Joseph Klibansky (b. 1984 in Cape Town) grew up in a creative and internationally-oriented environment. In his teens, he became fascinated by the possibilities offered by computer art and digital imagery. He started to merge hundreds of images into powerful compositions, enhanced by computer artwork and often combined with a variety of painting techniques.
The young artist soon developed his own distinctive style, which fascinates art galleries and collectors the world over: innovative creations in bright colours. “When you see my work, you immediately get a positive vibe”, he says.
Joseph Klibansky graduated at a Dutch business school, but soon decided to follow his great passion: art. He is one of the youngest professional artists in the contemporary international art scene.
Inspired by such topics as city’s, fashion, design, modern architecture, and music, he is constantly bubbling with ideas for new works of art. Or, as he puts it: “It is my life. When I am not sleeping, I am thinking about art!”

Klibansky’s New Media Art
Klibansky’s work is often described as ‘art with stopping power’. They are powerful compositions that you cannot simply stroll past without thinking: “Wow, what is happening here?” Klibansky’s points of departure are architecture and the city,

particularly the accelerated, compressed and densely populated urban environments of the 21st Century.

A work of art by Klibansky usually consists of 300 to 600 different images that, in combination, produce a new, intriguing and dynamic world. They are frequently surrealistic, contemporary, brightly coloured and in large format. Large cities form a recurrent theme in his oeuvre and Klibansky composes his own dynamic versions of these urban landscapes. In his work, he uses a mixture of computer art, graphic techniques, painting techniques and digital imagery.

His method of working is highly intensive and a single work of art can easily take between 100 and 150 hours to create. Klibansky keeps working until the art piece exactly matches the composition he conceived in his mind.
“I always go the extra mile to create the images that I see in my mind’s eye.”

Born in 1972, Ye Hongxing has become one of the most exciting rising stars of the Chinese contemporary art scene.

Ye Hongxing obtained her Master’s Degree from the Central Academy of Fine Arts in Beijing (arguably China’s top art academy) in 1998.

Between 2003 and 2005, Ye’s work was exhibited at a few galleries throughout China, as well as the Chongqing Art Museum and the Nanjing Museum of Contemporary Art. In 2004, Ye Hongxing participated in her first international art exhibition at the 7th Annual Exhibition of Sculptures and Installations in Venice, Italy. The next year, Ye Hongxing’s work was exhibited in Taiwan at Art Taipei 2005.

In 2006, Ye Hongxing was selected as one of China’s top 20 emerging painters at the Dragonair Emerging Chinese Artist Awards. The selection committee included the Director of Art Cologne, the Curator of the San Francisco Asian Art Museum, the Director of the Stuttgart Museum of Art in Germany, the Co-Founder and Co-Editor in Chief of Beaux-Arts Magazine (France’s top art magazine) and the Executive Director of the Shanghai Art Museum, amoung others.

In 2007 and 2008, Ye Hongxing’s works were exhibited in Europe for the first time at the Art Cologne, the earliest established and still one of the most important art expositions in the world. Ye’s work was also shown for the first time in the USA in Miami at Reed Savage Gallery in 2007 and in New York at “Chinese Contemporary Art Comes to New York” at Art Scene New York.

Jaume Plensa, born in Barcelona in 1955, is today one of the leading sculptors in the field of plastic arts. Since 1980, the year when he made himself known with his first exhibition in Barcelona, Plensa has lived and worked in Berlin, Brussels, the United Kingdom (invited by the Henry Moore Institute) and France (invited by the Atelier Alexander Calder), and he currently resides between Barcelona and Paris. He has also taught at the École Nationale des Beaux-Arts in Paris, and in The School of the Art Institute of Chicago during 2009-2010. Since 1992 he has obtained various distinctions and awards, both national and international, notably his investiture as a Chevalier des Arts et des Lettres by the French Ministry of Culture (1993), the National Award for Plastic Arts – National Culture Awards of the Government of Catalonia 1997 (Barcelona), and, most recently, Honorary Doctorate from the School of the Art Institute of Chicago (Chicago, USA, 2005).

His work has been exhibited in numerous galleries and museums in Europe, the United States and Japan: Fundació Joan Miró, Barcelona (Spain); Galerie Nationale du Jeu de Paume, Paris (France); Henry Moore Sculpture Trust, Halifax (United Kingdom); Malmö Konsthall, Malmö (Sweden); Städtische Kunsthalle, Mannheim (Germany); Musée d’Art Contemporain, Lyons (France); Museo Luigi Pecci, Prato (Italy); Kestner Gesellschaft, Hannover (Germany); Museum Moderner Kunst Stiftung Ludwig, Vienna (Austria); Palacio de Velázquez - Museo Nacional Centro de Arte Reina Sofía, Madrid; BALTIC The Centre for Contemporary Art, Gateshead (United
Kingdom); the Arts Club Center for Contemporary Art, Chicago (USA); Musée des Beaux-Arts, Caen (France); Wilhelm-Lehmbruck-Museum, Duisburg (Germany), Kunsthalle Mannheim Museum (Germany), CAC (Málaga); Musée d’Art Contemporain, Nice (France); IVAM Institut Valencià d’Art Modern, Valencia (Spain); The Frederik Meijer Gardens & Sculpture Park, Grand Rapids, Michigan (USA); The Nasher Sculpture Center, Dallas (USA) etc.

As for Plensa’s upcoming personal exhibitions, especially important is the one being prepared for The Picasso Museum in Antibes, in 2010 and also the one at EMMA - Espoo Museum of Modern Art, Espoon Kaupunk, Finland in 2011.

Jaume Plensa’s sculptural work has passed through various stages. In the early 1980s the central feature of his work was wrought iron: the sculptures, largely worked with recovered materials – iron, bronze, copper, etc. – materialised characters or anthropomorphic shapes traced by way of cuts, folds and collages. In 1986 Plensa began a series of sculptures in cast iron, melted with the oldest technique of casting metals. His pieces then became large sculptures that relate with the earth, rocks and magma.

Virtually abandoning all trace of figuration, his work – although always formalised in cast iron – later incorporates light, which, in combination with the iron, creates works of great beauty. It is at this moment when Plensa also inserts into his sculptures written texts in relief, poetic texts – phrases or simply words – which act as if they were one more material, colour or brush stroke of his work. Since then, Jaume Plensa has not ceased to work with light and casting, although he has varied his materials – aluminium, bronze, brass, glass, steel, resin, etc. – according to the requirements of the work itself or the space. Always created on a human scale, his sculptures show us receptacles, cabins, cavities. In recent years, and almost simultaneously, his casting materials have been synthetic resin and melted glass, but also alabaster, with its mysterious translucency, with which he has often built those personal and non-transferrable ‘houses’ with soul, destined to shelter his own dimensions and emotions. Along with the light, always perturbing, the sound and the texts – used as one more material, as a path or a door – endow his current work with that poetic sense of language, lyrical and at the same time materic, that characterises and differentiates it.

In parallel with his sculptural work, and at the same level of importance, the artist has created an extensive body of work on paper – basically drawings and collages – always closely related with sculpture. These are never mere sketches, but works conceived to be worked in two dimensions. The collages of photographs, the texts in plastic letters, the superimpositions, the manipulations and the relief that he gives to the paper confer on his work a materic sense that inevitably brings it close to sculpture. From this same standpoint, always investigating but also playful, from which he approaches his sculptures and his work on paper, we must also highlight his tireless work in the graphic field, which clearly reflects a constant drive to research and originality. Since 1995 he is collaborating working stage designs for theatre and opera productions, the most relevant with Alex Ollé and Carlos Padrissa form La Fura dels Baus: Atlantida (by Manuel de Falla) for the Granada Festival in 1996, Le Martyre de Saint Sébastien (by Claude Debussy) for the Teatro dell’Opera di Roma in 1997, La Damnation de Faust (by Hector Berlioz) for the Salzburger Festspiele in 1999 and Die Zauberflöte (by Mozart) for the Ruhr Triennale Bochum in 2003. The last one is Le Château de Barbe-Bleue by Bela Bartok and Le Journal d’un Disparu by Leos Janacek, for the Opéra de Paris, co produced with the Gran Teatre del Liceu in Barcelona in 2007. A significant part of Plensa’s production is set in the context of public sculpture, a sphere in which he has permanent works installed in Spain, France, Japan, the United Kingdom, Korea, Germany, Canada, the USA, etc. The Crown Fountain, in Chicago’s Millennium Park, is one of his latest project, and undoubtedly one of his most brilliant. In 2005 he finished Breathing, which is installed in the new BBC building in London, in 2007 Conversation à Nice for the place Masséna in Nice, France; El Alma del Ebro for the Expo Zaragoza 2008, in Zaragoza, Spain and Dream for St. Helens, Liverpool, UK, in 2009. His most recent dated 2010, World Voices, is for the Burj Khalifa in Dubai, UAE.

He is currently working on several new projects as Wishing Well for Ther Bow in Calgary, Canada and Ogijima’s Soul for the Ogijima Island in Japan.

course
2001 to 2005, E.P.S.A.A. (Vocational school of graphic art in the city of Paris).
1997 to 2000, patent draftsman technician designer.
1995 to 1997, B.E.P. Printing (offset).

youth edition
Fleurus-edition Magic Forest (January 2009)
Lito-edition Puss in Boots (January 2009)
Edition of Ricochet-Anger Albert (November 2008)
My first-edition Fleurus great story of an ogre (October 2008)
Hachette Youth-The Ugly Duckling (July 2008)
Retz-edition The gingerbread man (June 2008)
Ust-Fleurus edition monsters! (April 2008)
Kaleidoscope-editing grumbles and Brettell (February 2008)
Fleurus-Oh the Clown edition (February 2008)
Hachette-The Youth Little Red Riding Hood (December 2007)
Lito-edition 16 Stories read in pajamas (Cover, July 2007)
Milan edition, Mr. Rabbit Tales (April 2007)
My first-edition Fleurus great history of wolf (March 2007)
Kaleidoscope-edition Barking (February 2007)
Ricochet-edition of The Rise (October 2006)
Milan Round-editing and rhymes to celebrate, (May 2006)

collective
Fleurus edition
Milan edition
Lito edition

youth press
Milan press
Fleurus press
Strawberry Shortcake

David Drebin (* 1970, Canada) : In a unique manner, David Drebin’s work combines voyeuristic and psychological viewpoints. He offers the viewer a dramatic insight into emotions and experiences which many of us have doubtlessly felt at some point of our lives.

After successfully completing the Parsons School of Design in New York City in 1996, David Drebin rapidly made a name for himself as an internationally successful commercial and fashion photographer. As early as in 2005, Drebin had his first solo exhibition at CAMERA WORK. This was followed by a comprehensive illustrated book entitled “Love and Other Stories” in 2007. This extraordinary development was recently put in a nutshell: “David Drebin has attained a kind of rock-star status in the world of fashion photography”. Among his exclusive circle of customers are businesses such as American Express, Davidoff, Mercedes, MTV, Nike, and Sony. His works are published in magazines such as Elle, GQ, Marie Claire, New York Times, Rolling Stone, Travel and Leisure, and Vanity Fair.

Drebin’s photographs are epic, dramatic and, above all, cinematic. In a unique and opulent way, Drebin stages attractive women against the gigantic backdrops of cities such as Hong Kong, New York, and Paris. The panorama of the big cities, which, due to their format, are a tribute to cinema, serve as gigantic settings. With their impressive skyscrapers, they provide the viewer with a nearly infinite surface for the imagination. Drebin’s intention is to liberate the viewer from the system of rules of everyday life and restore his faith, emotion, and humanity. The distinctive tension and depth in his pictures arise from the free combination of such differing topics as humor and sex, melancholy and sex, and melancholy and humor. Here, he has already worked with many famous actors such as David Caruso and Charlize Theron. Among his admirers are such personalities as Ben Stiller and Sir Elton John.

His recently released second publication “Dreamscapes & Girls” offers an exemplary overview of Drebin’s work from 2000 to 2009. 52 photographs in total demonstrate the versatility of the artist’s work. Cityscapes – predominantly at night – and fashion photographs are complemented by panoramic pictures of Capri or the majestic coast near the Italian city of amalfi.

Kris Knight is Canadian painter whose work examines performance in relation to the construction, portrayal and boundaries of sexual and asexual identities.  Since graduating from the Ontario College of Art and Design in 2003, Knight’s practice has concentrated on thematic figurative works that are often as attractive as they are disturbing.

The creative focus of Knight’s work involves the construction of imaginary and biographical character-based portraits, that attempt to find a balance between the dichotomies of pretty and menace, myth and reality, sanctuary and susceptibility.  His classical meets illustrative paintings allude to various expressions of duality, often dealing with opposing notions of hiding and fronting, defense and vulnerability, innocence and the erotic.

Symbolist and Romantic painting, especially 18th century French portraiture and costume have influenced Knight’s work, as well as historical references of alchemy, mysticism and the macabre.  Contemporary notions of androgyny, fashion, grunge, zombies, psychoactive drugs and small town Canadiana have also been depicted within various series. These sometimes-stark portraits of strength, exhaustion, and isolation, are often sugared with magic, mischief and humour.

Throughout Knight’s exhibition career, he has threaded each painting series with the unifying theme of defense and vulnerability, whether it was depicted in his character’s dress (hoodies, trapper parkas, Nordic sweaters, blankets, furs, powdered cake makeup) or seasonal settings (foreboding forests for secretive queer rural teen love, or fields of scarecrow-like characters portraying small town migration at harvest) each painting is linked by this theme and bound by Knight’s own personal stories.

EXPOSITIONS PERSONNELLES / SOLO SHOW /sélection

1984
Kriki fonde le groupe de peintres Nuklé-Art et le groupe de musique Les Envahisseurs.

1987
"Rockacrylique", Musée de Belfort, France.
"Découpures", Galerie Loft, Paris.
Arte Fiera, Bologne, Italie.
F.I.A.C, "Solo Show", Galerie Loft, Paris.
Festival Rock Création, Montreuil.

1989
Biennale de la Jeune Peinture, Cannes.
F.I.A.C," Solo Show", Grand Palais, Galerie Loft, Paris

1990
S.A.G.A, (F.I.A.C éditions), "Solo Show", Galerie Loft, Paris.
Reflex Modern Art Gallery, Amsterdam, édition d’un catalogue.
Galerie Il Capricorno, Venise.
Galerie Loft, Paris.
Commande de quatre sculptures pour l'Inca Bank, Genève.

1991
"Skeuds-Dead Vinyls 90s", Galerie Loft, Paris.

1992
Visuel autour du fuzz pour le Congrès de médecine du sport, Stade Pierre de Coubertin, dans les écoles parisiennes, affiche pour la Mairie de Paris, catalogue,etc...
Commande pour la Général Motors.
Edition du Fuzz pour Le Musée d’Art Moderne de Paris, acquisition par le Musée. "Sex,Rock,Games and Planets", Reflex Modern Art Gallery, Amsterdam.
Pan Art Fair, "Solo Show", Reflex Modern Art Gallery, Amsterdam.
"Modules", Galerie Il Capricorno, Venise, édition d’un catalogue.
"Oeuvres numériques", Réalisation d’univers en réalité virtuelle avec Medialab et Vidéosystem, acquisition par le groupe Canal +.

1993
Salon Imagina, Univers en réalité virtuelle, Monte-Carlo.
F.I.A.C, "Solo Show", Grand Palais,  Galerie Guy Pieters en Collaboration avec la Fondation Pfizer.
"Oeuvres récentes", Galerie Guy Pieters, Knokke le Zoute, édition d’un catalogue.

1994
Film documentaire sur Kriki, commande de la Fuji Télévision, Tokyo.
Réalisation du trophée pour le C.I.P.I Award, Fondation Pfizer.
Biennale de la sculpture, Amsterdam, Reflex Modern Art Gallery.

1995
  S.I.A.C, "Solo Show", Strasbourg ,Galerie JL Fricker.
"Oeuvres récentes", Galerie Krief, Paris.

1996
" Oeuvres récentes", Palais Bénédictine, Fécamp, édition d’un catalogue.
Réalisation des trophées Dance Dor, Midem, Cannes.
Commande publique de fresques avec Combas, boisrond, Dirosa,  pour l’hopital Saint Vincent de Paul, Paris.

1997
Lancement du Projet Fuzz, réalisation d’un robot Fuzz en collaboration avec la maison Louis Vuitton, Paris.
Edition de 8 sculptures Originales Fuzz pour la Galerie Jérome de Noirmont, Paris.

1998:
Gramercy Art Fair, New York, "Solo Show", Galerie Ynonamor Palix.
Projet pour la Caisse des Dépots et Consignations, Paris.
"Cryptozoologie l’Apparition", Espace Pierre Cardin direction Sylnana Lorenz, Paris.

1999
" Oeuvres Inédites" de 1990 à 1993", Galerie du Centre, Paris.
Art Paris, "Solo Show" , Galerie du Centre, Carroussel du Louvre, Paris.

2000
Exposition conférence autour du Fuzz pour le 3rd Scientific Vétérinarians, Musée National d’Histoire Naturelle, Paris.
"Cryptozoologie 2", Galerie Kamel Mennour, Paris, édition d’un catalogue.

2001
Art Jonction, Nice, One man show, Galerie Incognito, Paris.

2003
Oeuvres récentes, Opera de Zagreb, Croatie.
Réalisation de l’affiche du ballet LE Lac des Cygnes, réouverture de l’Opéra de Zagreb, Croatie.
"Comme une rétrospective", Centre d’Art Villa Saint Cyr, Bourg La Reine.

2004
Art Paris, One man show avec Erro et Peter Saul, Galerie du Centre, Carroussel du Louvre, Paris.
"Rur", Galerie du Centre, Paris.
Commande Privée , hommage à Géricault, 200x400cm, Collection S et M Cohen, Trump Tower , New York.
Editions de Sérigraphies pour la Collection Politéo , Croatie.

2005
Commande du Musée du Luxembourg, "Les Canotiers", Sénat , Paris.
Réalisations d’éditions pour le Musée.
Edition d’un Portfolio , "Le Fuzz", 30 exemplaires, Chez Higgins Editeur , Paris.

2006
"From the Fall of the Berlin Wall to DMZ", Musée des Jeux Olympiques de Séoul, Corée.
"Les Robots Rêvent-ils de Moutons Electriques", Musée Hotel Bertrand, Chateauroux

2007
"Demandez à un crapeaud ce que c’est que la beauté [...]" Galerie du Centre , Paris
Art Paris,"Solo Show", Grand Palais, Galerie du centre
"PPP,"Kriki c/o Le Fuzz, Galerie Incognito, Paris

2008
«Métamorfuzz» Musée Hotel Bertrand, Châteauroux
"Carnets de Dessins", show room Hotel Coindon, Le Mans
une sculpture de Kriki est offerte au Consulat de France à Ekaterinbourg, Russie
commande d’une sculpture de 5 mètres de haut, Marrakech, Maroc

2009
"Lux Interior" Galerie Nordine Zidoun, Luxembourg

2010
"Polychromos" Galerie Riff Art Projects, Paris
"Remix" Galerie JCM Billy, La Baule

2011
Art Paris "Solo Show", Grand Palais, Galerie Riff Art Projects / Galerie Brugier Rigail

EXPOSITIONS DE GROUPE / GROUP SHOW / sélection

1985
Festival de Peintures Sauvage, Bondy, France.

1986
"Les Jeunes Débarquent", Hotel des ventes Drouot, Paris.
Galerie Jean Marc Patras, Paris.
Galerie Agnès B, Paris.

1987
"Histoire de Rocker", La Villette, Paris.
"Attent’Art", Galerie Loft, Paris.
"The Talking Wall Show", New York.

1988
Arte fiera, Galerie Loft, Bologne, Italie.

1989
"Gitanes", avec Erro, Monory, Schlosser... Musée de la Seita, Paris

1990
"L’art Décodé", Galerie Stephane de berry, Paris.
"30 artistes pour la liberté", avec Buren, Arman, Mach, Long... Fondation Pascal Jeandet.

1991
"la femme dans l’art contemporain", Orangerie du Luxembourg, Paris, Musée des Jacobins, Toulouse.
F.I.A.C, Galerie Loft, Paris.

1992
Galerie Marie Victoire Poliakoff, Paris.
Editions, estampes et sculptures, Fondation Peter Stuyvesant.
Reflex Modern Art Gallery, Amsterdam.
"Art et Musique", Euro Inter Art, Paris.

1993
"Art Concept", Centre d’Art Bouvet Ladubay, Saumur, France.
" L’Art au menu", visuel pour les menus du restaurant Lasserre, Paris /  étiquettes des bouteilles de Badoit, Peintures monumentales pour le stand Badoit, F.I.A.C, Grand Palais Paris.

1994
Museo dell’automobile, Torino, Italie.
Sierkunst Museum, Gent, Belgique.
Le Tutesal, Ministère des Affaires Etrangères, Luxembourg.
Sotheby’s Londres.
PMMK Museum, Oostend, Belgique.
Commande pour la General Motors, Paris, Madrid.

1995
" Micr’Art", avec Combas, Ben, Klasen... Espace Mostini, Paris.
Korean Art Fair, Corée.
Centre d’art Bouvet Ladubay, Saumur, France.
Dusseldorf Art Fair, Gallery G.K.M, Suède.
F.I.A.C, Galerie Guy Pieters, Paris.

1996
30 artistes pour la liberté, Elac, Lyon, France.
" 14 Juillet", Galerie Jérome de Noirmont, Paris.
"Chimères polymères", Musée d’Art Contemporain, Nice, France.
"Plastiques", Galerie Lechanjour, Nice.
F.I.A.C, Grand Palais,  Galerie Guy Pieters, Paris.

1997
"Arcos Da Lapa", Rio de Janeiro, Brésil.
"Oeuvres sur papiers", avec Condo, Mach, Schnabel... Galerie Jérome de Noirmont, Paris.

1998
The Nicosia Municipal Art Center with the Pierides Museum of Contemporary Art, Chypre.
Estampes d’Artistes Francais, Inter American Development Bank, Cultural Center,Washington.

1999
Collection d’Art Contemporain Novotel, éditions d’estampes et de portfolios pour chaques artiste, Espace Paul Ricard, Paris.
Rencontre Art et Porche, Espace Paul Ricard, Paris

2000
"Pleine Ligne", Galerie du Centre, Paris.
"Animaux Folie", Centre Culturel Aragon,  Oyonnax, France.
"Please Do Touch", Galerie G.K.M, Malmo, Suède.
" L’Art vous interpelle", Hotel de Ville, Angers.

2001
D’une génération à l’autre, Galerie du Centre, Paris.
"Absolute Secret", Etude Tajan, Paris.
Mauer, Joseph Haubrich Kunstalle, Cologne.
Rencontre Art et Sport, avec Jean Claude Killy, Maubourget, France.

2003
Centenaire de l’Aviation, différents aéroport internationaux.
Carte Blanche a la Galerie Incognito, Espace Sel, Sèvres.
Art Fair Cologne, Galerie du Centre, Paris.

2004
Artistes pour la Liberté, Siège Européen des Nations Unies, Genève.

2005
Nappes Frénétiques, A.P.A.C.C, Montreuil.

2006
Art Center Berlin Friedrichstrasse, Internationale Kunst, Berlin. Collection Art Contemporain Novotel, Bibliothèque Nationale de France, Paris.
"Le Visage Caché du Monde", Galerie Kubik, Prague.
Galerie Yvon Lambert Project, pour la Revue Iternationale D’art: Neverending.

2007
"Merci", Galerie Pixi, Paris
"34 ans de passion...25 artistes", Galerie du Centre, Paris.

2008
Lille Art Fair, Galerie du Centre, Paris
À l’occasion des jeux Olympiques de Pékin, une oeuvre de Kriki est commandée par Adidas
et Sotheby’s pour une exposition d’artistes internationaux itinérante dans six musées chinois:
Museum of Contemporary Art, Shanghai
Art Museum of Guangzhou Art Academy
RCM The Museum of Modern Art, Nanjing
Gallery of Luxun Art Academy,Shenyang
Sichuan Fine Arts Museum
Today Art Museum, Bejing
"Carnets de Dessins" Galerie Thierry Julien,  Hôtel Coindon, Le Mans
Les Elysées de l'Art, Champs Elysées, Galerie du Centre, Paris

2009
Contemporary Istanbul, Galerie Riff Art Projects.
"40 ans de Figuratif", Espace Culturel François Mitterand, Perigueux.
"Urgent:Vivre" Parc Thermal Le Fayet, Saint Gervais.
"Artiste pour la Liberté" Palais Royal, Paris / Deutsches Historisches Museum, Berlin et
Centre d'Art Contemporain de Winzavod, Moscou.

2010
"150 ans de l'Angélus", Espace Culturel Marc Jacquet, Barbizon
"Art Paris", Grand Palais, Galerie Nordine Zidoun
"Générations Pluriel", Hôtel de Beaulaincourt, Béthune

2011
"for the love of Coca Cola"highlights of a private collection, Museum Coca Cola, Atlanta
Art Chicago 2011, Rize Art Gallery.

DISCOGRAPHIE

1984
K7, (audio tape)"Migraine on Mars", Les Envahisseurs

1985
K7, (audio tape) "Mythicals Shits", Les Envahisseurs,  production / Jungle Hop International

1987
K7, (audio tape) ,Les Envahisseurs, Comppilation de 1984 à 1987

1988
Disque 45 tours (  lp vinyl ), "Krakouz"

1989
Disque 45 tours ( lp vinyl ), "Esbroufe"

1990
CD ( compact disk), "La Marche du Green Fuzz

1993
CD ( compact disk), Freaks, Michel Laguens Production

BIBLIOGRAPHIE

1986
"Pochoirs à la une ", le premier livre sur le Street ART en France, 112 pages, noir / blanc Éditions Parallèles, Paris, France

1988
"Découpures", catalogue édition bilingue: Français / Anglais, 32 pages couleurs et noir / blanc
Galerie Loft, Paris, France
Texte de Martine Lacoustille, Denys Riout

1990
"Kriki Peinsiqueur", catalogue édition bilingue: Français / Néerlandais, 28 pages couleurs
Reflex Modern Art Gallery, Amsterdam, Netherlands
Texte de A Daniëls

1991
"Kriki 1987-1991, livre edition bilingue: Français / Anglais, 92 pages couleur
Galerie Enrico Navarra, Paris, France
texte de Antoine de Caunes

1992
"Module , catalogue édition Française, 24 pages couleurs,
Galerie Il Capricorno, Venise, Italie

1993
"Kriki", catalogue édition Française, 56 pages couleurs
édition Guy Pieters Gallery, Knokke-le-Zoute, Belgique
Texte de Martine Lacoustille

1995
"Oeuvres récentes, catalogue édition Française, 45 pa ges couleurs
Texte de Démosthènes Davvetas

2000
"Fuzz", catalogue édition Français / Anglais / Japonais, 70 pages couleurs
Texte de Démosthènes Davvetas

2004
"Rur", dépliant de 6 pages couleurs, édition française, Galerie du Centre
Texte de Kriki & Pierre Cornette de Saint Cyr

2007
"Kriki de 1984 à 2006 ", livre édition Français / Anglais, 208 pages couleurs & noir / blanc
Texte de Jean-Luc Chalumeau, Snoeck Publisher international

2009
"Kriki / Fuzz" Livre objet, édition Français / Flamand, 44 pages couleurs
tirage à 100 exemplaires, chaque exemplaire est inséré dans une sculpture signé par l'artiste

COLLECTIONS PUBLIQUES

Musée d'Art et d'Histoire, Belfort
Musée d'Art Moderne de la Ville de Paris
Inka Bank, Genève
Fondation Peter Stuyvesant, Amsterdam
Collection Computer Associate, Courbevoie
Musée Miniature, Fortis Bank, Amsterdam
Hôpital Saint Vincent de Paul, Paris
Musée de la Seita, Paris
Collection de la General Motors, Detroit
Inter Americain Development Bank, Washington
Collection Groupe Canal+, Paris
Collection SVO ART, Versailles
BNF, Bibliothèque Nationale de France, Paris
Musée Hôtel Bertrand, Châteauroux

Ma Liang, pseudonym Maleonn, was born in 1972 in Shanghai (China), where he still lives and works. From 1984 to 1995 he attended the Art School Shanghai Huashan, and in 2003 he graduated in Graphic Design at the Fine Art College of Shanghai University. After working as an art director for many films, in 2004 he decided to devote himself entirely to the creation of artistic productions, specifically to photography.

With an original visual language that betrays his great passion for theater and set design, Ma Liang choses subjects and locations that seem to take a life of their own. The true protagonists of this intensely creative performance are fantasy, imagination, and expressive joy. Ma Liang is the spokesman of such forgotten lightness, and he evokes the continual need for dreams, for escape from the world in which we live, by catapulting the observer into a reality of intense colors, fabled castles and peculiar characters who return our gaze expectantly. Liano was accepted immediately with great interest from the contemporary art scene. He not only boasts large exhibitions in China, as in the Aura Gallery and Zendai Museum of Modern Art in Shanghai, but also participation in solo and collective international shows. Equally notable is his participation in the V&A Museum in London and Museum of Chinese Art in New York.

Solo shows

2009

White on white – 18 gallery/Magda Danizs, Shanghai, China

The kingdom of illusions - Galerie ParisBeijing, Paris, France

What love is – Ofoto Gallery, Shanghai, China

Shanghai legendary – artnextgallery, New York, USA

2008

Endless Dreamers, CO2 Contemporary Art, Roma, Italy

Days on the Cotton Candy, Kasia Art Project Gallery, Chicago, USA

Marbles, Gossip Gallery. Bangkok, Thailand

2007

Nostalgia, Around Space, Shanghai, China

Labyrinth, Craig Scott Gallery, Toronto, Canada

Cicada, Zendai Moma, Shanghai, China

2006

Sweets and Sours, Art Sea Gallery, M50, Shanghai, China

Transfigurations, Craig Scott Gallery, Toronto, Canada

Wonderland, Aura Gallery, Shanghai, China

2005

Face to mask, Advance Gallery, Shanghai, China

CO2 contemporary art . Via Piave 66 . 00187 Roma . Italy . t.+39.06.45471209 . www.co2gallery.com . info@co2gallery.com

Group Shows (selection)

2011

“Growing pains of a Lotus” ART LEXING, Miami USA

2010

ART ASIA 2010, ART LEXING, Miami USA

Stand CO2 ROMA. The Road to Contemporary Art, Roma, Italy

2008

House arrest, Gallery Mai36, Zurich, Switzerland

China Design Now, V&A Museum, London, Great Britain

Out of Spotlight, Ch’i Contemporary Fine Art, New York, USA

2007

Chinese Walls, Walls Gallery, Amsterdam, Nederlands

Post-Vanguard, Chinese contemporary Art’, Hong Kong

What makes Shanghai Addictive?, Oranienburgerstrasse Kuppelhalle(Dome) of the

‘Rodeo-Club’, Berlin, Germany

Asiana – A Survey of Contemporary Asian Art, Toronto, Canada

Whispering Wind: recent Chinese Photography, Nashville, USA

Dragon’s Evolution, China-Square Art Center, New York, USA

Shanghai New Art, Washington Art Fair, DC, USA

2006

Happily Ever After, Hardcore Contemporary Art Space, Miami, USA

Diaporama Festival, Nantes, France

IDAA (International Digital Art Awards), Queensland, Australia

The Virtual Salon, MOCA, New York, USA

2005

Creation, Olive Hyde Gallery, San Francisco, USA

David LaChapelle’s photography career began in the 1980’s in New York City galleries. After attending the North Carolina School of Arts, he moved to New York where he enrolled at both the Art Students League and the School of Visual Arts. With shows at 303 Gallery, Trabia McAffee and others, his work caught the eye of his hero Andy Warhol and the editors of Interview Magazine, who offered him his first professional photography job.

Working at Interview Magazine, LaChapelle quickly began photographing some of the most famous faces of the times. Before long, he was shooting for the top editorial publications of the world, and creating the most memorable advertising campaigns of a generation. His striking images have appeared on and in between the covers of magazines such as Italian Vogue, French Vogue, Vanity Fair, GQ, Rolling Stone and i-D. In his twenty-year career in publishing, he has photographed personalities as diverse as Tupac Shakur, Madonna, Amanda Lepore, Eminem, Philip Johnson, Lance Armstrong, Pamela Anderson, Lil’ Kim, Uma Thurman, Elizabeth Taylor, David Beckham, Paris Hilton, Jeff Koons, Leonardo DiCaprio, Hillary Clinton, Muhammad Ali, and Britney Spears, to name just a small selection.

After establishing himself as a fixture amongst contemporary photography, LaChapelle expanded his work to include direction of music videos, live theatrical events, and documentary film. His directing credits include music videos for artists such as Christina Aguilera, Moby, Jennifer Lopez, Britney Spears, The Vines and No Doubt.

His stage work includes Elton John’s The Red Piano, the Caesar’s Palace spectacular he designed and directed in 2004, which just recently ended its five year run in Las Vegas. His burgeoning interest in film led him to make the short documentary Krumped, an award-winner at Sundance from which he developed RIZE, the feature film acquired for worldwide distribution by Lions Gate Films. The film was released in the US and internationally in the Summer of 2005 to huge critical acclaim, and was chosen to open the 2005 Tribeca Film Festival in New York City.

Recent years have brought LaChapelle back to where he started, with some of the world’s most prestigious galleries and museums exhibiting his works. Galleries such as the Tony Shafrazi Gallery in New York, Jablonka Galerie in Berlin, the Robilant + Voena Gallery in London; and Maruani & Noirhomme in Belgium have housed his works as well as Institutions such as the Palazzo delle Esposizioni and Palazzo Reale in Italy; the Barbican in London, and The Helmut Newton Foundation in Berlin.

In 2009, exhibitions in Mexico City at the Museo del Antiguo Colegio de San Ildefonso, in Paris at the Musee de La Monnaie, and in Guadalajara at the Museo de Las Artes all broke attendance records. These shows presented his latest series of works with which LaChapelle has broken out of the frame, presenting three-dimensional sculptural murals.

Cui Xiuwen is one of the leading artists of contemporary art in China. Her works were collected by major museums such as Tate Modern and Brooklyn Museum. Her work is bold and avant-garde, and drawn from her interpretations and perspicacious observations of the spaces, and roles, which exist in society. The angel series adult language with teenage identities in order to portray a young girls experience growing up, which Cui Xiuwen feels, endures just as much pressure as a woman’s progress and just as much weight to develop and be molded into specific roles.

Cui Xiuwen Biography
1970
Born in Heilongjiang, China
1990
B.A. from the Fine Arts Department of Northeast Normal University
1996
M.F.A. from the Oil Painting Department of the Central Academy of Fine Arts, Beijing, China
Solo Exhibitions
2011
Eli Klein Fine Art, New York, NY
2010
“The Domain of God,” Today Art Museum, Beijing, China
2010
“Existential Emptiness,” Tina Keng Gallery, Taipei, Taiwan
2007
“Quarter -- Cui Xiuwen Solo Exhibition,” Florence Museum, Italy
2007
“Angel,” Marella Gallery, Milan, Italy
2006
“Cui Xiuwen Solo Exhibition,” DF2 Gallery, Los Angeles, CA
2006
“Cui Xiuwen Solo Exhibition,” Marella Gallery, Beijing, China
2005
“Cui Xiuwen Solo Exhibition,” Marella Gallery, Beijing, China
2004
“Cui Xiuwen -- Kan Xuan,” Museum of Contemporary Art, Bordeaux, France
Selected Group Exhibitions
2010
“What is Art,” Times Art Museum, Beijing, China
2010
“Reshaping History -- Chinese Art from 2000 to 2009,” 2010EXPO, Dutch Cultural Centrum, Shanghai, China
2010
“Golden Lining,” Platform China, Beijing, China
2010
“See from the movie: the mark of contemporary modern art and its construction,” OCT Contemporary Art Center, Shenzhen, China
2009
“China: The Contemporary Rebirth,” Palazzo Reale Museum, Milan, Italy
2009
“Real - Life Fairy Tales,” Beyond Art Space, Beijing, China
2009
“Enantiomorphous: Art of Female,” White Box Museum of Art, Beijing, China
2009
“Paradise Lost,” Funart Space, Beijing, China
2009
“The Home Court,” White Box Museum of Art, Beijing, China
2009
“Translucence - Female Contemporary Art from China,” Brussels, Belgium
2009
“Collision - Experimental Cases of Contemporary Chinese Art,” Central Academy of Fine Arts Gallery, Beijing, China
2009
The Fourth Chengdu Biennale, Chengdu Contemporary Art Museum, Chengdu, China
2009
“Xun Dao - Searching for Spirituality in Contemporary Chinese Art,” Frederieke Taylor Gallery, New York, NY
2009
“Talk Statement,” The National Art Museum of China, Taiwan, China
2009
“I have a dream: An International Tribute to Dr. Martin Luther King, Jr.,” Carriage House Center for the Arts, New York, NY
2008
“Modern Times 2008,” Hangil Gallery, Korea
2008
“Landscape Topology,” Magee Art Gallery, Beijing, China
2008
“The Evolution of Concept,” 798 Space, Beijing, China
2008
“Transgressive Body / Reincarnated Flesh,” Tape Club Art Centre, Berlin, Germany
2008
“Ongoing.Women,” Mozen Art Museum, Beijing, China
2008
“Our Future: Guy & Myriam Ullens Collection,” UCCA, Beijing, China
2008
“China Gold Exhibit,” Museum Maillol, Paris, France
2008
“55 Days in Valencia - Chinese Art Meeting,” IVAM, Valencia, Spain
2008
“Free Zone,” BSI Art Collection, Lugano, Switzerland
2008
“4. Triennale Der Photographie,” Art China Gallery, Hamburg, Germany
2008
“Deep Breath -19 Samples of Chinese Contemporary Female Artists,” Creek Art, Shanghai, China
2008
“Bizarr Flavor,” Leehwaik Gallery, Seoul, Korea
2008
“Let’s consume!,” Xin Dong Cheng Space for Contemporary Art, Beijing, China
2008
“The Metamorphosing Female - Female Artists Exhibition,” Osage, Shanghai, China
2008
“Time - Lag: The New Force of Chinese Contemporary Art,” The Opening Exhibition of Magee Art Gallery, Madrid, Spain
2007
“China Lady,” Galleria Moriarty, Madrid, Spain
2007
“China is close,” Arts Building Naples, Naples, Italy
2007
“The Power of the Universe - An exhibition of the Frontier of Contemporary Chinese Art,” Asia Art Center, Beijing, China
2007
“Premonition…,” J&Z Gallery, Shenzhen, China
2007
“China - Facing Reality,” MUMOK Museum Moderner Kunst, Vienna, Austria
2007
“China New Media Arts Exhibition,” Bundeskanzleramt/Kunst, Vienna, Austria
2007
“Today’s Documents,” Today Art Museum, Beijing, China
2007
“Floating - New Generation of Art in China,” National Museum Of Contemporary Art, Korea
2007
The Third Chengdu Biennale, Chengdu Contemporary Art Museum, Chengdu, China
2007
“The Thirteen: Chinese Video Now,” John Hansard Gallery, Southampton,
England
2007
“Transform Of Dragon - Independent photography and video exhibit of 798 Art Festival,” Beijing, China
2007
“Thermocline of Art,” ZKM Center for Art and Media, Karlsruhe, Germany
2007
“Engagements and Estrangements: Video Art from China,” Chinese Contemporary Xchange Art Projects, Toronto, Canada
2007
“GANA PHOTO FESTIVAL,” Gana Art Center, Seoul, Korea
2007
“ARTIST IN THE WONDERLAND,” The Baltic Sea Cultural Centre, Gdansk, Poland
2007
“Dragon’s Evolution,” ChinaSquare, New York, NY
2007
“The Screen-Eye or the New Image - 100 videos to rethink the world,” Casino Museum, Luxembourg
2007
“Historias Interrumpidas,” Video Art Exhibition, Valencia, Spain
2007
“Zoom on China,” Group show on Chinese photography, Vanvitelliano, Brescia, Italy
2007
“Art Now Shanghai,” Beijing Art Now Gallery (Shanghai Station), Shanghai, China
2006
“The International Photography Festival in Seoul,” Seoul, Korea
2006
“Woman in a society of double-sexuality,” Bangkok, Thailand
2006
“2006 IDAA International Digital Art Award,” Qut Art Museum, Australia
2006
Seoul International Photography Festival, Seoul, Korea
2006
“Plato and His Seven Spirits”, OCT Contemporary art terminal, Shenzhen, China
2006
Russia International Photography Art Festival, Moscow, Russia
2006
“JIANGHU -Tour Exhibition of Chinese Art in Europe and America,” New York, NY
2006
“The Thirteen: Chinese Video Now,” P.S.1 Contemporary Art Center, New York, NY
2006
“Between the Observer and the Observed,” Lian Zhou International Photography Annual Exhibition, Guangdong, China
2006
“Post Nora Contemporary Art Exhibition,” Today Art Museum, Beijing, China
2006
“Passion and Force,” Beijing Ren Club, Beijing, China
2006
“5x7,” The First Ping Yao Photo Biennial, Shanxi, China
2005
“Art: What was make-believe has become true - Plato and It’s Seven Genius Exhibition,” OCT Contemporary Art Center, Shenzhen, China
2005
“ ElectroScape International New Media Art Exhibition,” Zhengda Art Museum, Shanghai, China
2005
Lianzhou International Photo Festival, Guangzhou, China
2005
“Between Past and Future -- New Photography and Video from China,” Victoria and Albert Museum, London, UK
2005
“The Second Triennial Of Chinese Art -- Archaeology of the Future,” Nanjing, China
2005
“Second Biennial for Video Art Contour,” Mechelen, Belgium
2005
“Always to the Front -- China Contemporary Art,” Guandu Art Museum, Taipei, Taiwan
2005
“Techno - Orientalism,” Tokyo Gallery, Beijing, China
2005
“Cloud Rain,” Art Now Gallery, Beijing, China
2005
“Loft Of Language,” Three Quarters Gallery, Beijing, China
2005
“Vehicle & Mirror,” New Art Projects, Beijing, China
2005
“Produce Clouds with One Turn of the Hand and Rain with Another,” TS1 Contemporary Art Center, Beijing, China
2004
“Untitled: Julia Loktev, Julika, Cui Xiuwen,” Tate Modern, London, UK
2004
“Between Past and Future - New Photography and Video from China,” International Center of Photography and Asia Society, New York, NY
2004
“Cui Xiuwen - Kan Xuan,” Museum Art Contemporary, Bordeaux, France
2004
“Out the Window - Spaces of Distraction,” The Japan Foundation Forum, Japan
2004
“Spellbound Aura - The New Vision of Chinese Photography,” Museum of Contemporary Art, Taipei, Taiwan
2004
“China, the body everywhere?” Museum of Contemporary Art, Marseille, France
2004
The 11th Nippon International Performance Art Festival, Japan
2003
“New Zone Chinese Art,” The Zacheta National Gallery, Warsaw, Poland
2003
“City_net Asia 2003,” Seoul Museum, Korea
2003
“Alors. La China?” Center Pompidou, Paris, France
2003
“Out of red,” Marella Gallery, Milan, Italy
2003
“EVERYDAY--- Contemporary Art From China,” Japan/Korea/Thailand/Denmark
2003
“The First Israel International Image Biennale,” Israel
2002
“The First Guangzhou Triennial,” Guangzhou, China
2002
“Under_Construction,” The Japan Foundation Asia Center, Tokyo, Japan
2002
“C'est Pas Du Cinema,” Studio National, Paris, France
2002
“The 2nd Women's Art Festival,” Seoul Women's Community Center, Korea
2002
“Run Jump Crawl Walk,” The High Seas Art Center, Beijing, China
2002
“Sorry for Inconvenience,” Project 304, Bangkok, Thailand
2001
“Dialogue - Others,” Bari City Museum, Bari, taly
2001
“Made in China,” Ethan Cohen Fine Arts, New York, NY
2001
“Dialogue with Dali,” France Gallery, Shanghai, China
2001
“Beijing with Contradiction,” The Oulu City Art Museum/The Finnish Museum of Photography, Finland
2001
“Up - Rice,” Museum of Site Most, Hong Kong; House for the Arts, Singapore; The National Art Gallery, Malaysia; Wha Shang Art District, Taipei
2001
“Constructed Reality,” Pao Galleries, Hong Kong Arts Center, Hong Kong
2001
“Cross-Pressure -- Chinese Photography and Video Art,” Art Station, Beijing, China
2001
“China-Germany New Media Art Week,” Zang Ku New Media Art Centre, Beijing, China
2000
“Post-Material,” Red Gate Gallery, Beijing, China
2000
“Australia New-Media Exhibition,” Australia New Media Art Department, Australia
2000
“Back Substance Video Exhibit,” Red Gate Gallery, Beijing, China
2000
“About Me,” New Vision Gallery, Shanghai, China
2000
“News Today's,” Art Commune, Hong Kong
1999
“Difference of Surprise,” Siren Art Studios Exhibition, Ryder Art Center, Beijing, China
1998
“Gender Platform,” TEDA Art Museum, Tianjin, China
1998
“Sense & Sensibility,” Schoeni Gallery, Hong Kong
1997
“Chinese Oil Painting Exhibition of Contemporary Art,” Shanghai Art Museum, Shanghai, China

Peter Halley, Born September 24, 1953, is an abstract artist from New York City. Halley first came to prominence as a result of the geometric paintings rendered in intense day-glo colours that he produced in the early 1980s. His practice as an artist is usually associated with minimalism, neo-geo, and neo-conceptualism. Halley is also known as a writer, publisher and teacher.

He received his B.A in 1975 from Yale University and his Master of Fine Arts degree from the University of New Orleans in1978. Halley first exhibited in 1985 at International with Monument, an art gallery in New York City’s East Village. Since then, he has had exhibitions with Mary Boone Gallery, Sonnabend Gallery, Galerie Bruno Bischofberger, Jablonka Galerie, Galerie Thaddeus Ropac, and Waddington Galleries. The first major survey of his work was held at the CAPC museum in Bordeaux, France in 1992.

Halley has lectured extensively, including at the Art Institute of Chicago and the American Academy in Rome. He is a co-founder and publisher of Index Magazine. Halley’s writings on art, influenced by French post-structuralism, have been published in two volumes.

Since 2001, he has been director of graduate studies in painting/printmaking at the Yale School of Art in New Haven, CT.

His works are held in the collections of MoMA, the Tate, and the Guggenheim.

As a way to translate his emotions, Olivier Valsecchi uses others’ bodies to convey his trance and compose pictures that he qualifies self-portraits, although he doesn’t appear on the photos.

The Dust series tells about incarnation, the very moment between nothingness and existence. It was inspired in the definition introduced by Ovid about Chaos described as confused masses (light and dark, order and disorder, liquid and fog, fall and flight, torment and frenzy) giving life to items that contain it.

These hanging bodies bursting out (of themselves ?) could be both humans or ghosts floating in an oniric atmosphere - a dark, emotional atmosphere that reminds of the Renaissance painting-, playing fictitious encounters between the beginning and the end, explosion and silence, rage and soothing, running and retreat.

Olivier Valsecchi was born in 1979 in Paris and have been taking his own approach to Photography for more than ten years before entering a photographic school and complete his technique.

His work was published in many magazines such as Eyemazing, Azartphoto, Philosophie magazine, Photo and was exhibited at the Promenades photographiques de Vendôme (summer 2010), Festival Manifesto (september 2010), Galerie Fokus in Graz, Austria (december-january 2010), FEPN in Arles (May2011).

AWARDS

2011 HASSELBLAD MASTERS AWARDS FINALIST (Fine Art)
 

2009 GRAND PRIX DE L’ETPA

PRESS (selected)

2011 ZOOM #103 (Italy)

2011 THE PRINTED BLOG the subscriber issue (US)

2011 EMPTY #20 (Australia)

2011 BLINK #3 (Korea)

2011 LE FIGARO BEAUX-ARTS hors-série le guide du marché de l’art (France)

2011 REPONSES PHOTO #230 (France)

2011 PHILOSOPHIE MAGAZINE #48 (France)

2010 LE MONDE 22/10/2010 supplément Le Monde des Livres (France)

2010 EYEMAZING SPRING ISSUE (The Netherlands) text by Sarah Baxter

2010 AZARTPHOTO #8 (France)

2010 KULT MAG (Italy)

2010 PHOTO #470 (France)

2010 LE MONDE 26/02/2010 supplément Le Monde des Livres (France)

2010 LADOS #14 (Spain) Interview

2010 AZARTPHOTO #7 (France) text by Sophie Tomte

2010 LET’S MOTIV #118 (France)

2009 PREF #35 (France) Interview

2009 TRYSTATE MAGAZINE #2 (US)
 

WEB (selected)

2010 ART NOUVEAU artist of the week (US)

2010 500 PHOTOGRAPHERS photographer #33

2010 PDN photo of the week (New York)

2010 IDEAFIXA #17 (Brazil) Interview

2010 ART MAGAZIN / AKT (Germany) Interview

2010 BANG ART (Italy)

EXHIBITIONS

2011 PHOTOGRAPHY AND SCULPTURE, ART GALLERY 826, curated by Doinel Gallery, Knokke (Belgium)

2011 FESTIVAL REGARDS PHOTOGRAPHIE, Villeneuve de la Rivière (France)

2011 FOTOGRAFIAEUROPEA FESTIVAL, "Le Voyage Initiatique" curated by Alice Mazzini, Reggio Emilia (Italy)

2011 FESTIVAL EUROPEEN DE LA PHOTOGRAPHIE DE NU, Chapelle Sainte-Anne, Arles (France)

2010 GALERIE FOKUS, Graz (Austria)

2010 FESTIVAL MANIFESTO - Galerie Photon & Port Viguerie, Toulouse (France)

2010 PROMENADES PHOTOGRAPHIQUES DE VENDÔME - Parc du Château, Vendôme (France)

FORMATION:
1994 - 1995 : Centre d’Etudes Francophones – Université Paris XII – Créteil
1993 - 1994 : Cours de Civilisation Française – Université La Sorbonne - Paris
1981 - 1986 : Diplômé d’Architecture - Université Fédérale Pernambuco - Recife

EXPOSITIONS:
2010
Exposition individuelle – Galerie Ikebo – Turin – Italie
Exposition- « Icones et Trophées » -Galerie Xavier Nicolas – Paris
Exposition collective-  Rize Art Gallery – Naarden – Pays Bas

2009
Exposition individuelle – Galerie Art to Design – Bologne - Italie

2008
Exposition  individuelle – Galerie Brasilia – Paris
Exposition collective – Galerie Xavier Nicolas – Paris
Vente aux enchères  chez Christie’s-pour Paris Tout p’tit – Paris

2007
Exposition collective  - Galerie Brasilia – Paris
Exposition collective – Galerie Art to Design – Bologne – Italie
Exposition collective – Galerie Schortgen - Luxembourg
Exposition collective Auz’art 2007- Auzeville Tolosane - France

2006
Exposition collective – Galerie 96 – Paris
Exposition individuelle – Galerie Brasilia – Paris
Salon Lineart – Gand - Belgique
Exposition collective-  « LATITUDES 2006– terres d’Amazonie »- Hôtel de Ville de Paris
Vente aux enchères chez TAJAN – Paris

2005
Exposition collective – Galerie Schortgen – Luxembourg
Exposition collective – Casino de Cabourg - France
Exposition individuelle – Hotel Meurice – Paris
Exposition collective – France Couleurs brésil – Espace Belleville -Paris

2004
Salon ST’ART 2004 Foire D’art contemporain Strasbourg – présenté par la Galerie SCHORTGEN
Exposition individuelle  - Galerie TREGER – Paris
Exposition collective – Galerie La Manche à Air – Ile de Ré

2003
Exposition individuelle – Le Garage galerie - Toulouse
Salon ART PARIS, présenté par la Galerie TREGER - Paris
Exposition collective – Galerie WALTER– Strasbourg      

2002
Exposition collective «Le Menu Cannibale » - Galerie TREGER– Paris
Exposition collective – Casino de Cabourg, France
Exposition collective - Le Garage galerie - Toulouse
Exposition Antiquités et Art Contemporain - Galerie  Elsa Halfen - Paris
Salon ART PARIS, présenté par la Galerie TREGER – Paris,

2001
Exposition individuelle Galerie TREGER  Paris - Mai - Juin
Exposition individuelle Galerie SCHORTGEN - Luxembourg : Septembre - Octobre

2000
Exposition permanente Galerie SCHORTGEN - Luxembourg
Exposition collective "La Luxure " - Galerie TREGER - Paris
Exposition  collective EXECUTIVE GALLERY - Toulouse
Exposition individuelle  Galerie REGART - Paris
Exposition Galerie PEDRO SEM - Lisbonne
Exposition individuelle MAC 2000 -Paris - du 3 au 12 Novembre

1999
Réalisation  des sculptures et décors pour le musée "Padre Cicero" Juazeiro do Norte ( Brésil)
Réalisation d'une sculpture-fontaine à Montmartre - Paris
Exposition individuelle MAC 2000 - Paris - « PRIX DU PUBLIC »

1998
Sculpture monumentale pour le "JARDIN DES SCULPTURES" - Recife (Brésil)
Marché d'Art Contemporain de Berlin
Exposition collective Galerie REGART - Paris
Salon de la Figuration Critique - La Défense (Paris)

1997
Exposant au "DRAP - ART" - Barcelone.
Marché d'Art Contemporain de la Bastille - Paris
Exposition collective « Made in Paris » - East Queen Gallery - Toronto
Décors et costumes pour la pièce "DIDO" - Amsterdam
Commande financée par la société CRIT: "L'Art dans l'entreprise"  - Paris

1996
Exposition collective "Onze Artistes Brésiliens à Paris" -  Galerie ATELIER Z. Paris
Direction artistique des ateliers des décors et costumes du Carnaval de Bordeaux
Décors pour la Biennale de la Danse - Lyon (France)
Marché d'Art Contemporain de la Bastille - Paris

1995
Décors pour le cabaret "PARADIS LATIN" - Paris
Exposition collective pour le concert de Césaria EVORA - Massy-Palaiseau

1994
Exposition pour l'inauguration de la cour Rabelais au "Village St Paul" - Paris

1993
Exposition à la Galerie "LE FESTIN DE BABETTE"  - Paris.

1992
Participation à l'exposition annuelle du Musée de l'Etat de Pernambouc -(Brésil)

1991
"IMAGEM DO POCO" - Atelier Do Poco - Recife (Brésil).

1990
"MASCARAS DA VIDA" Galerie  STUDIO A - Recife  (Brésil).

The cross provides a clear vision of the human condition, suffering and hope combined. Bayet knows that he gives other things to view than the fear or derision.

This raises the question of sacred art. In the transgression of the images in the mix of genres. To me Bayet found that it seems like an incarnation. The one who presides over the whole realization. The painter George Rouault has increased the crucifixions and passions, showing the death and forfeiture. "Do not run away of the death and misery," he wrote. He found the presence, but never overshadow "the hell of earth and material reality." The works of Bayet, with their excesses, their profuse directions, forcing our privacy to make it lucid. What he proposes may well refer to God - who he directs to - but simply tells the man and his destiny. The art works give time to meditate, with strong brush strokes and images, customizing the trappings of religion to an eschatology of everyday life.

Decron Benedict, curator of the Pierre Soulages Museum

Ingeniously breaching the gap between art and science, Robert Silvers’ ubiquitous photomosaics portray familiar images throughout history and contemporary culture, either portraits of well-known personalities, world currency or fascinating renditions of masterpiece paintings.

Silvers invented his craft while still a student at MIT. His intricate works offer a unique optical perspective and have gained world wide acclaim as part of famous art collections such as: AXA Courtage, Coca-Cola, CNN, Disney, Fortune Magazine, IBM, Lucasfilm Ltd., MasterCard International, National Geographic, and Newsweek. His upcoming projects include a 2007 retrospective exhibition at the Library of Congress in Washington D.C..

Combining groundbreaking digital technology with photography, fine art and a keen imagination, Robert Silvers developed Photomosaic™, the innovative and timely idea of pointillism for the digital age.  While likened to Chuck Close fragmented portraiture and the brilliant palette of George Seurat Photomosaics™ are exuberantly colored montages of tiny digital photographs that blend together to form a larger image of popular appeal.

The artist invented this unique technology at the young age of 26 while still a student at the MIT Media Lab. His distinctive new medium immediately dazzled the art world as well as the industry of commercial graphics, gathering world wide acclaim through large scale projects for Fortune, IBM, Lucasfilm Ltd., Mastercard International, Disney and Paramount Pictures and gracing the covers of LIFE, Sports Illustrated, Newsweek, GEO, WIRED and Playboy’s 45 Anniversary Issue. In addition, Silvers has been commissioned to create highly personalized portraits of Vice President Al Gore, H.M. King Hussein of Jordan, and Microsoft Chairman Bill Gates to name a few of the high profile personalities whose portraits have been captured by Silver’s intricate technique.

Portraits are Robert Silvers favorite medium of expression. As humans possess a primal urge to recognize and depict faces, the artist considers portraiture to be amongst the most universally compelling imagery.  In addition to portraying well-known personalities throughout contemporary culture, Silvers oeuvre also includes fascinating renditions of well-known masterpiece paintings such as Pablo Picasso’s Guernica and various interesting subjects like the World Currency Series illustrated in this catalogue. Breaching the gap between art and science, the artists compositions are always filled with fascinating details that are directly or wittily related to their subject.  For instance, when creating a portrait of Anne Frank the artist employed up to 2,304 images of the Holocaust while his rendition of Van Gogh’s Starry Night is composed of 3.250 images of NASA’s space program. His most recent portrait of Marilyn Monroehas at least 1,776 photographs taken by famed photographer Bruno Bernard from all stages of the actresses’ career, and the commemorative portrait of Princes Diana is appropriately composed of images of flowers.

Silvers’ ingenious software only provides the overall cohesiveness to the subject of his work. In order to achieve the desired effect the artist painstakingly lays out the selected material according to the value and overall theme of the mosaic and coordinates the photos general correspondence to the composite image without resorting to any digital manipulation. The thousands of pictures selected are then scanned, whereupon Silvers genial program pairs them appropriately and assembles a complex matrix of the main subject that reflects the intrinsic theme of its components. At first glance, the Photomosaic™ montage comes into focus within moderate distance, usually an arm’s length away, but upon closer inspection each and every individual photograph or image stands out and becomes readily perceivable. These multiple centers of interest ultimately create a tug between the principal figure and its components, while the viewer is perpetually attracted back and forth between the whole and its parts, drawn to the encyclopedic diversity of imagery. The overall mosaic effect is mesmerizing, inviting close observation through the array of subject matter that mirror the main theme or relate it from a unique optical perspective.

Each Photomosaic™ is produced in a small worldwide edition with the artist reserving the right to exercise the production of 3 artist proofs. Available in two sizes, each Photomosaic™ is printed on Professional Fuji Digital Archive paper and mounted to aluminum. The surface is specially lacquered for protection and glare control.

Robert Silvers is president and CEO of Runaway Technology. He has co-authored and published two books on his work, the first one titled Photomosaics, published in 1997 and Photomosaic Portraits, published in 2000. The artist lives just outside Boston, Massachusetts.

Keith Haring was born on May 4, 1958 in Reading, Pennsylvania, and was raised in nearby Kutztown, Pennsylvania. He developed a love for drawing at a very early age, learning basic cartooning skills from his father and from the popular culture around him, such as Dr. Seuss and Walt Disney.

Upon graduation from high school in 1976, Haring enrolled in the Ivy School of Professional Art in Pittsburgh, a commercial arts school. He soon realized that he had little interest in becoming a commercial graphic artist and, after two semesters, dropped out. While in Pittsburgh, Haring continued to study and work on his own and in 1978 had a solo exhibition of his work at the Pittsburgh Arts and Crafts Center.

Later that same year, Haring moved to New York City and enrolled in the School of Visual Arts (SVA). In New York, Haring found a thriving alternative art community that was developing outside the gallery and museum system, in the downtown streets, the subways and spaces in clubs and former dance halls. Here he became friends with fellow artists Kenny Scharf and Jean-Michel Basquiat, as well as the musicians, performance artists and graffiti writers that comprised the burgeoning art community. Haring was swept up in the energy and spirit of this scene and began to organize and participate in exhibitions and performances at Club 57 and other alternative venues.

In addition to being impressed by the innovation and energy of his contemporaries, Haring was also inspired by the work of Jean Dubuffet, Pierre Alechinsky, William Burroughs, Brion Gysin and Robert Henri’s manifesto The Art Spirit, which asserted the fundamental independence of the artist. With these influences Haring was able to push his own youthful impulses toward a singular kind of graphic expression based on the primacy of the line. Also drawn to the public and participatory nature of Christo’s work, in particular Running Fence, and by Andy Warhol’s unique fusion of art and life, Haring was determined to devote his career to creating a truly public art.

As a student at SVA, Haring experimented with performance, video, installation and collage, while always maintaining a strong commitment to drawing. In 1980, Haring found a highly effective medium that allowed him to communicate with the wider audience he desired, when he noticed the unused advertising panels covered with matte black paper in a subway station. He began to create drawings in white chalk upon these blank paper panels throughout the subway system. Between 1980 and 1985, Haring produced hundreds of these public drawings in rapid rhythmic lines, sometimes creating as many as forty “subway drawings” in one day. This seamless flow of images became familiar to New York commuters, who often would stop to engage the artist when they encountered him at work. The subway became, as Haring said, a “laboratory” for working out his ideas and experimenting with his simple lines.

Between 1980 and 1989, Haring achieved international recognition and participated in numerous group and solo exhibitions. His first solo exhibition in New York.was held at the Westbeth Painters Space in 1981.  In 1982, he made his Soho gallery debut with an immensely popular and highly acclaimed one-man exhibition at the Tony Shafrazi Gallery. During this period, he also participated in renowned international survey exhibitions such as Documenta 7 in Kassel; the São Paulo Biennial; and the Whitney Biennial. Haring completed numerous public projects in the first half of the 80’s as well, ranging from an animation for the Spectacolor billboard in Times Square, designing sets and backdrops for theaters and clubs, developing watch designs for Swatch and an advertising campaign for Absolut vodka; and creating murals worldwide.

In April 1986, Haring opened the Pop Shop, a retail store in Soho selling T-shirts, toys, posters, buttons and magnets bearing his images. Haring considered the shop to be an extension of his work and painted the entire interior of the store in an abstract black on white mural, creating a striking and unique retail environment. The shop was intended to allow people greater access to his work, which was now readily available on products at a low cost. The shop received criticism from many in the art world, however Haring remained committed to his desire to make his artwork available to as wide an audience as possible, and received strong support for his project from friends, fans and mentors including Andy Warhol.

Throughout his career, Haring devoted much of his time to public works, which often carried social messages. He produced more than 50 public artworks between 1982 and 1989, in dozens of cities around the world, many of which were created for charities, hospitals, children’s day care centers and orphanages. The now famous Crack is Wack mural of 1986 has become a landmark along New York’s FDR Drive. Other projects include; a mural created for the 100th anniversary of the Statue of Liberty in 1986, on which Haring worked with 900 children; a mural on the exterior of Necker Children’s Hospital in Paris, France in 1987; and a mural painted on the western side of the Berlin Wall three years before its fall. Haring also held drawing workshops for children in schools and museums in New York, Amsterdam, London, Tokyo and Bordeaux, and produced imagery for many literacy programs and other public service campaigns.

Haring was diagnosed with AIDS in 1988. In 1989, he established the Keith Haring Foundation, its mandate being to provide funding and imagery to AIDS organizations and children’s programs, and to expand the audience for Haring’s work through exhibitions, publications and the licensing of his images. Haring enlisted his imagery during the last years of his life to speak about his own illness and generate activism and awareness about AIDS.

During a brief but intense career that spanned the 1980s, Haring’s work was featured in over 100 solo and group exhibitions. In 1986 alone, he was the subject of more than 40 newspaper and magazine articles. He was highly sought after to participate in collaborative projects ,and worked with artists and performers as diverse as Madonna, Grace Jones, Bill T. Jones, William Burroughs, Timothy Leary, Jenny Holzer, Yoko Ono and Andy Warhol. By expressing universal concepts of birth, death, love, sex and war, using a primacy of line and directness of message, Haring was able to attract a wide audience and assure the accessibility and staying power of his imagery, which has become a universally recognized visual language of the 20th century.

Keith Haring died of AIDS related complications at the age of 31 on February 16, 1990. A memorial service was held on May 4, 1990 at the Cathedral of St. John the Divine in New York City, with over 1,000 people in attendance.

Since his death, Haring has been the subject of several international retrospectives. The work of Keith Haring can be seen today in the exhibitions and collections of major museums around the world.

(biography via haring.com)

Personal
1967         Born in Kaifeng, Henan Province, China
1986         Began to work on photograph
1989         Graduated from Central Academy of Craft and Design, Beijing

                 Currently works and lives in Beijing, China

Selected Exhibitions
2007          Sensibility: Memories of Twelve Artists’ Works, Dimensions Art Center, Beijing, China & Taipei, Taiwan
2007          Renaissance of photography, Han Lei photography exhibition, Gallery J. Chen, Taipei, Taiwan (solo)
2007          Photography by Han Lei, Hanart TZ Gallery, Hong Kong, China (solo)
2007          Distance Estimated by Eys Photography of Eight Chinese”, Guan Shanyue Art museum, Shenzhen, China
2007          Memories of Twelve Artists’ Works, Dimensions Art Center, Beijing, China & Taipei, Taiwan
2007          Chinese contemporary art exhibition: the new wind from China, Gwangju Museum of Art, Korea
2006          Pagoda, Loft Gallery, Paris, France
2006          Lianzhou International Photo Festival, Lianzhou, China
2006          Chinese Avant-garde Photography since 1990, Asia Art Centre, Beijing, China
2006          Where is China? - Han Lei Photography, Art Now Gallery, Beijing, China (solo)
2005          Portraits, Gallery Polaris, Paris, France (solo)
2005          Viewing the City - Guangzhou Photo Biennial, Guangdong Museum of Art, China
2005          City Skin - Images of the Contemporary Metropolis, Gallery Tap Seac Gallery, Macao
2005          Galerie Leda Fletcher, Geneve, Switzerland (solo)
2005          Killing legend, 798 Photo Gallery, Beijing, China (solo)
2004          Art Scene, Shanghai
2004          Forbidden City International Photography Exhibition, Beijing, China
2004          Intersection - Contemporary Oil Painting and Photography, Chambers Fine Art, New York, USA
2004          The 5th international San Francisco photographic art exposition, Festival Pavilion at Fort Mason Center San Francis
2004          The 1st China International Gallery Exposition, Beijing
2004          Traveling in spring, aura gallery, Shanghai
2004          If you are a collector, aura gallery, Shanghai
2004          Illusion, aura gallery, Shanghai
2003          strange heaven, the contemporary Chinese photography, rudolfinum the national art museum
2003          1:1 the 3rd pingyao international photography festival, pingyao shanxi
2003          shan shui, aura gallery
2003          Rome photography festival Rome, Italy
2003          tempi di donnesala gatti, viterbo, Italy
2003          strange, aura gallery Shanghai (solo)
2002          dialogue: beautiful and tragic, capital museum, Beijing
2002          golden harvest China contemporary art croatia national museum
2002          facing reality photograph works of wang shi long, han lei, zhang hai'er China art archives & warehouse, Beijing,China
2001          disorientation photography & video in China today, chambers fine art, NY, USA
2001          fictional Chinese landscape Beijing (solo)
2000          cities of the 21st century siemens cultur program frankfurt, Germany/NY, USA
1999          a visible spirit contemporary photography from the people's republic of China cypress gallery/bc space gallery, USA
1998          railways and people: the 1998 mother Jones international fund for documentary photography awards studio gallery, san francisco,USA
1997          Hippolyte Gallery, Helsinki, Finland
1997          Podwell Gallery, Berlin, Germnay
1996          alienation Beijing, Berlin and Helsinki (solo)

Omar Galliani, born at Montecchio Emilia on 30th October 1954, obtained a painter diploma from the Accademia di Belle Arti in Bologna in 1977. In that very year he had his first one-man exhibition at Galleria Studio G7 in Bologna, with the catalogue introduced by Giovanni M. Accame.
In 1978 he won the first prize at the I International Triennial Design Exhibition in the Künsthalle at Norimberga. In 1980 he presented three large installations in the Museum of Contemporary Art in Antwerp, with the catalogue introduced by Flavio Caroli. In the same year he was invited to the "Magico Primario" exhibition at the Triennale in Milan, of which Flavio Caroli was the curator.
In 1981 he was invited by Bruno Mantura and Ida Panicelli to participate in the XVI Biennale in São Paulo. One-man show at Galleria La Salita in Rome.
In 1982 Tommaso Trini offered him his own room at "Aperto '82", at the XV Biennale in Venice. In the same year he was present at the XII Biennale in Paris, MusŽe de la Ville. A critical committee consisting of Flavio Caroli, Renato Barilli and Roberto Sanesi invited him to take part in "Italian Art 1980-82", at the Hayward Gallery in London. Giulio De Marchis included him in the "100 Years of Italian Art" Exhibition at the Museum of Modern Art in Tokyo during the XIV International Triennial Art Exhibition.
In 1984 Maurizio Calvesi offered him his own room in the "Arte allo specchio" section of the XLI Biennale in Venice. In 1985 Arnold Herstand organised a one-man exhibition for him in New York. A scientific committee consisting of Flavio Caroli, Renato Barilli and Claudio Spadoni invited him to take part in "Anniottanta" at the Galleria d'Arte Moderna, Bologna.
In 1986 he was invited by the Frankfurter Kunstverein of Frankfurt to the exhibition "1960-85. Aspekte der Italianischen Kunst".
In the same year, on the invitation of Arturo Schwarz he participated in the XLII Biennale in Venice, in the "Arte alchimia " section. He was invited to the XI Quadriennale in Rome.
In 1990 the Scottsdale Center for the Arts in Arizona invited him to the "Artists and Hunger" exhibition. The Marian Locks Gallery of Philadelphia and the Museum of Contemporary Art presented a selection of panels.
In 1991 he took part in the "Now in Italy" exhibition at the Kodama Gallery in Osaka. In the same year Pierre Restany offered him his own room at the "Ambienti" exhibition, held at the Palazzo delle Stelline in Milan. Also in 1991 the Teatro Municipale R. Valli of Reggio Emilia commissioned him to produce a new drop-curtain for the theatre; Flaminio Gualdoni was curator of a retrospective exhibition of his works in the adjoining areas. The Accademia di Belle Arti of Perugia invited him to exhibit there and in the Rocca Paolina, with Italo Tomassoni as curator.
In 1992 the Museo d'Arte Moderna e Contemporanea of Modena held a one-man exhibition of his works in the Contemporary Design section, organised by Italo Tomassoni. Also in 1992 Pascual Lucas organised a one-man exhibition of his works in Valencia.
In 1993 Achille Bonito Oliva invited him to the "Tutte le strade portano a Roma?" exhibition in the Palazzo delle Esposizioni in Rome. Cleto Polcina set up his one-man show entitled "Disegno". In the same year the Cassa di Risparmio di Pescara bank commissioned him to produce a cycle of frescoes for its new headquarters. The foreword to the book was by Cristina Acidini Luchinat and Fabio Isman. The Teatro Argentina in Roma presented a large panel by him, "Disegno", with an introduction by Otello Lottini.
In 1994 the Marian Locks Gallery presented 18 new panels in Philadelphia. The Budapest Museum of Modern Art and the SzechŽnji National Library invited him to the "Territories of the Sun" exhibition, under the curatorship of Massimo Bignardi. The Spazio Krizia in Milan hosted a one-man show of his works with Muni Sassoli De Smecchia as curator. In 1995 the Galleria d'Arte Moderna in Bologna organised a one-man show of his works entitled "Disegno". In the same year, the Lower House of the Italian Parliament awarded him a special prize for his participation at the Quadriennale in Roma and played host to a one-man show of his works with Vittorio Sgarbi as curator. A work entitled "Disegno", measuring 250x260 cm (pencil on panel) is currently on exhibition in the collections of the Lower House.
In 1998 New York University gave him a one-man show entitled "Feminine Countenances", with Otello Lottini as curator. In 1999 the City of Naples held an exhibition entitled "Sette mantra per Laura e un vulcano"; the catalogue "Electa" was by Italo Tomassoni. In the same year, the Premio Marche Biennale of Modern Art dedicated a monographic exhibition to his works at the Mole Vanvitelliana at Ancona.
In May 2000 the Beijing Museum of Modern Art hosted a large one-man exhibition. In October 2000 the Palˆcio Foz exhibition centre in Lisbon hosted a large, wide-ranging exhibition entitled "The Turning Point" with Lucrezia De Domizio Durini as curator.
The book published by Charta contained essays and interviews by the curator herself, Antonio D'Avossa, Giuseppe Conte, Emanuel Dimas De Melo Pimenta and Galliani himself.
The Fortezza Firmafede at Sarzana presented a new cycle of works "Dall'alba al tramonto" under the curatorship of Cardelli and Fontana Arte Contemporanea, catalogue by Elena Pontiggia, Otello Lottini and Italo Tomassoni. In 2001 he was invited by the Accademia di Belle Arti to participate with two large works in the "Figure del 900 n. 2, oltre lÕAccademia" exhibition at the Pinacoteca in Bologna. Curators: Adriano Baccilieri, Roberto Daolio, Concetto Pozzati.
One of his large works, "Mantra", was chosen for the selection of 20th Century works of art at the Farnesina, Rome. Also in 2001 he was invited by Alessandro Riva to the "Sui generis" exhibition at PAC, Milan.
In the month of June Marisa Vescovo invited him to the "Anni 80" exhibition at Galleria del Tasso, Bergamo.

[Reference, Landi Renzo web site]

Selected Solo Exhibitions:

1994
Marian Locks Gallery, Philadelphia.
Krizia, Milano.
Attualissinia, Torino.
Spazio Immagine, Torino.
Galleria d’Arte Contemporanea, Chiesa di Sant’Arcangelo, Carifano.
Galleria Astuni, Fano.
Museo d’Arte Contemporanea, San Josè, Costa Rica.
Cassa di Risparmio CARIPE, Pescara.

1995
Studio Calcografico Urbino, Pescara.
Studio Gastaldelli, Milano.
Edoardo Paticchio Artecontemporanea, Trieste.
Galleria d’Arte Moderna, Bologna.
Galleria Niccoli, Parma.
Marella Arte Contemporanea, Sarnico.

1996
Castello Doria, Porto Venere.
Museo di Villa Adriana, Tivoli.
Bianca Pilat Arte Contemporanea, Milano.

1997
Marella Arte Contemporanea, Samico.
Disegno, Premio della Camera dei Deputati, Roma.
Il nuovo sipario del Teatro, Teatro Civico, Norcia.
Cardelli & Fontana Arte Contemporanea, Sarzana.
Museum a Galerie, Litomysl, Czech Republic.
XXV Ginestra d’oro del Conero, Chiesa di Santa Lucia, Poggio di Ancona.
Studio Gastaldelli, Milano.
Assunta, Battistero di Reggio Emilia, Museo Diocesano
d’Arte Contemporanea Maruzzani Visconti Terzi - Arte, Roma, Piacenza.
Umberto Di Marino Arte Contemporanea, Giugliano.

1998
Femmine Countenances, New York University, New York.
Pio Monti, Macerata.
Museo d’Arte Moderna, Gazoldo degli Ippoliti.
Galleria del Liceo Artistico, Treviso.
Galleria Civica d’Arte Contemporanea, Siracusa.
Edoardo Paticchio Artecontemporanea, Trieste.
Silenium, ex Chiesa delle Concezioniste, Giugliano.

1999
Galleria Civica d’Arte Contemporanea A. Bedoli, Vinanda.
Mantra, Paolo Erbetta Arte Contemporanea, Foggia.
Immagini sospese, Solaro, Villa Borromeo, Oratorio Santi Ambrogio e Caterina.
Altri disegni, Spirale Arte Contemporanea, Pietrasanta.
Premio Marche, Biennale d’Arte Contemporanea, Mole Vanvitelliana, Ancona.
Rinaldo Rotta, Genova.
La casa di Lucrezia, Bolognano.

2000
Museum of the Central Academy of Fine Arts, Beijing.
Canton Museo d’Arte Contemporanea, Canton, China.
Trevi Flash Art Museum, Trevi, Foligno.
Idillio, Travi Flash Art Museum, Trevi, Foligno.
Attraverso un foglio, Castello Vescovile, Arceto di Scandiano.
Dall’alba al tramonto, Fortezza Firmafede, Sarzana.
Galleria d’Arte Contemporanea di Palàcio Foz, Lisboa.
Chiostri di San Domenico, Reggio Emilia.

2001
Oltre il viaggio di Omar Galliani Sociedade Nacional De Belas Artes, Lisboa.
Galleria Forni, Milano.
Galleria 2000 & Novecento, Reggio Emilia.

2002
Galleria Marella arte contemporanea, Milano.
Galleria Binz e Kramer, Colonia (Germania)
O. Galliani. Del Disegno, dal ‘500 al 2002, Cardelli & Fontana, Pietrasanta (LU)
Galleria Verrengia, Salerno
Disegnata, Galerie Ernst Hilger, Vienna
Palazzo Trinci, Foligno

2003
Nel cuore, Galleria Hilger, Vienna
Sotto la pelle del disegno, Centro per l’Arte Contemporanea, Carrara
O. Galliani, Disegnata, Ascoli Piceno
Interno siamese, Cardelli & Fontana, Sarzana
1° Biennale di Praga, National Gallery
1° Biennale di Pechino, China National Museum of Fine Art

2004
Di perle e di seta, Galleria Carlina, Torino
Di polvere perle e seta, Polveriera Napoleonica, Palmanove (UD)
Omar Galliani, Galleria Beukers, Rotterdam
Nuove Anatomie, Palazzo Magnani, Reggio Emilia

After attending the Faculty of Art at the York St John University, the Fontys University of Applied Sciences in Eindhoven and the Faculty of Art at the Royal Academy of Fine Arts in Ghent, Hans Meertens graduated from the Utrecht School of the Arts in 2000. In that same year he was nominated for the Piet Bakker Prize; an incentive prize for young Utrecht School of the Arts graduates with outstanding talent. In the following years Meertens' artworks were exhibited in a variety of artist-run spaces and galleries. Giulio Cesare & Co Gallery in ’s-Hertogenbosch (NL) presented Meertens' first solo exhibition “Solo Inferno” in 2004, soon followed by a second solo exhibition in 2005, titled “Invocatio!”.

Since then, Meertens' artworks were on view randomly at places such as Caelum Gallery, New York (2006), the Museum of Gorcum (2006 & 2010), Gallery Clifford, Odense and Daugård, Denmark (2007-2010) and Monkdogz Urban Art Gallery in New York (2006 -2010). An important part of his work is included in the collections of enthusiastic collectors around the world and Meertens has been commissioned by major companies such as Porsche, Nedap, Studio Kluif, Metro and Ajax Amsterdam/the Johan Cruyff Foundation.

From late 2007 until early 2008 an overview of Meertens' paintings and drawings were exhibited at Gallery Clifford, Odense, during his solo exhibition “Counterphobia”. Monkdogz Urban Art Gallery presented Meertens' first solo exhibition in New York in April/May 2008. This exhibition -entitled “Remote Control”- featured both retrospective and new works. (To open the Monkdogz press release click here, for pictures of the opening reception by photographer Sam Chadwick click here). In the Winter of 2008, Gallery Clifford in Daugård presented “Sweet Fever”; Meertens' fifth solo exhibition and his second in Denmark. The first comprehensive catalogue of Meertens' art was presented in Gallery Clifford on October 9, 2009. The book "Sweet Fever – The Art of Hans Meertens" contains over 150 images and nine reflections on Meertens’ art by several authors from different countries.

From 2001 until summer 2007, before devoting himself completely to his art, Meertens combined his work as an autonomous artist with a teaching profession in Art and Cultural Social Studies at secundary school Het Nicolaaslyceum in Amsterdam. As a singer/songwriter (File Under Shane) Meertens independently released two critically acclaimed cd's; Soul On Fire (2006) and Trenches (2005).

Richard Orlinski is a French sculptorer born in Paris in 1966. He explores sculpture using industrial materials with references to pop art, a love lent that nourished his youth and has been nourishing his work from then on. His predilection's materials are resin and aluminum associated to a foundry process. After studying art at the Ecole d’Arts Plastiques de Neuilly sur Seine, he discovered a new generation of artists such as Jeff Koons, Richard Prince and Takashi Murakami; free and without complex, with whom he could identify through creation. Developing his art free of any convention, Richard Orlinski emphasizes to produce an art of his time. He is one of these artists who developed a concept mixing industrial materials and social concerns while questioning codes of mass culture. Following the logic of de-mutiplication and repeating objects, denounces the serial production process in the cultural industry.

From domestic, creative or monumental objects, he made his mark by his pieces of art with a strong visual impact underlining the question of perception. We can see our reflection in his sculptures with smooth and shiny surfaces. While looking at the pieces of art, we are looking at ourselves in the crocodiles skin. In reversing roles, the spectator is the one becoming a potential attacker, the narcissistic one looking for his own reflection, at the expense of the sculpture itself. His creative works of art awaken the senses and bring a fresh breath on the contemporary art realm.

Alechinsky from 1944 to 1948 followed a course in advertising, (book) illustration, typography and photography at the Ecole nationale supérieure des arts visual (ENSAV), formerly the Ecole nationale supérieure d'Architecture et des Arts Décoratifs (ENSAAD - La Cambre) (Cambre) in Brussels. He discovered in 1945 the work of Henri Michaux and Jean Dubuffet and developed a friendship with the art critic Jacques Putman, who dedicated several works to Alechinsky. In 1947 he started his painting career and he joined the Jeune Peinture Belge (including Louis Van Lint, Jan Cox and Marc Mendelson). That year he had his first solo exhibition in Brussels.

In 1949 he joined the Cobra group. Together with Christian Dotremont Alechinsky was the driving force behind the Belgian branch of Cobra. Together with the sculptors and Olivier Strebelle Reinhoud he was also the organizer of the community, "Les ateliers du Marais, which was a venue for many Cobra artists. He participated in both the Cobra Exhibitions in 1949 and 1951.

The latter, held in Liege, Alechinsky was even organized. He was in this period, so busy organizing various events and Cobra with the editors of the Journal of the Cobra movement, which he produced very little. Its production was only really started after the collapse of Cobra.

In 1951 went to Paris to Alechinsky with Stanley William Hayter at Atelier 17 'to study the art of engraving. Leaned over his work from 1951 to expressionism, whose previous had been mainly influenced by Surrealism. In Paris he became acquainted with artists like Alberto Giacometti, Bram van Velde and Asger Jorn. In 1954 he had his first exhibition in Paris in the gallery Nina Dausset. During the first half of the 50 years his work became increasingly abstract and one can freely turn in the outline view.

In 1954 Alechinsky in contact with the Chinese painting by the Chinese painter Ting Walasse, which would greatly influence his work. Besides the Chinese was also a significant influence of Japanese art. In addition, he also began to show an interest in oriental calligraphy. This is clear from the documentary film "Calligraphie japonaise" which he runs in 1955 at Kyoto. Since 1952 he also maintained a correspondence with all the Japanese calligrapher Shiryu Morita. In this way Alechinsky trying to bridge the gap between Eastern and Western art.

His international fame grew steadily. Alechinsky had his first major exhibition at the Museum of Fine Arts in Brussels in 1955. He also had exhibitions in London (1958), at the Kunsthalle Bern (1959), at the Venice Biennale in 1960 in the Belgian pavilion, in Pittsburgh and at the Stedelijk Museum in Amsterdam in 1961, in New York and the Danish Silkeborg (1963). From the sixties until today were all over the world to many exhibitions devoted Alechinsky's work. In 2000 it was in Ostend PMMK him with a retrospective.

In 1963 he moved his studio to Bougival, near Paris, where Andre Breton came to visit him. In 1965 he took part in the last great Surrealist exhibition in Paris Absolu L'Ecart in the Galerie d'Oeil. In 1977 was awarded the Andrew W. Alechinsky Mellon Award for his part in modern art. In 1983 he became professor of painting at the Ecole des Beaux Arts in Paris.

In 1994 he received an honorary doctorate from the Vrije Universiteit Brussel. One of his designs in 1995 for a Belgian stamp.

On the occasion of his eightieth birthday in 2007, the Royal Museums of Fine Arts of Belgium in Brussels tribute to him through a retrospective of his 60-year career.

Alechinsky also worked as a writer. Thus, his papers printed in the other hand, in a translation by Hugo Claus, Freddy De Vree.

Expositions personnelles
2010
Exposition “Scaphandre“
2009
Les Brigittines, Bruxelles “Le jardin de verre“
2008
Lotto Arena Mons Expo, Mons “ Meta-morphose(s)“
The Economist Plaza, Londres “La tentation du vide”
SKETCH, Londres
2007
Iselp Bruxelles EVE PHASE 1 le complot, sortie du livre EVE Phase 1
2006
Chelsea Art Museum, New-York
“ Cycle 4“, Galerie Pascal Retelet, Bruxelles
2005
PMMK (Musée d’Art Moderne d’Ostende), Think-Tank
2004
“ Cycle 3 : instrument du désir“, Galerie Pascal Retelet, Bruxelles
Maison Charles Jourdan, Marunoschi building, Tokyo (Japon)
L’Embarcadère, Montceau-les-Mines (Bourgogne), France
2003
Grusenmeyer gallery, Deurne
“ Cycle 2 : saphrophyte“, Galerie Pascal Retelet, Bruxelles
Centre Culturel de Metz, France
2002
Musée d’Art de Guangdong (Chine)
“ Cycle 1 : déroulement“, Galerie Pascal Retelet, Bruxelles



Expositions personnelles (suite)

2001
Galerie Loosveldt, Ostende
Galerie Sergiane Cauwel, Lille (EuraLille, France)
Galerie Pascal Retelet, Saint-Paul-de Vence (France)
2000
Centre culturel “Le Cellier“, Peruwelz
1999
Galerie Art K., Paris
Galerie Zeydel, Cologne (Allemagne)
1998
Galerie Dewart, Bruxelles
Paysage émotionnel, Musée d’Ixelles, Bruxelles
Mes carnets de voyage, l’Autre Musée – Viaduc, Bruxelles
Galerie Patrick Gaultier, Quimper (France)

Expositions de Groupe
2006
Musée National de Pékin, La France Mandarine (Chine)
2005
“ Expo 3“, La Louvière (Belgique)
“ Soul“, Grand Séminaire, Bruges (Belgique)
2003
Beaufort, triennale d’art contemporain, La Panne (Belgique)
2001
Sentimental, EuraLille, Gare européenne de Lille
Entre ciel et terre, Musée d’Art moderne, Ostende
2000
Musée Royal de Mariemont (Belgique)
Contemporary Art from Belgium, European Central Bank, Francfort-sur-le-Main (Allemagne)
Galerie Zeydel, Cologne (Allemagne)

Expositions de Groupe (suite)
1999
Process Space, Varna (Bulgarie)
Process Space, Sofia (Bulgarie)
Commentaren in woord en beeld, Muziekconservatorium, Ostende (Belgique)
Centre de la Gravure et de l’image imprimée, La Louvière (Belgique)
Galerie Dewart (Sablon), Bruxelles
1997
Sanatta Bulusma 1 – Meeting in Art 1, Denis Sergi Salonu, Istanbul (Turquie)
Musée d’Ankara (Turquie)
Groote Markt (Jan Garemijzaal), Bruges (Belgique)
Espace Senghor, Faculté Agronomique de l’Université Gembloux (Belgique)
Galerie Lierhmann, liège (Belgique)
L’Autre Musée Bruxelles
Musée d’Ixelles, Bruxelles
Galerie Uta Goppelsröder, Bretten (Allemagne)
1996
Collections nomades, Musée des Beaux-Arts de Mons (Belgique)
Collections nomades, Musée départemental d’Art ancien et contemporain, Epinal (France)
L’Art en campagne, Saint-Hubert (Belgique)
Depypere Gallery, Kuurne (Belgique)
1995
Festival International Mahars (Tunisie)
Museum of Contemporary Art, Copenhague (Danemark)
1994
Depypere Gallery, Kuurne (Belgique)
1993
Prix International d’Art Contemporain, Palm Beach, Monaco (Monaco)
Galerie Tetriakov, Moscou (Russie)
Maison des Artistes, Saint Pétersbourg (Russie)
Galerie du Port, Paris
 
1989
Figuration critique, Grand Palais, Paris (France)
Fondation Santillana, Santander (Espagne)
Centre d’Art Contemporain, Rundertorm, Copenhague (Danemark)


Collections publiques
Musée des Beaux-Arts, Lille (France)
Musée Naval d’Istanbul (Turquie)
Musée d’Art Contemporain, Varna (Bulgarie)
Musée d’Ixelles, Bruxelles
Musée des Beaux-Arts, Mons
Centre de la Gravure et de l’Image imprimée, La Louvière
Collections de la Communauté française de Belgique
Collections de la Province de Hainaut
Ville de Saint-Ghislain (Belgique)
Ville de Mahars (Tunisie)
Banque Paribas
Banque Nationale de Belgique
Fondation de Liniris, Bordeaux

Foires d’Art
Avec la Galerie Pascal Retelet, Saint-Paul de Vence : foires de Bruxelles (Art Brussels), Milan, Bologne, Miami, Nice, Gand
Avec la Galerie Marion Meyer, Paris : foires de Francfort-sur-le-Main (Art Frankfurt) 1998, New York 1999 et Miami (Art Miami) 1999
Avec la Galerie Dewart, Bruxelles : Nice (Art Jonction 1997 et 2000), Bologne (Arte Fiera 1997), Strasbourg 1998, Amsterdam (Kunst Rai 1998), Paris (Art Paris 1999) et Bruxelles (Art Brussels) 2000
Avec la Galerie Patrick Gaultier : foire de Paris (SAGA) 1997

Bibliographie sélective
“500 chefs d’œuvre de l’Art Belge“, du 15ème siècle à nos jours, aux Editions Racine
Arlette LEMONNIER “ EVE(S) Le Complot » 2007, ISELP
ARNAULT-TRAN (Martine), Didier Mahieu. “ Carnet de route“, ed. Imschoot, Gand 2001
BUTOR (Michel), GILLEMON (Daniele) et JOANNES (Marie), DIDIER MAHIEU, (Collection “ La Mémoire de l’Art“), Mecenart, Bruxelles, 1995
MEESSEN (Olivier), “L’absence refletée“, Galerie Pascal Retelet, Saint-Paul de Vence, 2001

Michelangelo Galliani was born on the 10th October 1975 in Montecchio Emilia (Re), where he still lives and works. He developed his skill as a sculptor at the Accademia di Belle Arti in Carrara.
He started his career very young, exhibiting at the Antico Foro Boario in Reggio Emilia in 1996, as well as at the castle of Montecchio Emilia. Since then, with his metamorphic figures and fascinating creations carved in the snow-white Carrara marble, Michelangelo Galliani took up a leading role as an artist. The encounter of the marble with chirurgical tools marked a very important step in the conceptual growing of his work. In 2002 in fact he exhibited his Conserving sculpture.
Some of the most important early exhibitions are:
1998 Michelangelo Galliani 1996-1997-1998 at the B&B Gallery;
1999 Annunciazione at Silbernagl Gallery, Varese and 99October at Studio Vigato in Alessandria.
Among the group exhibitions are:
2000 Trapassatofuturo at the Cartiere Vannucci in Milan;  Sui Generis at the PAC- Contemporary Art Pavillion in Milan;
2001 Totemica at the house of Mantegna in Mantua. That year Galliani was also invited to exhibit at Il Cuore, arte scienza tecnologia at the Fondazione Antonio Mazzotta in Milan.
In 2003 he exhibited at Skin at Paolo Nanni Gallery, in Bologna and in 2004 he presented the important Marmi Gemelli project at Bonelli Contemporary Art Gallery in Mantua.
In 2004 he was invited to take part in the Postumia Biennale of young artist (at the Modern and Contemporary Art Museum of Gazoldo degli Ippoliti, near Mantua), as well as in the Sacral art Biennale at the Sanctuary of S.Gabriele in Isola del Gran Sasso (Teramo). He participated to the prestigious Quadriennale di Roma and to the Promotrice di Belle arti in Torino.
In 2005 he exhibited at the group exhibition Cruz y ficcìon in Barcelona (Spain) and at the Young artists Biennale 05 in Monza. He also took part to Marmi dei due Mondi at Rocca Estense of Saint Martino in Rio, Reggio Emilia and to Carni Altrui at the Civic Gallery of Contemporary Art, Comune di Castel San Pietro Terme, in Bologna.
In 2006 he exhibited at Allarmi in Como, Fermo Deposito 75 at Galleria Comunale and Vulcano di Caivano Gallery, in Naples, Reflections at Mito Gallery and at the Open 2006 at the Lido in Venice.
In 2007 he was awarded the Fabbri 1905 prize and was the leading artist at Voci silenti in Milan, as well as at P.G.R at the River South Centre in Shanghai (China) and of Auguri ad Arte at the M.A.R.T in Rovereto.
In 2008 he exhibited in Marmo Solo at Buonanno Contemporary art in Trento, Italy.
In 2009 he exhibited in Per amo del cielo at Bonelli Contemporay art in Mantova, Italy and Trucchi da cilindro nero at the municipality palace of Montechialugolo, Parma, Italy.
In 2010 he exhibited “Tre di Cuori” at Romberg in Roma and “La notte dei Santi”, at Montevergini Gallery in Siracusa.
As from 2009 he is permanently shown at the Angle Art – Space Omar Galliani in Saint Paul de Vence (France) with his first solo exhibition “Via delle cose che restano” in April – May 2010.

Born in 1967, Julien Marinetti spent his youth between the workshops of great artists and national museums. He was only five when he created his first still life oil painting on a tea towel and started frenziedly distorting everyday objects into primitive polychromatic sculptures. A few years on, academic drawing and sculpture lessons at the “Ateliers de la Grande Chaumière” became part of his daily routine. He fed his imagination on cinema, classical music and punk rock. Young, impatient and already a prolific artist, he only spent one day at the Beaux-Arts (French Academy of Fine Arts) before dropping out and devoting himself to his art.

After several years of oil painting, in 2004 Julien Marinetti renewed his relationship with sculpture, when his masterpiece «Doggy John» rapidly gained him a name in the artistic world. The artist goes against the tide by choosing to work with bronze, a noble and unalterable material, while the trend is to use resin. He is a master of shape and material, but any classicism ends here: the sculpture unexpectedly becomes a three-dimensional canvas for his imagination.

After his first set of «Doggy John» monochromes, the artist decides to revisit the history of art and its Masters through collages, paintings and lacquers. With the series «Doggy John Herald Tribune”, Julien Marinetti explores current events and its sequence of tragedies and fleeting trends. Each «Doggy John” is a unique piece of work; like a sphinx of modern times it reflects contemporary society and its history. Symbolism, the explosion of colour and the power of the composition strike the amateur on every occasion.

In 2006, while «Doggy John» has become a global icon, Julien Marinetti abandons collages and starts treating his masterpiece itself as a “supportsurface”. He enriches his sculptural work by an oversized and stately Vanities «Skull», and a regressive teddy bear «Popy», both in bronze. The artist unleashes his insolent mastery of colour, always magnified by impeccable lacquered finishes. The works are violent, funny or mysterious, and always unsettling. The amateur immediately projects his own personality through the piece, which generates a personal, almost instinctive connexion with the sculpture, so much so that the most discerning collectors do not hesitate to rename their «Doggy John.»

In his exploratory approach to “support-surface” Julien Marinetti extends his talent to monumental sculptures. His «Doggy John – Obama,» at 2 meters and 600 kilograms (about 1320 pounds), is presented in 2007 at the Grand Palais, and, subsequently, in various international galleries. This colossal bronze is yet another opportunity for the artist to let his exceptional creativity flourish.

Meanwhile in 2009, having never stopped painting, the artist tries his hand at portraits and self-portraits. He applies his lacquer technique to his two-dimensional pieces, giving his acrylics an innovative mirror-like finish. The first series of lacquered portraits is called, not without wit, “Flat Doggy John”. It is followed by a series of Vanities, on which symbols, graphs and poems reflect the artists’ questions and about his own condition.

In 2010, a giant bath duck, an animal representation reduced to its simplest expression, enriches the bestiary. New volumes, new shapes, the duck is yet another challenge for the artist, constantly in search of unexpected ways to express his creative vision.

Julien Marinetti approaches his paintings and his sculptures in the same way, covering two-dimensional or three-dimensional surface with the same effervescence. He actually refers to his sculptures as paintings.

At 43, Julien Marinetti has a rich and diverse work to his name. He uses his disconcerting technical mastery and his eye for unexpected combinations to reject traditional constraints and to let his creativity explode and be constantly renewed. Known as free figuration and abstract expressionism, sometimes bordering on “Bad Painting”, his work is symbolic and rich in sources. Syncretic and universal, it is as accessible to the uninitiated as to the most discerning collectors. Marinetti’s work has not ceased to surprise.

BLING BANG! And here’s our life-style digested and re-worked with the astonishing guilelessness and fervour of the works of FC SOFIA, alias Frédéric and Catherine SOFIA.
This couple of artists dresses a quirky portrait of our insatiable appetites, interrogating us on the symbols produced by a consumerism become cult.  
A telescoping of contemporary mythologies, misappropriation of identity, war-games, ultra-materialist alienation…But, careful : it is not a matter of giving way to aggressive demonstration but of reappropriating the icons that people our environment the better to sacralize them, and humorously so!

Far from rallying to any old artistic movement, their discourse is situated at the crossroads between Pop Art and the Nouveaux Réalistes. Like the latter, they use objects lifted from the reality of their time, and do so thanks to a new and hyperactive tool : Internet, veritable global supermarket of the raw material for their works. Then comes the choice of the various industrial materials (aluminium, resin, plastic…) with which to realize their creations.
 
Like Djs sampling from original music, FC SOFIA act as artists who take hold of the symbols of a globalized culture to then transform and customize them, creating a union of both art and symbol.
 
Fetishistic objects such as school-girl’s knickers are presented like trophies on a pedestal or accumulated as in a veritable collection. They devote themselves to presenting works that are in direct reference to the myths of consumerism, luxury and fashion, then playing on form and void the better to express the alienation provoked by accumulation at all cost.  
 
In the series of masks, built like roadsters, rabbits, teddy-bears, or again star mice- the domesticated heroes of our childhood – are magnified in sophisticated paintings reminiscent of the worlds of street rods and lowriders. Sometimes added in are colored hair extensions, yet more tools of a customization that accentuates the impression of an improbable encounter between the world of fashion, tribal idolatry and the universe of toys.
 
For if there is a form of artistic remix that FC SOFIA uses and abuses it is indeed that of provoking a collision of paradoxes. When a weapon of war is neutralized by a camouflage pattern of a lace of Kawaï stickers ; when the jellyfish that invade the Mediterranean beaches are made up at the same time of hundreds of smalll gadgets and military helmets or when, again, the « Miss War » missile is strangely evocative of a cosmetic product.
The war of aesthetics on violence has begun!