News Archive
05.08.2008 Vasyl Hryhorovych Krychevsky, publications
 Catalogue published for the personal exhibition in Kiev, 1940.
Editor G. Radionov; cover and design by O. Ruban; prepared to print by Y. Kolada and I. Volokidina; photos by I. Kasperovich.
300 copies published. Size 15.6x11.6cm. 92 pages. 18 black and white illustrations. List of works comprising paintings, drawings, architectural renderings, theatre and film design studies and works of decorative art – total of 1055 works on exhibit.
09.07.2008 RCS – Contemporary Russian Show
 The splendid Hermitage and grandiose Red Square tells Russia`s long history and great past. The Russian art performs as the fire frozen in the ice. Not even the most adventurous and optimistic art historian could have imagined such a success of the Russian contemporary art today. Inherited with the spirit of extension from the Slav people, the cultural toleration and art concept of the Russian contemporary art is absolutely no inferior to other European countries.
HAN JI YUN Contemporary Space [Beijing] invited nine Russian artists and art groups from all over the world and brought their works to China for the first time. In this thousand-square-meter space the quintessence of the Russian contemporary art is thoroughly revealed. Video, installation, oil painting, photography, depicted the inspirations of the artists jumping from the court of Peter the Great and the battlefield of Stalingrad to express a delightful elegance and humorous satires. They watch with their own eyes, feel with their own hearts, paint with their own hands, the Russian expression style is dignified with passion, and magnificent with grace.
Artists:
Anna Sokolova
Anton S. Kandinsky
Blue Noses
Evfrosina Lavrukhina
Petr Axenoff
Revision
Sergei Kiryuschenko
Tyminko & Mitrichenka
Curators:
Lioudmila Voropai & Han Jiyun
More information at www.hanjiyun.com
30.04.2008 Afrika (Sergei Bugaev)
Good ballerina is always right
 This is the fourth exhibition of Afrika at I-20 gallery. It presents an installation of a ship’s mast bearing three sail crowns. The installation is made out of stylish two-seat turn of the 19th century Siberian sleigh with flags and metal sheet representing the sails. The sheet is a door part removed by Afrika from the Vera Mukhina sculpture Worker and Kolkhoz Woman. It was removed during the Donald Destruction performance of 1987, Moscow. The flags were produced during the other performance that took place in Crimea and was entitled Krimania in 1995. In the concept of obsessional representation Afrika stayed for one month at the psychiatric clinic with aphasic (loss of comprehension of language) inmates. The inmates, insensitive to the hierarchy of linguistic elements, worked on the flags. The objective was to illustrate the collapse of the Soviet Union in the form of aphasic incoherence of post-Soviet traumatized consciousness. The art produced by both performances was utilized to produce the installation, now on exhibit at I-20 gallery.
Afrika (Sergei Bugaev) was born in Novorossisk in 1966. In the 1980s and 1990s, he founded with Timur Novikov the New Artists Movement in Leningrad. They also founded the Soviet band Popular Mechanics which was led by experimental composer Sergei Kurhokhin. In 1987 Bugaev starred in Serrgei Soloviov’s ASSA, one of the most significant Russian film of the Glasnost era; and in 1989, he was commissioned by John Cage to design sets and costumes for the Merce Cunningham Dance Company’s August Pace. Bugaev lives and works in St. Petersburg.
25.04.2008 New Ukrainian Painting
 On exhibit works by: Juri Solomko, Alexander Roitburg, Nikita Kadan, Ilya Chichkan, Andriy Sahaidakovsky, Maxim Mamsikov, Nikolai Matsenko, Lesya Khomenko, Konstantin Reunov, Vlada Ralko, Arsen Savadov, Sergei Zarva, Katya Solovieva, Vasily Tsagolov, Alexander Gnylitskiy, Pavel Makov.
Curated by Marat Guelman; organized by Juan Puntes.
Last in a White Box series exploring different methods of art production in Post-Soviet territories and Greater Russia begun in 2005 with Russia 2: Bad News from Russia, New Ukrainian Painting premiers a disparate group of artists – springing from the land of the great modernist painters Malevich, Rodchenko and Kandinsky – who after working in different media, resolved to return to painting as their instrument of artistic exploration and expression.
The latest rehabilitation of Ukrainian painting has taken place in the media age, inevitably reflecting on its mutated features. Dealing with post-colonial issues like transculturalism while maintaining the belief that cultural systems of exchange evolve, New Ukrainian painters are no longer constrained by outdated boundaries and regulations. While they remain faithful to the figurative and the narrative, postmodern appropriations of art history direct a trans-media flow of mixed screen and glossy-magazine manipulation.
The correlation seen in new Ukrainian painting of the modern context to the return to the “real” and the documentary is not simple abbreviation of the pre-media ages. The need to regain a grip on some “real reality” is more than just an alternative to the growing sensations of artificiality in today’s world and the virtualization of everyday life.
These Ukrainian painters express a sense of both liberation and anxiety. As the former institutions that once defined their identity have been challenged, they now explore what is to be Ukrainian today.
For more information visit: whiteboxny.org
04.04.2008 Odessa Artists of the second half of the 20th Century
 Come and enjoy the exhibition of non-conformist artists of Odessa on display at the Kyiv National Russian Art Museum, Tereshchenska St. 9; telephone 234-6218. Works by the following artists will be presented: V. Strelnikov, A.Atzmanchuk, K.Lomykin, Sviatoslav Bozhiy, D.M.Frumina, O.Sleshinskiy, G.Garmider and other. The exhibition is curated by Vyacheslav Vyrodov; foreword for the catalogue – Sergei Kniazev. To view the collection online please visit: http://slav-nonart.com
28.03.2008 Yuriy Savchenko
 Zorya Fine Art will host an exhibition of paintings by renowned Ukrainian artist Yuriy Savchenko.
The show is a retrospective of the artist’s work from the 1980s to 1990s, opens April 3 at the gallery, 38 E. Putnam Ave. Curated by Alexander Demko, the art will be on view through May 16.
Savchenko’s paintings are strong and evocative, yet their subject matter is very simple. His still lifes capture village roads, peasant life, birch trees, autumn and field flowers. They reflect the emotional attachment Savchenko has for ordinary scenes. The artist skillfully creates medium to large size oil paintings that are executed in heavy impasto. These works engage the viewer with laconic compositions and masterfully mixed colors that are contrasted with warm and cold tones.
Trained in an academic tradition, Savchenko graduated from the Kharkiv Academy of Art in 1957. He developed his own expressive yet impressionistic style in the early 1980s. American art lovers had the first opportunity to view his paintings in 1991, when he was invited to exhibit at the Montgomery Museum of Fine Art, Alabama and at a private gallery in Nashville, Tenn. The last exhibition of works by Savchenko - “Fifth Avenue and Central Park” - was organized by the Ukrainian Institute of America, New York in 2004.
Now in his 70s, Savchenko continues his career, working in his studio in Kharkiv, Ukraine. Last year Savchenko held solo exhibitions in Kiev, Moscow and St. Petersburg.
For more information, log onto the web site www.zoryafineart.com or call the gallery 869-9898.
This article was published in The Arts section of Greenwich Time, Wednesday, March 26, 2008 – page A11.
03.12.2007 Ukrainian Artists in Paris - 1930
 In the 1930s a group of Ukrainian artists settled in Paris. They joined the Association of Independent Ukrainian Artists (ANUM) in 1932 and provided theirs works for the exhibition of the association that took place in Lviv in 1935. On the photographs, from the archives of Severyn Borachok, depicted from left to right: First row – Oleksa Tretiakiv, Severyn Borachok. Second row – Mykhailo Andreenko, Klement Redko, Mykola Glutchenko, Vasyl Yemetz, Vasyl Khmeluk, Oleksandr Lahutenko, Mykola Krychevsky, Volodymyr Savchenko-Belsky, Roman Turyn. Third row – Vasyl Perebyinis.
12.09.2007 A Meditation of Weapons
 A Meditation of Weapons >>>
Art by Anton Skorubsky Kandinsky >>>
Curated by Marc Eckō >>>
AMERICA IS WHERE THIS COLLECTION ENDS. >>>
However, this collection, and all of Anton Skorubsky Kandinsky’s work, begins in the former Soviet Union. It was there that Kandinsky used his Ukrainian lens to recast the regime of images propagated by Soviets. Today Anton presents us with (or confronts us with, depending on your vantage point) his articulation of the images of an America that found him.
When we first met, Anton said, “Marc? Teach me Pop culture!” My vibe was that he was out to emulate Warhol. But I soon came to realize his genius would be more like Borat. And so Anton offers us a mirror, juxtaposing the hard mechanical beauty of weapons with our bejeweled tabloid culture. But it is not an indictment. Thus we stand here, naked in the glory of our egos, and reflect on our truths. Smile on the good parts. Frown on the ugly. Begrudge the bits you can’t quite see.
As we approach the technological speed of light – thanks to the Internet – the measure of one’s 15 minutes of fame has slowed to near stand still. It seems even Andy’s maxim couldn’t stand the pressures applied by Moore’s law. Meanwhile, our understanding of the actual events of our day became an increasing abstraction, pacified in a diamond-encrusted-cocktail of media white noise and consumption hysteria.
It’s the process of his exploration that best embodies the essence of Anton’s pursuit. No limits. No ideologies. No masters to serve. Maniacally free. >>>
THIS COLLECTION IS WHERE AMERICA BEGINS. >>>
Marc Eckō
27.06.2007 RAIDER ATTACK ON ART GALLERIES IN KYIV
 Tonight, June 26 from 10:00pm to 1:00am, offices and gallery spaces of two Kyiv based galleries «Karas» and «Soviart» were seized by armed gangsters in a move to overtake the valuable space occupied by the gallery and the Association of Contemporary Ukrainian Art. Police and local government officials are not providing any support to the rightful business owners. We are looking for help. The galleries are located on Adriivsky Uzviz 22a. For more information and to provide your support please call us +38 044 2386531 or 4250247.
22.05.2007 Antiqvitas Nova
 Antiqvitas Nova. Monograph. Oleh Denysenko. (Paperback) by Oleh Sydor-Hibelynda (Foreword), Oleh Denysenko (Author), Oleh Dergachov, Orest Holubec, Yaryna Koval (Contributors), Olexiy Iutin (Art photographs), Oleh Denysenko (Concept and design), ColirPRO (Setting), Illya Levin, ColirPRO (Scanning), ColirPRO (Prepress), printed in Ukraine by Novyi druk, edition of 1500. Special thanks to co-editors: artfira.com and Sergei Brodovich Publishing /Издательство Сергея Бродовича/. All rights reserved©Olden Studio. Paperback: 160 pages Publisher: Olden Studio www.olden.com.ua (April 2007) Language: Ukrainian and English ISBN-13: 9789668527401 Product Dimensions: 30 x 23.5 x 1.5 cm / 11.8 x 9.25 x 0.6 inches Shipping Weight: 1 kg / 2.2 pounds. Available in the United States of America with artfira.com at $25 plus shipping. For more information please e-mail: mail@artfira.com or by phone: 917-573-5688.
23.04.2007 Stolen artworks from the T. Shevchenko Library in London
 Four oil paintings and four sculptures were stolen from the T. Shevchenko Library in London on December 25, 2006. The following paintings were stolen: 1) Kostiantyn Trutovsky (1826-1893) “Wedding”, 1872, oil on canvas, 58 x 97 cm (illustrated); 2) Danylo Dovboshynsky, “Hollyhocks”, oil on canvas, 50 x 45; cm 3) Danylo Dovboshynsky, “Hollyhocks by the house”, oil on canvas, small size; 4) Panas Zalyvacha, “Bell dinger”, 1976, oil on canvas, medium size. The following four sculptures by Gregor Kruk were stolen: 1) “Deep in thought”, bronze, 48 cm; 2) “Figure of nude girl”, bronze, 48 cm; 3) “ Slave”, bronze, 27 cm; 4) “Woman after her bath”, bronze, 40 cm. If you know the whereabouts of these works please call (+44) 07745587466 та 07966360916, or write to: 49, Linden Gardens, Notting Hill Gate, London W2 4HG, U.K. Or via e-mail to mail@artfira.com
07.04.2007 Works from the Estate of Vasyl Hryhorovych Krychevsky
 New York, March 23, 2007. An exhibition entitled Works from the Estate of Vasyl Hryhorovych Krychevsky will open at The Ukrainian Museum, 222 East 6th Street in New York City on April 13, 2007. The works – oil paintings and watercolors by the artist, are from the collection of Zorya Fine Art gallery in Greenwich CT. The exhibition will run through June 3, 2007.
Vasyl Krychevsky (1873 – 1952) is considered one of Ukraine`s outstanding public figures of the 20th century - architect, artist, scholar, and educator whose remarkable accomplishments impacted greatly on the country’s cultural development in the early part of the century. A Renaissance man in effect, he was dynamic and innovative in his creativity. He pioneered a distinct Ukrainian style of architectural expression and brought new trends to the art of book design. He made notable contributions to scholarship, to the applied arts, theater production designs, and was distinguished as an art director in the Ukrainian film industry.
As one of the principal organizers of the Ukrainian State Academy of Arts in 1917 (later its name was changed to the Kyiv Art Institute), its first president and a professor on the staff, Krychevsky played a major role in educating a generation of exceptional Ukrainian architects and artists
Vasyl Hryhorovych Krychevsky was a celebrated artist. The collection of his paintings from the Zorya Fine Art gallery is presented in a most timely fashion – to run concurrently with the critically acclaimed (The New York Times) exhibition Crossroads: Modernism in Ukraine, 1910-1930, presently on view at The Ukrainian Museum and showing until April 29th. Here, Krychevsky’s paintings can be viewed within the context of one of the most exciting and innovative periods of art in Ukraine – the period of modernism, which is so aptly discussed in the “Crossroads” exhibition. Krychevsky, along with such illustrious contemporaries as David Burliuk, Alexandra Exter, as well as fellow faculty members of the Ukrainian Academy of Art – artists Oleksander Bohomazov, Abram Manevych, Hryhorii Narbut, Vadym Meller, and Kazimir Malevich among others, represented the vibrant voices in the Ukrainian world of art of that day.
A 112-page exhibition catalogue in English and Ukrainian published by Zorya Fine Art contains a comprehensive essay on the life and work of Vasyl Krychevsky by Valentyna Ruban-Kravchenko, Doctor of Art History, Corresponding Member of the Academy of Fine Arts of Ukraine. Dr. Kravchenko divides the artist’s work represented in the show into “three thematic cycles”: paintings from before World War I and from the years before the start of World War II that project the natural beauty of Ukraine in compositions that embody joy and appreciation for the majesty of nature; works the artist created during his immigration period beginning with the final months of World War II, during which Krychevsky’s longing for his homeland is expressed poignantly in landscapes of Ukraine, which he painted from memory; and works in which the artist evokes Venezuela’s natural beauty and the urban environment of Caracas, where he lived the rest of his life and where he died in 1952.
In the essay, Dr. Kravchenko best describes the essence of Krychevsky’s paintings. “In both peaceful and difficult times, Krychevsky returned again and again to the images dearest to his heart – tree-hugged peasant homes above quiet-flowing Ukrainian rivers, the changing colors of the sky above the open spaces of green fields, the powerful surge of Crimean mountains, or the boundless blue of the sea. These small-scale harmonious works are monumental in their imagery, perfect in their composition and color scheme. In them, the artist’s soul sings like an Aeolian harp, open to the expanses and colors of his native land.”
Krychevsky was a very prolific artist. According to his biographer Vadym Pavlovsky, the artist “produced close to two hundred large paintings, several hundred of medium format, and several thousand small works.” Unfortunately, the bulk of his creative work was destroyed in a fire and only a small portion of his paintings are preserved in galleries, museums, and in private collections.
Krychevsky’s media was watercolor and oil. In describing the artist’s work, V. Pavlovsky said, “His paintings, full of sunlight and air, express the mood of the moment at which the artist captures nature and recreates it with his brush. The harmony of light and transparent hues, a joyous, rarely pensive mood, and a sense of intimacy are characteristic of almost all his landscapes.” Pavlovsky identifies Krychevsky’s style as that close to Impressionism, but says that the artist “followed his own path.”
Olha Hnateyko, President of the Board of Trustees of The Ukrainian Museum said that the Museum “is delighted to collaborate with Zorya Fine Art in displaying a selection of the vast artistic output of this distinguished artist, whose pioneering work in the name of Modernism helped change the face of Ukrainian culture in the early 20th century.”
The Ukrainian Museum’s purpose is to share the breadth and wealth of the Ukrainian culture with the public. To that end the Museum organizes exhibitions from its collections or from loans, offers educational programming, and works in concert with other museums, institutions and organizations to provide excellence in substance, visual enjoyment, and a learning experience in all its endeavors. In 2005 the Museum relocated to its newly built facility, funded in total by the generous donations from the Ukrainian community in the United States.
Exhibitions currently showing at The Ukrainian Museum:
Crossroads: Modernism in Ukraine 1910-1930 until April 29
Ukrainian Sculpture and Icons; A History of Their Rescue until May 27
Pysanka: Vessel of Life until July 1
The Ukrainian Museum
222 East 6th Street
New York, NY 10003
212-229-0100
info@ukrainianmuseum.org
www.ukrainianmuseum.org
29.03.2007 Grapheion
 Stredoevropska galerie a nakladatelstvi has reassumed its last year`s project and released another yearbook summarizing intresting events in the space of graphic art and printmaking in 2006. We would like to introduce Grapheion no. 19 to you. ------ LEADING ARTICLE Where is Print Going? (Richard Noyce, Wales) GRAPHEION‘S THEME A year of Rembrandt: Rembrandt and his prints (Martin Royalton-Kisch, British Museum, London); The history of the Rembrandt house; exhibitions guide WORLD TREASURES Print Collections in the Bibliotheque nationale de France FROM THE HISTORY OF GRAPHIC ART The Print Collection of Ferdinand Columbus (Mark P. McDonald, British Museum, London) CONTEMPORARY SCENE Franz Gertsch (Achim Gnann, Albertina, Vienna); Achille Perilli (Elisabetta Cristallini, Afredo Nicastri, Italy) 2006 TOP EXHIBITIONS Picasso – Painting Against Time (Albertina, Vienna); Eye on Europe (MoMA New York); Andy Warhol: Popstars (Albertina, Vienna); Kiki Smith (Walker Art Center, Minneapolis) THE WORK – THE PERSONALITY – THE TIME Vlastislav Hofman’s Prints 1884–1964 ART ASSOCIATIONS The Association of Czech Graphic Artists Hollar WORKSHOPS PaperGraphica, New Zealand; Tabor Presse, Berlin ART SCHOOLS Rorke’s Drift, Republic of South Africa; Printmaking in Malaysian Universities; Traditions reinterpreted in the Japanese hybrid INTERNATIONAL PERIODICALS Print Quarterly CHRONICLE Competitions, Exhibitions 2006 AUCTIONS ----- 152 full-colour pages on glossy paper, A4 format, perfect bound ----- price: EUR 11 or US$ 14 per piece + shipping postage EUR 10 or US$ 13.20 per piece
or overseas airmail postage US$ 15.30 per piece ----- Grapheion, international review of contemporary prints, books and paper art has been published by the Central Europe Gallery and Publishing House in Prague, Czech Republic. This magazine comes out in Czech [ISSN 1211-6890] and English versions [ISSN 1211-6904] in A4 format on glossy paper. A single issue contains usually 88 full-colour pages, a double-issue 172 pages.
This magazine was released quarterly from 1997 to 2000 [issues nos. 0–16]. There was one special issue in 2002 [no. 17]. We made a 2005 yearbook [no. 18] and a 2006 yearbook [no. 19] covering the most interesting events in the field of printmaking.
----- www.grapheion.cz
06.01.2007 Alexis Gritchenko (1883-1977)
 The late works of the great masters have always had an air of liberty and maturity which dominated the world around them. They sum up and express the life of those endowed with a superior sensitiveness. This can be seen in the last productions of Titian, Rembrandt and Greco as well as in the music of Beethoven and Wagner.
We find something similar in the paintings of Alexis Gritchenko, which were executed since the last war. Gritchenko, who is now eighty years of age, has continued to develop his art and to maintain his vigorous style, in which he has so admirably depicted the tumultuous aspects of nature. Throughout a variety of countries this “vagabond of Ukrainia” as he calls himself, has drawn inspiration from the vast open spaces of the plain; from the geological forms of great mountains ranges; from the rhythmic movement of the great waters; from the changing shape of the clouds in their perpetual drift from one season to another, and from the vegetation that is constantly springing up into life.
Having never lost his youthful memories of the endless plains of the Dnieper, nor the flavour of the Slavonic earth to which he was always attached, Gritchenko with his extraordinary vitality never lived the nostalgic life of a refugee. He has a fraternal feeling for all the countries he has visited. In France he is in every respect at home, and he has also assimilated the natural beauties and the human characteristics of Greece, Spain, Italy as well as several of the eastern and northern lands. Born in the old world, he nevertheless succeeded in conquering the new. Welcomed by the USA in 1958, a Gritchenko Foundation was eventually set up there, to contain his paintings and writings where they await the time when someday they may return to his native land.
His art which is profoundly rooted in Russia is nevertheless remarkably universal in its appeal. He loves the Russian Icons of which he is a connoisseur, and has studied them attentively and retained something of their sumptuous colours, their ample and majestic style. He is too much of a painter to remain shut up in any of the historic styles, as is often the case with some of his countrymen. Abandoning his early oriental manner which he once defined as “flat surfaces, reversed perspectives, in a light immaterial style” he assimilated all the modern movements in Western art, the vivid chromatic style of the Fauves, the constructive architecture of Cubists, from these he took what was useful to him for his own lyrical vision of life, without being absorbed by them.
The intense blues of his mountains ranges are crystallizations of the earth, transformed by the atmosphere. From upright forms he evokes the mystical interior of a cathedral, where Faith floats high up above the miniature human figure. A worldwind of forms, which would, to-day, be called “gestual” evokes the powerful winds that blow through most of his paintings.
Even the houses, such as those of the Basque country with great red roofs, or those of Corsica and Spain huddled together in a solid mass; ships with bellowing sails, or peasants going about their daily work, seen along with all the other features which make up the immense play of life, the fragility of which, like vegetation, covers the rough surface of the globe.
The still-lives of Gritchenko are very much alive. They consist of common objects, of fiery-coloured flowers, especially wild flowers discovered in Provence or Limusin and gathered by the artist, or sea produce, ursins, shrimps, starfishes and lobsters of strange forms for which he has a strong predilection. In all of these one finds a continual strain of warm palpitating colour, powerful and all inclusive like nature itself. Before these sumptuous works one recalls the art of Rubens or Delacroix, or a phrase of Virgil or Baudelaire who also felt and evoked the inner soul of things.
In this way, Gritchenko painting goes far beyond the shallow researches and the pretentious simplifications of a purely intellectual order which os many of our contemporaries imageine to be new. Gritchenko’s art is united to the earth in a mystic marriage where all the sentiments and sensations take fire and invite us to share in a healthy joyful existence which the narrow utilitarian nature of modern life excludes. Invincible in its reaction to the social and technical sclerosis of our time, Gritchenko has rediscovered the real vocation of art which is to make humanity conscious of its greatness and high standing in the cosmos.
26.09.2006 Upcoming auctions to watch
 Auctions to watch this season
>>> Sotheby’s
The Russian Sale
28 Nov 06, London, New Bond Street
Sale L06111
>>> Christie’s
Russian Works of Art
29 Nov 06, London, King Street
>>> Bukowskis
International Autumn Auction
12 – 13 Dec 06, Helsinki
Sale 132
>>> Bonhams
Russian Sale
27 Nov 06, London, New Bond Street
Sale 14219
>>> MacDougall’s
Russian Art Auction
27 Nov 2006, London, St. James`s Square
>>> Boisgirard
Russian Painters
11 Oct 2006, Paris, Drouot Richelieu
(correction – moved to 20 Oct 2006)
>>> Tajan
Russian Art
21 Dec 2006, Paris, Espace Tajan
Sale 6663
Auction results will be published on artfira.com
For additional information please contact us at mail@artfira.com or by phone at 917 459 3248.
27.03.2006 “Eurointegration through Art”
- ARS DOR Association with the support of the International Fund for the Promotion
of Culture (UNESCO) invites visual artists* from Romania, Ukraine and Moldova to
participate at the International Art Campus
”Eurointegration through Art” that will take place in Moldova, during June 14 –
20, 2006.
Only 18 artists will be selected to become Ambassadors for Eurointegration through
art. They will express their vision on importance of culture in the International
Diplomacy process of Eurointegration.
During the international art camp two seminars will be delivered to participants:
“Eurointegration through art”
“Art promotion through Internet”
At the end of Art Campus painters will exhibit their artworks in the National
History Museum of Moldova. Later exhibition will be presented in other European
countries. Also exhibition will be placed online for one year what will make your
works easily searchable on the Internet.
Organizers will cover living expenses, meals and partially painting materials.
Participants will cover travel expenses to/from Moldova. Participation fee is: 20
USD.
Eligibility and Submission criteria
· Artists from Romania, Ukraine, Moldova*, 18-35 years old
· Motivation Letter
· Artist CV (or resume) with contact details (may be presented in English,
Romanian or Russian)
· 5 artwork photos 10x15 cm, of professional quality, without dust or
scratches, or CD-ROM (with artist’s name, title of work, medium, size, year)
All materials for application must be sent to the address: ARS DOR Association,
of. 109, 59/1 Calea Esilor str., Chisinau, MD 2069, Moldova. Materials can also be
submitted electronically to: ghenador@yahoo.com (with images as jpegs).
Applications for ”Eurointegration through Art” will be reviewed by ARS DOR
selection committee. Only accepted artists will be announced.
Calendar Dates
May 15, 2006 Application deadline
May 31, 2006 Accepted artists informed
June 14 - 20, 2006 International Art Campus
June 20 - July 15, 2006 Exhibition in the National
History Museum of Moldova
June 20, 2006 - June 20, 2007 Exhibition continues online
*Visual artist from countries different from Romania, Ukraine and Moldova can also
apply, with their own support of campus expenses.
If you would like to be a part of this adventure, do not hesitate to contact us.
For further information please contact:
ARS DOR Association
of. 109, 59/1 Calea Esilor str.
Chisinau, MD 2069, Moldova
Phone: +373 79574875; +373 22 759413
E-mail: ghenador@yahoo.com
Web: www.ghenador.com
14.03.2006 Picasso, Warhol Top List of 2005`s Actively Traded Artists
 By Linda Sandler
March 14 (Bloomberg) -- Pablo Picasso, who painted the
world`s most expensive picture, held his place as 2005`s most
actively traded artist, and Andy Warhol bumped Claude Monet from
No. 2, said Artprice.com, a French data service. Canaletto`s
Venetian views propelled him to fourth place from 239th.
Picasso collectors raised $153.2 million last year from
1,409 works sold at auction, Artprice said. Owners of Warhols
realized $86.7 million from 660 images, while 22 Monets took
$61.5 million and 18 Canalettos $55.5 million, it said.
Auction volumes are a guide to which works are becoming more
liquid or expensive and which may be harder to buy and sell over
time. Three Chinese painters, including Zao Wou-Ki, born in 1921,
jumped onto Artprice`s top 50 as Christie`s International and
Sotheby`s Holdings Inc. expanded Asian auctions. Henri Matisse fell
to 13th from sixth as his best bright-patterned works became scarcer.
Artprice published its ranking of artists by auction volume
on its Web site as part of a survey of market trends in 2005.
Fine-art auctions last year raised $4.2 billion, an increase
of 15 percent from 2004, as the hammer came down on 477 lots
priced at $1 million or more. Artprice excludes cars, furniture
and collectibles that make up $2 billion of auction sales. About
a third of fine-art lots failed to sell in 2005, including
Monet`s ``Waterloo Bridge,`` valued at as much as $6 million.
New York, where the billionaire Eli Broad paid $23.8 million
for David Smith`s ``Cubi XXVIII`` sculpture at Sotheby`s in
November, was expensive in 2005. Values swelled 35 percent in the
biggest market. Art prices in London increased 4.8 percent.
New York Gains
The U.S. was catching up with an earlier surge in the No.2
market, Artprice said. From 2002 to 2004, London auction prices
shot up 87 percent, dwarfing New York`s gains of 28 percent.
Prices in Paris, the No. 3 market, were little changed last year.
For Hong Kong, which has overtaken Germany to become the
fourth-largest market, Artprice said there`s insufficient monthly
data to provide comparable numbers. However, China`s economic boom
propelled indexes of the country`s contemporary artists and old
masters about 80 percent higher at auctions worldwide, it said.
Fine-art auction prices worldwide last year rose 10 percent,
slowing from a 19 percent run-up in 2004.
The hottest art movement in 2005 was Dada, an early-20th
century group whose best-known work is Marcel Duchamp`s urinal,
``Fountain.`` An Artprice index of Dada works rose 137 percent.
Italian futurists including Gino Severini added 93 percent.
London Bombings
New York took a 44 percent share of fine-art auctions.
London`s auction totals swelled by one fifth, giving the U.K.
capital 28 percent of the pie. A Canaletto painting of Venice
took $32.6 million in a packed Sotheby`s London auction room
after a day of bombings on July 7, making the 18th-century
Italian artist the most expensive of the year.
Hong Kong, which contributed more of Christie`s 2005 auction
totals than Paris, had a 3.7 percent market share, while Paris
took 6.6 percent.
Publicly traded Artprice has headquarters in Saint-Romain-
au-Mont-d`Or, France.
*T
Here are Artprice`s 10 most actively traded artists:
Pablo Picasso
Andy Warhol
Claude Monet
Canaletto
Mark Rothko
Marc Chagall
Willem de Kooning
Fernand Leger
Jean-Michel Basquiat
Lucian Freud
*T
19.01.2006 JANUARY 19-28, 2006
 CURATED BY LISA PAUL STREITFELD . WITH VINCENT BALDASSANO. MIKE BIDLO. ABRAHAM BREWSTER. LAUREL JAY CARPENTER . ARTURO CUENCA . RICHARD HUMANN . BAPTISTE IBAR . ANTON KORUBSKY KANDINSKY . MARNI KOTAK . PETER KREBS . YULIYA LANINA . D. DOMINICK LOMBARDI ABRAHAM LUBELSKI . RANAN LURIE . SOPHIE MATISSE . REUBEN NAKIAN . OLU OGUIBE KEVIN ROBINSON. GAE SAVANNAH. DONNA SHARRETT. ANITA STECKEL. MARGARET TSIRANTONAKIS. SUSAN WEINREICH. FRED WILSON. MYKOLA ZHURAVEL.
Icons of the 21st Century presents a new movement in which contemporary artists explore the forms of the hieros gamos, or sacred marriage of the opposites. The exhibition seeks to extend the dialogue between Wolfgang Pauli and C.G. Jung, who believed this emerging archetype to be the icon of the 21st century.
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