artists portfolio galleries portfolio international exhibitions virtual exhibitions artists of today art with

108 Pages·2008·9.08 MB·English

WORLD of ART
Issue 1 vOLume 1 2000
A P
rtists ortfolio
G P
Alleries ortfolio
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nternAtionAl xhibitions
V e
irtuAl xhibitions
A t
rtists of odAy
A A
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ARES, 1999, 80 x 50 C m, 31½ x 19¾ I n
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gold waves, 1983 oil on canvas 120 x 100 / 42¼ x 39½ in, p. 50
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20 0 0 Artist 1 franco verdi
Topic 4-5 The naTure of beauTiful and
The naTure of arT by andrea PaGnes
Artist portfolio 6-10 franco verdi
Artist 11 aHMed naWar
Artist JULie oLivari
Artist portfolio 12-14 BÉLa cZitroM
Art with attitude 15 KeiGo YaMaMoto
Artist portfolio 16-18 edUardo PLa
Artist portfolio 19-22 LiGia Podorean eKstrÖM The lighTs of The norTh by
art Mircea deac
addiction Venice 23 ai scaLZi
piccola Artist portfolio 24-26 PetrU rUssU
GallEria corrEr Artist portfolio 27-29 editH sUcHodreW
campo santa Fosca
Artist portfolio 30-31 anne de sUÈde
cannarEGio 2214
Artist portfolio 32-35 HenrYK sZYdLoWsKi
it-30121 vEnEzia italy
Artist portfolio 36-37 PatriZia JeMMa coBUcci
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19, 9tr sE-182 30 dandEryd
stockholm sweden Fax[phone] Artist portfolio 40-41 eLiZaBetH anne MaXWeLL HiLL
Artist portfolio 42-43 cHanG sanG-eUi
Emerging Artists 44-45 cYntHia LUnd-torroLL
Artist portfolio 46-47 Marte sZirMaY
october 6 - october 16 Venice 48 La cantina
3rd Artist portfolio 49 PaLMi MarZaroLi
Artist portfolio 50-51 vasiLe PoP-neGresteanU
XXI Century 51-53 longing for The oTher Worlds
- Melancholy Versus anguish by iLeana BenGa
Emerging Artists 54-55 andrea Zanatta
Artist portfolio 56-57 noeLa HJortH
Artist portfolio 58-60 Jose sacaL
Artist 61 vasiLe corLÃtan
Living the Art 62-63 andrea PaGnes
Artist 64 Kristian Jon GUdnason
Artist KiM sooK cHa
Artist BirGitta LUndBerG
65 sUBastas odaLYs
Venice notti d’oriente
Exhibition Review 66-67 coWs Parading in chicago by adrian-siLvan ionescU
Emerging Artists 68-69 JUnKo MatsUMoto
noveMber 7 - noveMber 17 Artist portfolio 70-71 Marta diMitrescU
Artist portfolio 72-73 BarBara stratHdee
2nd Gallery portfolio 74 art addiction
Internet Museum 75 tHe 6tH int’L feMaLe artists’s art eXHiBition
Most talented Artists 76-77 KeY eriKson
Venice 78-79 coLoMBina
Emerging Artists 80 erGa HeLLer
Artist 81 ferUs
Artist dvora aGranov
Gallery portfolio 82-84 tHe 2nd aUtUMn annUaL in venice
Art of today 85 conteMPorarY art LeXicon
Special Promotion 89 19 conteMPorarY iranian artists
Artist 92 eMiLia cattan
Gallery 99 GreenaWaY art GaLLerY
Artist Lorna roBertson
Artist adeLe roWLand
Artist rita saPira
Digital Art 103 Kato Kei
april 17 - May 31
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Art with Attitude 104 Ken roBinson
artinternet 1 Inside Covers PetrU rUssU
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spEcial issuE 2000 world of art 3
andrea PaGnes
and the nature oF art
keys For a correct under-
standing oF a work
oF art and suggestions For a thorough
investigation oF artistic phenoMenology’s,
in order to acquire a broader and More
exhaustive knowledge oF the poetics and
the ideologies innate in theM.
firMLY considerinG art a the means of expression. There- their connection and in their logical, intuitive knowledge, the
human activity ’based on expe- fore it is unthinkable to study development in time. creative faculty of which is imag-
rience, on quality and on par- a work of art by trying to ascer- Undoubtly it is a required con- ination; but the importance of
ticular aptitudes, on talent and tain “what is being said, who dition to seek the reasons why Vico’s aesthetics is linked to two
on individual ingeniousness, any says it, to whom and what the a work of art becomes a subject fundamental themes: the rela-
critical estimations of artistic effects are.” of knowledge, a phenomenon, or tionship of art with myth and
works must necessarily take In fact art is a form of Man’s an idea because any artistic cre- the identification between art
account of their development activity which is intended as a ation can not be considered sep- and language as rules.
through various periods, of their confirmation or exaltation of his arately, but should be thought of They were the first to analyze
complexity with special ref- creative skill and of his capacity as a moment and a result of his- critically these themes, nowa-
erence to their own stylistic of expression, therefore he mod- torical - artistic process in whose days extremely topical in the
expression, to the time when ifies himself and the natural context we will be able to under- artistic phenomenology and in
they were created, to their place environment according to a dra- stand its full meaning. In this the specify of literary poetics,
of origin. matic, ironical etc. connection way the history of art itself with special attention to the syn-
However it is not sufficient to which goes with the individual becomes a way of researching ergism that exists among art,
pass judgment on a work of art or social needs of a logical or and of viewing the world. myth and symbol. These themes
simply explaining its origin or moral nature. Among these considerations of include the concept of art as
the essence of its various stylistic Through the qualities of a a general nature the more creation, as expression and as
forms; we need to try to under- work of art, criticism should find strictly aesthetical question can communication, which are to be
stand art as an aspect of human essential the definition and real- not be left in the background: developed by the idealistic and
and social life and, particularly, ization of the nature and origi- how we can identify the nature neo-idealistic aesthetics of Bene-
to study the influence of art on nality of an artist, with a con- of the beautiful and the nature detto Croce.
man and on society, on the artis- stant reference to the general of art? Kant laid the premise for the
tic awareness and culture educa- concepts of imitation, simulation In fact since Plato and Aristotle affirmation of the subjective
tion, on the contacts, on the civil and the singular artifices of the the problem of nature-art rela- moment over the objective one
and social conflicts that art rep- technical and stylistic particu- tion has taken on specific and of beauty and therefore for the
resents, reproduces or is ahead larities. Then the investigation fundamental valences. identification of natural beauty
of. and study of the aesthetical The concept of imitation and and artistic beauty.
The birth, the development qualities of a work of art will the purifying-or rather educa- According to him, the basis of
and the decadency of the social allow us to understand exhaus- tional-role of art that was con- beauty is the aesthetical feeling
institutions of art are defined by tively the processes of transfor- stitutional to ancient Greek phi- which is the feeling of pleasure
the kinds of organization and by mation and transfiguration of losophy changed into medieval aroused by the inner harmony
the social groups, which influ- reality or of a certain ideas and Renaissance speculation. between nature and spirit,
ence artistic creations. It is not developed by an artist. The Middle Ages emphasized the between the world of necessity
an easy task at all, but such tHe eLaBoration of philo- nature of the subordination of and moral need. Then Schiller
an approach can make possible sophical concepts and of Man’s beauty to truth and justified art will entrust art with the task
methodologies for a wider inter- thought follows the course of as an allegory; the Renaissance of educating without any con-
pretation of a work of art with a the whole history of art, from gave more autonomy to natural straint and the whole romantic
precise reference to human per- ancient times to the present day: beauty but it always considered aesthetics, and subsequently
sonality. therefore it is necessary to search art as imitation, and the prin- Schelling will make of art the
art Gives rise to and estab- for the links among the various ciple of verisimilitude as its it’s supreme degree of knowledge.
lishes new forms of behavior classical branches of knowledge fundamental rule. Idealistic-romantic aesthetics
especially if it is considered from in order to interpret artistic Vico and Kant laid the funda- were succeeded by positivism,
the point of view of propaganda, movements and the works which mentals of modem aesthetics. which conceived aesthetics as
of the distribution, of the pro- characterize them critically and Vico claimed that the auton- a study and production of
cess of communication and of correctly considering them in omy of art is a form of pre- forms-an aspect already singled
4 world of art spEcial issuE 2000
P
out by Hegel-aimed mainly to artistic representation. There- known by artists, and to what
classify empirically the different fore we can consider this disci- extent this symbolic interpreta- a
arts in their specify, too. pline the study of the historical, tion agrees with the historical
G
in oUr modem times, not only social, religious, philosophical, position and the personal ten-
a philosophical, but even a psy- and cultural content, of which dencies of each artist and to n
chological approach is absolutely subjects and images are direct his particular creative disposi-
inevitable to aim at the defi- expression, even if sometimes tion. To achieve this we must try e
nition and classification of the unrelated to the one who has to penetrate the essential sense
artistic phenomenology and at used those subjects. The role of of a work of art so as to be s
the identification of their values. iconology is, in a certain way, able to grasp the unit that com-
When considering a work of lined up with the iconographic poses it. This is possible when
art we should identify the con- method of Aby Warburg who we manage to grasp and to con-
nections, the interdisciplinary studies the programmatic, liter- sider the whole of the moments become not only the history of
requests between it and the ary and learned aspects of works of its emanation: subject, icon, semiotics but of all those disci-
thought of that particular histor- of art in “contraposition” with and formal element. plines that in the past shared
ical moment, but not only that, formal analysis. It is related to Icnology, as being essentially the field of signs and symbols
as it is possible to contribute to the theory of ’symbolic forms’: it interdisciplinary and strictly - semantics, logic, rhetoric,
the enlightenment of either a pic- is an analysis which goes beyond related to general symbolism, investigation, aesthetics, philos-
torial or literary work by com- the explicit meanings of works has become in this way the best ophy, ethnology, psychoanaly-
paring authors of different peri- of art, beyond their ultimate example of the solidarity and sis, poetics -. and of some of
ods and belonging to trends, and essential content, identify- complementary of all the inter- their subjects named, from time
as T.S. Eliot established in his ing those fundamental principles pretations in their mutual, inter- to time, imitation and beauty,
essays of poetic criticism. which reveal the basic line of pretative and analytic task of education and pleasure, tropes
The re-visitation of these disci- a nation, a period, social class, the various artistic languages, and figures, condensation and
plines, the following attempt of a religious or philosophical con- both rational and hype rational, movement.
reconciliation, can certainly give cept, unconsciously qualified by which, in the course of time, Through the study of the his-
raise to origin new elaborations a personality or abridged in one have expressed the complicated tory of art, of signs and sym-
in order to stem the intellectual work. Iconology aims at inter- relationship of Man with Nature bols, we put forward as a pos-
waste of the present, probably pretation those symbolic values and the number of images of sibility the research of a plural
due just to the frantic pursuit of sometimes ignored by the artist Man himself that Nature and typological thought, which
success. himself and which may differ, reflects. Iconology aims at maintains the differences with-
The contribution of art criti- even manifestly, from what he clearly expounding principles, out emphasizing it. A meth-
cism should awake an incentive consciously wanted to express. methods, structures and at odological principle where the
to art itself, should be a reason The subject of a symbol can defining the terminology of cer- reading of an artistic text is
for a new vital sap especially in a reveal a meaning consciously tain artistic phenomenology’s intended as a description and an
historical time such as this one, bestowed by the artist, if this contributing to develop its study. interpretation at the same time:
when men witness powerless the desired significance is at the as PrevioUsLY stated, the a course into space of an artistic
’Faustian’ devastation of nature, same time also deliberately methodological approach to a personality.
and the decadency of post-indus- hidden; here the iconographical symbol is not less important to tHe reLations between art,
trial society. analysis is necessarily trans- artistic creations than the anal- literature and philosophy are
Art can not absolutely be pas- formed into a sort of decipher- yses of its anthropological and a continuum: from Ficino and
sive towards these problems. ing. technological functions. In fact Leonardo to Rilke and Rodine,
The methodologies of a critical The significances have simply from the point of view of epis- to Beckett and Bacon, up to
study and research for a correct turned from “unconscious” into temology the process of symbol- the contemporary minimalists.
understanding should be deeply secret ones. The ideas projected izing intervenes on many levels Therefore art criticism must not
involved in the analysis about by the artist into his work of experience, from the compli- be a merely structural construc-
the connection among art, include the interpretation of the cated mechanism of our percep- tion (without art), but a vital,
nature, reality and anthropology artistic phenomenon itself or, tions to the highest degrees of dynamic portrait of a work
in order to further examine the at least, they should not be elaboration and arrangement of where the many types, not the
considerations on philosophical transcended in the research of our way of representing the many substances, are the sub-
aesthetics, in this way bringing the intrinsic, inner significance. world. jects because, otherwise, there
out the difficult relationship of Anyway it is required to reveal The evolution of linguistics, would be established a factious
an artist’s style of life in the the philosophical prejudices, psychology, history of religions hierarchy that can not abso-
modem world. It could be a sig- which lie behind the visual form. and history of art, the problems lutely take place.
nificant contribution to art (and in order not to reduce the of signs, of symbols and myths PreciseLY in the name of
its history) in order to give it the value of the interpretation of the have in fact been considered in interdisciplinary we should
strength to be “the soul of the single artistic event it is nec- their relationship with the meth- deeply commit ourselves to
world and the intelligence to be essary for the approach to be ods and principles of their vari- overcome the ’perception’ of
the meaning of reality”. sensible and rational, facing the ous interpretations. In this way artistic language that distin-
a science like iconology specific culture in which a par- the study of the history of art guishes a creative experience,
rightly aims, in a transverse way, ticular artistic work is inserted. can not be separated from any of towards a broader dimension of
to understand and consolidate We need to wonder whether or the other humanistic disciplines, the imaginative production, able
the connections that exist among not the symbolic meaning of because it is indispensable for to maintain the irreducible plu-
the various disciplines. In this a given motif is usual in a cer- a broader and correct compre- rality of the ways of sense, by
way it contributes to keeping tain figurative tradition, whether hension of the various fields of virtue of a research which pre-
art in a position of privilege. an iconographical interpretation human knowledge and of reality serves a work from the particu-
As Erwin Panofsky pointed out, may be justified with certain itself. If a symbol represents larity of fashions and of tem-
iconology is the study of the pur- texts or if it consistent with the one of the elements generally poral restrictions, proposing a
pose that belongs to images and ideas that can be alive in that common to the various disci- reading for inner courses, easily
to the selected subject in their period and can presumably be plines then the history of art can understood by everyone.
spEcial issuE 2000 world of art 5
f r a n c o v e r d i
Megahens, 1984 acrylic on Wood and mixEd mEdia 120 x 150 x 5 cm / 42¼ x 59 x 2 in, p.358
ART ADDICTION
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franco verdi
itaLY
Franco verdi (Giovanni Francesco Silvano Verdi di belmont), born stephan, Wien austria; palazzo del broletto, novara italy; Galerie appunti sul nostro tempo, lonato italy; 1972 tendenze nell’arte
in 1934 italy. he studied art, literature and philosophy. published im taxispalais, lnnsbruck austria; Galleria sincron, brescia italy; d’oggi, Galleria 2b, bergamo italy; operazioni sul visivo, Galleria
numerous books and graphic works. museo civico bologna italy;1969 visuelle poesie Westfälicher barba, castellanza italy; 1973 an international encyclopaedia of
group exhibitions 1966 open theatre and Gallery berkeley kunstverein, münster Germany; arte registered, mentana plans, anderson Gallery, richmond usa; signos Espacio arte,
usa; mostra internazionale di poesia sperimentale, casa del karnhoval, rieti italy; visuelle poesie, residenz, salzburg austria; club pueblo, madrid spain; Galleria peccolo, livorno italy; arte
mantegna, mantova italy; Galleria sala cultura, modena italy; confronto 69, Galleria sincron, brescia italy; deutsche bibliotek moltiplicata internazionale, studio 2b, bergamo italy; 1974 Grafica
Galleria Juana mordo, madrid spain; arlington one, arlington roma italy; liberté de parole, theatre du vieux colombier France; multipla, assessorato cultura della provincia di torino italy;
usa; Galleria barandarian, san sebastian spain; lettura del Exposicion internacional de poesia visual, zaragoza spain; Grafica 74, Galleria andromeda, bologna italy; omaggio al bianco
linguaggio visivo, castello del valentino, torino italy; 1967 palazzo proposte 1969, studio Farnese, roma italy; Galeria u, montevideo su bianco, Galleria il Gelso, lodi italy; 1975 opening event, pierce
monte pietà, castelfranco veneto italy; libreria Feltrinelli, Firenze uruguay; liberarse, universidad montevideo uruguay; 11 giorni college art Gallery, la usa; recycling, israel museum Jerusalem
italy; club turati, milan italy; rotor, valladolid, cuenca san di arte collettiva, pejo italy; Galleria sincron, brescia italy; centro israel; 1977 la forma della scrittura, Galleria d’arte moderna
sebastian spain; Gallerie denise davy, paris France; segni nello suolo, milano italy; 1970 Galleria Giovio, como italy; Galeria danae, bologna italy; scrittura visuale, ca’ dei ricchi, treviso italy; saloni
spazio, castello di s.Giusto, trieste italy; Galleria sincron, brescia madrid spain; de poesia avanzada, universidad de zaragoza del sale, venezia italy; scrittura visuale, Galleria del centro udine
italy; studio 2b, bergamo italy, 1968 poesie de recherche, les spain; Exempla, comune di marciana italy; künstlerhaus palais italy; palazzo della regione trento italy; 1978 carn.era, Galleria
vaguants, nice France; Galleria l’lncontro, Firenze italy; Galleria thurn und taxis, bregenz austria; Fondo de cultura universitaria de amicis, Firenze italy; War memorial Gallery sydney canada;
centro documentazione visiva, piacenza italy; Galerie college, montevideo uruguay; Galleria artivisive, roma italy; bildungshaus national Gallery of victoria, melbourne australia; mantua mail »
alpbach; un paese più l’avanguardia, anfo italy; Galerie nachts st. schloss, puchberg stedelijk museum amsterdam holland; 1971 78, casa del mantegna,mantova italy; vi biennale internazionale
In his concrete painting Franco Verdi isolates mysterious immediateness of the visual
the word on the presupposition that it Franco verdi transForMs the communication” (in “Because we make our
embodies the primary element of the lexical, gold and the silver in city so ugly” Milan I967). It is a question of a
the narrative connection of the same words, diagnosis, although apparently puzzling in its
color and light
not being so important for the attainment of a logic brought forward from an architect that
rational meaning, arousing feelings and wants to see with the eyes and not with the
images, that go out also but from the presence words by mind the things and not the descriptions of the
LUiGi taLLarico
materico-graphics, to which it is tied up the same things.
freedom of the words. But in the Verdi’s contriteness before the
In the exchange of roles, the ideographic poet translated by words can be read, they have to be seen.
teresa blanchard
Pound remembered that the poetry is “simply Didn’t Leon Battista Alberti say after all that
loaded language of meaning to the maximum the dignity of the architect is founded upon the
possible degree,” while Montale said, “nobody cultural and projectual commitment?
would write verses if the problem of the poetry And didn’t Boccioni remind that the artist,
would be the one to be understood.” who more does, more sees?
But to avoid the worry of Montale it is On the other hand in the limited particular
enough to load the language of which the word Franco verdi of the conceptual or of the concrete, of the
is the support. From the moment, however, Megahens word that denies the mysterious immediateness
that “each word is a composite nature, 1984 of the visual concepts and the optical signals
resulting from the combination of more that they do not look in the instruments of
minimal elements of vowels that consonants, it knowledge of the things, so that many of “the
follows that the poetry, confirm Verdi giving freedom of the words” have not always known
reason to Pound and to Montale on it, it is how to balance the conceptual and the visual.
prone to isolate and to emphasize the word, for In the linguistic and chromatic of Franco
which it is the subject of architectural Verdi the two ways have always looked for a
construction of it,” soliciting as in the freedom collaborative effectiveness even when the path
of the words, in this regard, that active has preferred some particular meanings, but
character that is quite of the Poundian charge. without derogate from the extreme active
Consequently these more active solicitations function of the text, between word, sign and
that determine the relationship between action color.
and acting, not so much a meaning of symbolic Franco Verdi slices the verbal structure of his
or rational value, as new feelings and as they Walls, a period of his extremely exciting
are realized. Those are not determined at the painting, and elevates it to ornament,
origin, but elaborated in an architectural admonition, dream, play.
construction during the lived-living of whom Franco Verdi transforms the gold and the
lives time. silver of his subjects’ plots in the sign of the
But the isolated word and denied to word and of the light.
completed lexical formulation in the intent to The conceptual journey of Franco Verdi
become understood doesn’t exhibit the subject begins when he leaves the explanatory and
of the language, that is his autonomous and representative paths. Then, and only then,
unrelated presence, from the moment that - words and signs leave the way to the color and
says Verdi- “the letters of the alphabet do not to the light.
lend themselves to a reading exclusively optics The luministic chromatism is not born from
in which the varied chromatics recognize a the abstraction, from the removal of anything.
new formal syntax, a new world of signs, of The luministic chromatism is born from the
codes always unpredictable, however always to concreteness of the abstract.
surprise” (L. Meneghelli, “The walls of Franco His modus operandi does not refuse the
Verdi”, in The Arena, Verona, VI. 1981). problems of the historical vanguards, that
In fact the architect and theoretical of the already at the beginning of the century had
architecture, Philip Johnson, has observed, sensed that the poetic wisdom is not born first
“words have a tendency to become tools of and in an aural manner in men of the young
knowledge... to increase the interest in the nations gifted “with a corporeal imagination”
value of the description of the things rather (G. B. Vico).
than of the things themselves. Words are for Philosophy, like the bird of Minerva, arrives
the mind not for the eyes. Words... deny the at the sunset, when men are no longer beasts, »
spEcial issuE 2000 world of art 7
franco verdi
itaLY
Grafica d’arte palazzo strozzi Firenze italy; l’arte lascia il segno, netzt kunst & in- attuali, kurhaus meran italy; 1985 studio morra del segno, centro lombardi milano italy; 1992 Grafica incontri,
battaglia terme italy; 1979 originali, biblioteca comunale centrale napoli italy; arca marseille France; Galleria selearte 1, padova Galleria ii centro, nova milanese italy; Galleria Fortezza da basso,
Firenze italy; testuale, rotonda di via besana, milano italy; the italy; Galerie bWa, lublin poland; azienda autonoma soggiorno Firenze italy; studio de rossi, verona italy; 1993 assessorrat für
umbrella show, Glendale usa; 1980 liber, biblioteca comunale turismo, salerno italy; 1986 società belle arti, verona italy; kultur, Gemeinde leifers bz; 1994 st. Jakob leifets, Fiera ante di
prato italy; kunstmuseum, hannover Germany; 1982 Expo arte Galleria agora, s.Giovanni lupatoto italy; convento s.bernardino, pordenone italy; labirynt, Galeria Grodzka, lublin poland; prima
bari italy; 1983 arte Fiera bologna italy; Expo arte bari italy; verona italy; Galerie on, poznan poland; le lieu, Quebec canada; asta arte contemporanea, palazzo Esposizioni roma italy; 1995
kunstmesse basel switzerland; sessanta ottanta, palazzo Galerie akademia szutk pieknych, Warsawa poland; Galerie the tree of poetry, casa da lio, venezia mestre italy; seconda
massari, Ferrara italy; Expoarte, brescia italy; logomotives, Wschodnia, lodz poland; 1987 bacanal del Gnoco, Galleria porta asta arte contemporanea, palazzina liberty, milano italy; 1996
Galleria unimedia, Genova italy; Galleria d’arte moderna udine s.zeno, verona italy; logomotives, museum rocha, Figuera da the 3rd international Graphic art Exhibition, art addiction Gallery,
italy; Gallery blumenthal, stockholm sweden; Galleria la scala Faz portugal; logomotives Gruppenkunstwerk, documenta stockholm sweden; 1997 pro croce rossa, spilimbergo, pro
roma italy; 1984 il cibo e l’arte, Fiera di milano italy; logomotives, 8, kassel Germany; Gruppenkunstwerk, ajaccio italy; Galleria spilimbergo italy; le belle lettere, centro internazinale semiotica
Galleria nucleo arte, bologna italy; logomotives, Galerie J. et i. regionale d’arte, Gradisca d’isonzo italy; rassegna di poesia visiva, e linguistica università studi di urbino italy; 1998 30 pittori per
donguy, paris France; oggetti d’artista, Galleria dada, tavernelle archivio lo specchio di dioniso, bologna italy; Gruppenkunstwerk, Giulietta, club di Giulietta, verona italy. 1998 1999 the 1st and 2nd
val di pesa, Firenze italy; logomotives, palazzo strozzi, nuova museum of modern art new york usa; aEiou Europalia 87 autumn annual in venice, international small forms art exhibition
strozzina, Firenze italy; partiture, istituto Francese di cultura österreich; naturparkzentrum, botrange belgium; 1989 creativi palazzo correr /art addiction venice italy. 1999 the 1st spring
Firenze italy, logomotives, Galleria il canale, venezia italy; per natura, comune di verona, cadidavid, roma, tombetta annual in venice, international art exhibition palazzo correr »
logomotives, casa bianca, malo mercato del sale, milano italy; italy; 1990 Galleria comune s.Giovanni, lupatoto italy; pluralità /art addiction venice italy.
untitled 4
1982 oil on paper
Mixed Media
35 x 27 cM,
14 x 10½ in
p.5
8 world of art spEcial issuE 2000