they be viewed as acontinuous – linear development in your artisticapproach? Being on the go, commuting,or so to say travelling is omnipresent inall these works. Please tell us more aboutthem.I never thought about them this way, but ofcourse none of them would exist without theother, and I speak about the same things in allof them. I’ve always been intrigued by tran-Picture by Beatrice SchachenmayrTHE CHOSEN FEW by Izabella FeketeIzabella FeketePicture by: Petra KovacsMany feel the calling, but only a few are chosen:that is the cruel reality of the arts. Beingan artist remains a dream job for many, yetonly a lucky few can make a living from theirart alone.Is there a recipe for success for talentedyoung artists just starting their career? Doescareer planning work in a field undermined bya variety of factors that are hard to estimateor impossible to control? How do young artistsmanage on the art market, and how doesfame translate into economic terms?The short answer to these complicated questionsis that when trying to achieve successon the art market, talent is just not enough.The days when young geniuses working inobscurity were discovered by influential galleryowners are long gone and art-world expertsagree: young artists need to networkand actively draw attention to themselves. AsBarbara Basting puts it in her article entitled‘Networking and a Pinch of Luck’ publishedin Passages, there is no magic formula forsuccess, but there are a few strategies worthnoting.Let us begin with some numbers. GerhardRichter, the 80-year-old German artist, currentlyholds the title of the most expensiveliving artist at auction, with a painting soldat Sotheby’s in London in 2012 for $34.2 million.In the meantime visual artists in Germanyearn a very modest average of 1000 EURper month. High-earning artists in EasternEurope are even harder to come by. In Hungaryfor example prices are still below theEuropean standard. Established Hungarianartists, provided that they are representedby an internationally recognised gallery andcan reach the Westerns collectors via artfairs and auctions can expect to sell mid-sizeworks for 5-7000 EUR at most, while largerscale works rarely cost more than 10.000EUR, and since galleries can only afford toattend one or two fairs a year, this results inselling very few pieces if any at all. On theother hand a mid-size painting by a youngartist, sold under the same very lucky circumstances,usually runs at best between1–3000 EUR.Curator Bálint Ferenczy of Faur Zsófi ContemporaryArt Gallery in Budapest articulatesthat the reason for young Eastern Europeanartists not selling for standard Europeanprices has three components. First of all, theyrarely have the chance to exhibit at prestigiousWestern galleries or art fairs, and to beseen and discovered by curators who wouldconsider their works for further exhibitions.As a consequence their prices mirror this narrowexposition to art professionals, collectorsand the public. Furthermore, if a work is suspiciouslycheap, collectors and curators tendnot to consider them at all. Since they are notconnected to the hubs of contemporary art,John Curtin Gallery, Australiaand not marketed at leading fairs they cannotsell for high prices and of course, no one question remains: how to deploy the availableMoney of course is another issue, but the mainwants to exhibit or buy cheap art. Another sources? Supporting independent projectissue is the lack of purchasing power on the spaces and affordable studios is crucial, butpart of the wider public, as well as a shortage project grants and studio fellowships seemof contemporary art collectors in the CEE region.In addition, potential art buyers in Hunistin residence programs also help to maketo be very effective as well. Grants and artgaryare not necessarily educated in the arts the transition abroad. These programs bringbut tend to come from the world of business young artists to important centers – Berlin,and it is a major challenge to convince them New York or London – and ensure that theyof the investment value of contemporary make contact with the local art scene.pieces.As Basting concludes, young artists are moreWhile galleries obviously play an important strongly challenged than previous generationsto develop an appropriate individualrole in making artists known, it is the artists’responsibility to make sure that they are discovered.Anselm Stalder, an artist and the cess, but rather a variety of paths, in navigat-strategy. Since there is no royal road to suc-director of the Fine Art department at the ing those paths the most important quality isUniversity of the Arts in Berne, believes that intuition – and a pinch of luck.art students should abandon the idea of alife centered primarily on self-expression.“What’s important is to be open to discoveringnew things that enhance one’s own expe-About the author:rience, while finding forms that also take into Izabella Fekete is a freelance curator inaccount the potential role of the public.” The contemporary art and the host of a radioawareness that art creates a communicative show and blog focusing on contemporaryvisual art and its relevant interdis-situation should already be present during awork’s creation.ciplinary issues. She is board member ofAnother important point in building one’s CentrArt Association, an atelier of youngportfolio is to choose the right gallery for Art Historians. She graduated from therepresentation, as it is almost impossible to Courtauld Institute of Art in London andcorrect the mistake of landing in the “wrong is currently working as research assistantat the Museum of Fine Arts in Buda-segment”, in galleries that are not countedamong the trendsetters. This also means pest (HU). She is open to collaborationending up in galleries which are not attending on projects that transcend artistic andinternational fairs thus stripping artists from disciplinary boundaries.international exposure.

New Wave Photography 2013LONDON15Now in its second year, New Wave Photographywill be showcasing fine art photographyfrom Central and Eastern Europe at the CryptGallery, London from 19 th – 27 th April. Theexhibition recognises the rise of contemporaryphotography from Central and EasternEurope, showing a broad selection of artistsfrom the Czech Republic, Poland, Slovakiaand Hungary.The historic catacombs of St.Pancras church,also known as the Crypt Gallery prove to bea perfectly contrasting venue for this experimentalexhibition. The photographs on displaysatisfy and confound expectations ofEastern European photography and in thesame time they introduce us to a number ofgenuinely talented artists.The exhibition demonstrates photography’sclose relationship with painting and it’s importanceas a fine art medium. Work by Slovakianartist Veronika Otepková prove thatdigital photography can be both refreshingand classically beautiful. Her work draws inspirationfrom historical events and poetrybut she is clearly undaunted by digital manipulation.Her use of textures and tone mappingcreates an oil paint-like surface on which shecomposes her images.Polish artist, Maciej Boksa epitomises the ambitionof the exhibition showing some verybold, abstract photographs. His series Doorsof Perception takes the viewer on a journeythrough the microscopic world of reflections.The artist uses digital manipulation to introduceliquid surfaces which pour out into thegallery space.Lomography (a unique analogue cameratechnique) also makes a welcome appearanceat this exhibition. Hungarian artist RekaKoti proves that this technique still has impactthrough some haunting, fashion inspired images.Another artist who proves her paintingcredentials by showing minimalist figurativephotography at its very best.Youthful enthusiasm is perhaps the most obvioustheme from this exhibition and whilethe viewer will be struck by the diversity andboldness of the works, it is clear that EasternEuropean photography is once again a forceAbout the organiserto be taken into account.United Creativity promotes fine art photographyfrom Central and Eastern Eu-The opening night will be on Thursday 18 thrope. The exhibitions introduce art en-April with the exhibition running from 19 th -thusiasts to contemporary photography27 th April at the Crypt Gallery, London (oppo-as well as provide an opportunity to buysite Euston train station). The entry is free.affordable art within the gallery space.After the London event, New Wave Photogra-For more information please visit: www.© Maciej Boksa: Doors of Perception© Reka Koti: Driftwoodsphy will move to Krakow where the exhibitionunitedcreativity.org2010, Digital photography2011, Lomography, 50 × 50 cmwill continue from 13 th June - 29 th July.“Debut done”Interview with Vita Zaman,artistic director of Viennafairthe New Contemporary by Tina KaplárYou were appointed to the position of artisticdirector of Viennafair without any priorfirst hand experience of the Viennese artscene. It was of course a deliberate choiceby the management to appoint someonewho brings a fresh eye and sees the big picture.Now with almost a year’s experiencehow do you evaluate the local and the regionalart scene?Vita Zaman. Born in 1976 in Lithuania, shestudied Creative Curating at GoldsmithsCollege and photography at the RoyalCollege of Art in London. Between 2002and 2008, she founded and led the IBIDprojects in London and Vilnius. She becamedirector of the iconic Pace Galleryin Chelsea in New York in 2008. Since2012 she has been the artistic director ofViennafair The New Contemporary togetherwith Christina Steinbrecher.I am still very excited about young artists inAustria – it was really a process of discovery, Idid a lot of studio visits and got to know quitea few artists that are not even represented byAustrian galleries but have a very active approach.I feel that there is a next generationof young Austrian artists that will be importantinternationally. I was researching “Schoolof Happiness” exhibition idea and was quitesurprised how even without long conversationwe clicked with the younger generationof artists and they had some very generouscontributions to the concept.The regional art scene is complex and uneven– I have just returned from Poland and was absolutelysurprised and inspired how the country’sart situation developed in the last tenyears – with about 20 young galleries, confidentyoung artist and a strong group of localcollectors. When I visited Hungary the feelingRoman Tyc: Heavy Sugar2011, mixed media, © dvorak sec contemporary, Prague (Viennafair 2012)was quite different – in comparison to Poland sider positions do not exist – the art word isit felt quite provincial. Now, as I am typing the a forever shifting plateau, one is never quitetext, I am on a way to Albania, then Croatia, sure.Romania, Kosovo. So this will be my first realencounter with the regional art context. How has Viennafair benefited from yourprevious work experience in New York andWhat is the recipe to change an outsider London?position into an insider one in such a shorttime?It gave me enthusiasm as the key attitude towardsany working context and confidence inCuriosity! One has to be interested in people my ideas.and what they are doing and disregard existinghierarchies. Also I think that insider / out-continues on page 16www.artguideeast.org

1planning to expand Viennafair’s focus inother directions?What will be Viennafair like this year? Anynew initiatives?nicolas grospierre: the bank - Mini Safe2011, photography, mirrors, aluminium, © BWA Warszawa (Viennafair 2012)how did Viennafair 2012 fulfil your expectations?how do you evaluate its strengths and reacted to the new impetus of the fair?how has the art scene and the city of Viennaweaknesses?They loved it!It was a great sparkly start, but the transformationof a weak art market or rather an Viennafair differs from the other art fairs inattempt to develop an art market is a gradualprocess strongly interlinked with the to the leading art scenes in the West. do youits focus. Vienna can be regarded as a gateeconomic processes. Our main goal is to developgreater audiences, especially amongst cee art scene ? last year galleries fromhave plans for the integration of the entireyounger generation, for the fair.turkey and iran came to Viennafair. Are youActually we are continuing to look carefullyinto the Middle East and bring the most interestingpositions. But also to invite youngerartist led initiatives and start – up galleriesfrom the region to the fair.you studied photography at rcA as well.one of this region’s strengths lies in its photographicpast and future potential. haveyou gained some new insights into thisfield?My studies of photography allowed me to realizehow much I love painting. But speakingabout photography – one of my latest discoverieswas a young gallery in Warsaw focusedon young artists who use photographyin a very specific and personal way – GaleriaCzulosc led by Janek Zamouski and ZuzannaKoszuta.you share the position of the artistic directorwith christina Steinbrecher, do you havedistinct roles or how do you share tasks ona daily basis?We just figure things out organically – it is reallyan amazing working relationship as weunderstand each other’s ideas intuitively andprobably argued only twice – and that wasabout logistics. Christina wanted to go global(Art Basel Miami Beach) and I wanted totravel super locally – Art Market Budapest.It will be even more popular, energetic, relevant,bizarre and unexpected. The theme ishappiness – even more – the school of happiness,happiness as a discipline of changingone’s perception and finding positive aspectsin any situation, how art can enrich our livesin very concrete ways and help us realize ourhumanity, art not as an alienated avant-gardeposition but as an evolutionary extension ofsociety’s need for reflection communicationand exchange. It is both a critical self-examinationof what art market and an art fair isand a positive contribution and interventionto these conditions.Viennafair blog seems to be fairly viral, hasit been aimed to become a major online forum?We hope so – we would like to make it anextension of the fair and a real knowledgeand information exchange platform for theregion.to end it on a more personal note: what doyou like the most in your new job and yournew base?I like the spontaneity, unpredictability andmobility of the job – the fact that I meet themost interesting people from my generationas well as witnessing the work of the legendsof culture.www.viennafair.at…more than a gallery …more than a publisherH – 1 1 1 4 B u d a p e s t , B a r t ó k B é l a s t r. 2 5 . w w w. g a le r i a fa u r. h umy printing companywith colourAll-inclusive print servicesheartPAUKER HOLDING1047 Budapest, Baross utca 11-15.+36-1-272-2290 | www.pauker.hu