On 6 March 2007, I received this message from MACRO Rosario:
–>
Agrícola de Cologne:

Es de nuestro agrado informarle que la muestra a sido un éxito, recibió muy buenas criticas por parte del público.

La misma fue visitada por más 1000 personas, que ingresaron al macro en el tiempo que estuvo expuesta (del 09 de febrero al 02 de marzo).

Por medio de este e-mail le hacemos llegar fotos que registran el espacio donde estuvo montada la misma.

Saluda atte

Castagnino+macro

—>
English

Dear Agricola de Cologne,

It is a pleasure for us to inform you about the success of the show, which received very good critics from the visitors. While the exhibition was running (9 February - 2 March 2007) more than 1000 visitors entered the space. Please find attached some photos of the installation of the show.

Greetings from
Castagnino & MACRO

[The Castagnino Museum is the art museum of the City of Rosario running also MACRO - Museum of Contemporary Art of Rosario.]

MACRO is a unique art museum installed at a former grain silo situated close to the Parana river. The visitors have a magnificent view on the the city of Rosario and Parana river islands.

On the museum site, a comprehensive description of the exhibition project can be found in Spanish language
http://www.macromuseo.org.ar/archivo/

—->
this message was accompanied by a couple of images documenting the show at MACRO
–>

published in the February 2007 edition
an article written by Domenico Quaranta
http://www.digicult.it/digimag/article.asp?id=727
reviewing the show at Casoria Contemporary Art Museum Naples.

Her self-portrait is showing her as a dead person, and only today I understand the actual meaning of this visionary view, as she knew she would die when she was submitting her work.

The Memory of Alla Girik will be kept vivid through this show and its website.
God Bless you Alla.

Wilfried Agricola de Cologne

UNL University Santa Fe
http://ultra31.unl.edu.ar/noti/noticia.php?idnoticia=3531
http://www.unosantafe.com.ar/2007/01/04/nota13631.html

El Litoral (Newspaper Santa Fe)
http://www.litoral.com.ar - 03 January
http://www.litoral.com.ar - 06 January

Visit report

The show opened at December 10 of 2006 at “Museo de Arte Contemporáneo de la Ciudad de Santa Fe” – Argentina – (Bv. Pellegrini 1578).

Santa Fe is the capital city of Santa Fe province in Argentina. It is located at center - east of Republic, at the margins of Paraná River, which is a long river, colored like the mud, and crosses the province from north to south under a sky in warm colours, always changing.

Very close from river and from city port, at the center of the city, in middle of a long boulevard with great trees, is located the Museo de Arte Contemporáneo de Santa Fe (MAC). Its building shows a colonial style.

At the entrance we can see the museum announcements and those with the invitation to the exhibition “Selfportrait - a show for Bethlehem - a show for peace”

Walking by two contiguous rooms we will find the digital print artworks, and at the third room, the digital videos, soundart, multimedia and artists statements works, all of them running in different digital supports.
The artworks supporting by DVD, are continuously playing (loop), on individual screen monitors. The visitor can access them with earpieces, as a personal experience.
At the same way, it’s possible to access to multimedia support in Cdrom, as an interactive experience and make a review of all the artworks.

There, also we will find the digital versions of the prints and video; besides, there’s a commentary of each author about his work.

As it is a show conformed by artworks that live in despite of their support, as ideas that live with independence of the physical support of the brain, we can appreciate the same works in a variety of formats at the same time; besides it is a show that runs simultaneously with the same shows in other cities of the word; then, it may be a metaphor of nets where the gift of the ubiquity, the non-material and non-original are some of the most outstanding characteristics.

A Show for Peace. This is a show that overcame the walls of Bethlehem, but also it overcomes the continent walls, and I hope it overcame also the walls in ourselves, waking up our conscious.

I can’t avoid remembering the history of another wall, close to that place at the same province. Around the big cities, as a result of the inequality, in our country grew up “belts” of poverty, where live persons who were excluded from system after years of applying political procedures recommended by international institutions, which were creditors of our country.
At times of a world championship of football, developed here under a military dictatorship, long walls were made in order to hide the poverty from the eyes of tourists who had to come here. At nights, the settlers took the bricks to improve their precarious homes.

Here below, a commentary about some works that impacted me more.

Among digital prints, Anahí Cáceres speak us about the spirit of these times:

We don’t know what is beyond the image, the personage sails towards a space out of the visible picture, towards an uncertain space of future, but with a slight sign of hope.
An abyss? A firm ground? This not the classic representation of a future up, behind a horizon, it looks more like a fall, or a descent. It’s a good idea to read also her message at the multimedia version.

Bruce Eves shows here a strong and critical picture, with a multiplicity of possible meanings leaving in it.
Following my personal vision, in this picture from Wolf Nkole Helzle the whole humanity is present composing the figure of the symbolic human being, the millions of fragments build the symbol of the individual when we move us far away, and the symbolic individual fragments itself again when we approach to the picture.
It’s a static print image but interactive at the same time. I hope it will be possible to appreciate the experience here below:

In the artwork of Jasenka Vukelic we find a concept that is related in a point with the previous work:

At this image, there is only one real eye, which looks us through hundreds of representations of eyes in photographs. Looking at the multimedia version, she will tell that God is present through different languages, countries and derivative religions from the same original.

In this strong energetic image proposed by Pier Giorgio De Pinto, I can perceive the forces of conflict that reign in the world.

Among digital video, I find this from Eileen Bonner. The idea that was born in me, after seeing this self-portrait in video, is the dissociation of the vision of oneself, is the capability present in the look of to see from our interior to outwards, and also to fleeing out of the prison of our body and seeing the world from outside, including ourselves in this outside. Obviously, interpretations possible are unlimited.

In this silent self-portrait of Sofia v. Bustorff, I find the proposal of a subtle trip towards the interior of mind locating ourselves between two worlds: perhaps a way towards change, to future, from the intimacy of ourselves. The images are accompanied only by subtle and rhythmic sounds that remember me the wind, like far machines which make me imagine nets of neurons, or perhaps the weavings of reality, working as cogwheels.

Of course, the exhibition is very rich and extended, there are much more good artworks to see, and each work and the whole exhibition will result in a different meaning for each one.

I suggest going and seeing it, and try to communicate with the particular universe of each artwork, and to perceive the multiplicity of hidden meanings that live in them, and the new ones that are being born continuously from our interaction with them.
It will be open in Santa Fe until January 30 of 2007.

Irene Coremberg

.
Find below a photo documentation of the exhibition installation at MAC
.

La imaginación y sus complejas intenciones
por Stella Arber, directora MAC Santa Fe/Ar

Todas las personas tenemos experiencia directa de lo que significa evocar una imagen.

Podemos representar mentalmente a voluntad, un lugar donde hemos pasado un grato momento e incluso disfrutar de nuevo con solo recordarlo. Imaginar, es en buena parte, reproducir mediante recuerdos, nuestra sensaciones, sentimientos, emociones y pensamientos. La imaginación puede permitirnos vivir en el pasado, pero también anticipar aconteceres, podríamos decir que la imaginación es el punto de partida de algunos proyectos y el apoyo insustituible de la planificación previsora.

Si aplicamos lo dicho al género del autorretrato podemos inferir, que a través de la imaginación, el artista puede verse, buscarse, conocerse, mostrarse, exponerse desde una mirada propia y en ella, activar los mecanismos de la representación visual.

Probablemente quien decide autorretratarse, proyecta el hecho y ancla en si mismo, complejas intenciones que son implicadas en la generación de esa imagen. Cuando alguien se autorretrata, está recuperando una amplia gama de impresiones que tiene de si mismo y debe hacer varios ejercicios de imaginación para equilibrar lo que proyecta y construye mentalmente con el resultado de la imagen lograda, instalando así, el otro representado.

Autorretratarse es recuperar y hacer explicita la información propia almacenada, para luego y en forma implícita dejarla en la imagen, para ello deberá pasar por varias simulaciones mentales de registros físicos reales, construyendo así la trayectoria del proceso de realización de la obra.

El artista se observa a si mismo, con el ojo y con la mente, asociando y a la vez disociando la mirada integral que tiene de su yo, pasando por multitud de hechos primarios, garantizados desde un constructo psicológico que da como resultados “informes introspectivos únicos” de su propia historia, informes que suelen determinar “sesgos” subyacentes en la obra. Es probable además, que muchos de los procesos responsables de imágenes finales, sean inaccesibles también, a la conciencia y ala introspección del propio autor.

En consecuencia el autorretrato es un ejercicio de imaginación profunda, es un proceso de múltiples variables y conocimientos, es una forma asombrosa de organizar la información almacenada y es en definitiva la recuperación de la propia existencia.

Review
://selfportrait exhibition at Casoria Contemporary Art Museum Naples/Italy
16 December 2006 - 16 January 2007

Following images document the museum space and the show–>
the text follows afterwards—>

the location–>
Casoria Contemporary Art Museum

view from outside

view from outside

entrance area

entrance area

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections

museum - space of permanent collections - installation
.
—>
The show - the exhibition space
—>

poster outside

poster outside

director Antonio Manfredi at work

space in preparation

view on empty exhibition space

computer space - opening

computer space - opening

video projection space

space for the digital prints

Pier Giorgio de Pinto in front of his poster

Pier Giorgio de Pinto & Agricola de Cologne

digital prints 1

digital prints 2

digital prints 3

digital prints 4

digital prints 5

digital prints 6

—>
Text: review by Wilfried Agricola de Cologne

Those people who are thinking Naples would be just a nice place based on an exciting long history, has to learn the city has also an ugly industrial side and Casoria represents such an ugly suburb, which is out of function as industrial site, and in this way it represents also a place of social conflicts. In fact, the only nice thing is the view on volcano Vesuv from distance, if it is visble. December is also not really a nice time for travelling in Italy, but visiting Casoria when the weather is just cold and grey, belongs rather to the most unattractive things one can imagine. Normally a visitor finds his way to Casoria only if there is a necessity to do so, but there is no infrastructure and no tourist would ever get the idea to turn from the vivid and magnificent city center of Naples to this former industrial suburb where the garbage is lying meters high along the streets.

From this point of view it is certainly honorable, that Antonio Manfredi, himself a visual artist and director of this museum, initiated at Casoria a place and space for contemporary art, the museum of contemporary art, where ://selfportrait - a show for Bethlehem - a show for Peace was supposed to be exhibited.

If Szczecin in Poland can be seen as a symbol for Peace due to its World War II history, one can call Casoria another type of symbol due to its industrial history and its social focus nowadays.

While looking for the museum on location, the visitor however is surprised to find this museum not located at a former industrial site, but at the underground down of the building which looks much more like a museum than a secondary school, whereby the entrance has to be explored first before it can be found at the backside of the secondary school.

The museum is very young of age, actually once a private initiative is currently obviously acting under the umbrella of the Cultural Department of the municpality of Casoria.

The visitor who wants to enter has to climb the stairs down to the underground first, before then a huge and most impressive space opens which is hosting the permanent museum collection.

The paintings, drawings and installations exhibited there are from their kind and quality not different than in any other museum of contempotrary art, but the artworks were not made by famous artists as they can be found in any other art museum around the globe, but artists from the Naples region and international artists, basically friends of the director. All these smaller and bigger works are nothing else than donations, and this is really impressive again, that the entire huge collection is consisting exclusively of donations, and this seems to be also a main conceptual aspect.

There is also a section for temporary exhibitions, and this represented also the space were the selfportrait exhibition was supposed to be installed. But this space offered for the exhibition did not fit to my idea for a media art exhibition, and a new much bigger space had to be found.

Installing the show was a challenge in so far, as the phyiscal components, i.e. the digital prints were planned to be prepared on location in Naples, as they were supposed to be donated to the museum. This was really not such a fortunate agreement.

Producing prints of museum quality was under the given local conditions anything else than easy, and when they were finalized one day before the exhibition should take place, the director expressed special ideas for the installation, as he wanted each print to be extended through a kind of metal frame on the back for a special hanging with a certain distance from the wall.
All this took so much time during all the night, that only on the very day when the opening was supposed to take place on 16 December, all the more than 50 prints could be hanged on the walls. Also the computers were ready also only a few hours before the opening and from the two projectors which were supposed to run the two programs of videos, one was defect, and the video monitors were not available, at all.

Who had expected an opening ceremory which would be appropriate to the status and aims of the exhibition, where the director was speaking and the curator of the show would have spoken an introduction how to deal with media art in general and in partcular in the case of this exhibition, who had expected a ceremony where the exhibition was given as a donation to the museum as an offical act, this person, in first place it was me, was extraordinary disappointed, because Antonio Manfredi had not planned such a ceremony and I was not informed about this course of events.

Even if the installation was the best what was possible under the given circumstances, in fact the final result was acceptable and I liked it (see also the images), however, the way how the museum and its director were dealing with this exhibition and its donation to the museum, does not belong to what I would have wanted for the show, the artists and finally also the audience.

Especially the fact that the exhibition is based on communicating technology, the lack of communicating stood in contrary to what could be expected.

This was really a strange opening of an exhibition at a strange place somewhere on an alien planet.

The images (see further ahead) give more an objective view on the exhibition than I am able to express myself in words.

From the beginning of the plannings, I warned the participating artists in the exhibition, that the realisation of this show in general, but also at Casoria would belong rather to the category “experiment”, it really did, but retrospectively seen, I am not sure whether this experiment was successful.

While I am not happy as the curator and creator the show, the participating artists have certainly no reason to complain, as from an aesthetic point of view the show was finally well installed, and that’s also what the visitors could perceive. Further I was informed that the incomplete video equipment was immediately after the opening properly and completely installed, and this represents the most important finally.

I received some good feedback from the show, and I also think it represents certainly a good thing to bring new ideas of contemporary art to such a cultural desert as Casoria represents.

Wilfried Agricola de Cologne
January 2007

The show is running until 16 January 2007.

List of participating artist on the museum site
Download the press release in Italian as PDF

—-> poster –> download as PDF
—-> banner
—-> invitation cards

Museo de Arte Contemporáneo (Museum of Contemporary Art) -
Universidad Nacional del Litoral

The M.A.C starts up in the Universidad Nacional del Litoral because of the great amount of works of art accumulated during its 80 years. It had not been an appropriate record of that works and it was necessary to protect and safeguard them since they constituted a solid patrimony.

That is why in February 2000 a project is presented and it is started an inventory of the works of art that were already patrimony of the U.N.L (Universidad Nacional del Litoral). A resolution of the Consejo Superior approved the creation of the Museo de Arte Contemporáneo dated July 27th and it was formally and publicly inaugurated on December 4th, 2000; at which time the museum had 93 works of art in its patrimony.

The M.A.C was born as the only space in its gender, accompanying the cultural activity of our city and promoting its own activities. During its first stage, an administrative headquarter and a storage for the works of art is settled in the building of the Foro Cultural Universitario and the Dirección de Cultura de la Universidad. The first M.A.C’s exposition galleries were carried out in different schools and other buildings of the University.

The headquarter of the M.A.C was inaugurated on April 23rd, 2004 along with the Luis Felipe Noé’s showing “Figuraciones y Fulguraciones”. The M.A.C’s building was donated to the University on March 18th, 2003 by a private institution. The building restoration works lasted nearly a year.

By the time of inauguration, the M.A.C had a patrimony of more than 300 works of art form artists of our region, our country and also of foreign countries. Nowadays, the M.A.C has more than 450 works of art in its patrimony. This increase is due to the generosity of the artists that accompanied the labour and the enrichment of the M.A.C’s patrimony by means of their donations.

The works of art that constitute the M.A.C’s patrimony are prints that belong to a urban area which embraces social, cultural and historic values; they are registers of our own memory that we should protect. Although most of this patrimony is intangible and most of its authors are not among us any more, we have their works of art which are tangible and represent us.

Likewise, we also want to express all the generating strength that we have always promoted, making this museum a place that embraces the complexity of the socio-cultural construction, with a broad look, functioning as a dynamic stimulus capable of realizing the present artistic dimension.

Since the creation of M.A.C, and in these five-year-activity, we aim to open a new museum space, in a context that gives it sense, that consolidate the link with the community: its legitimate heiress.

.
.
.
Spanish version:
Museo de Arte Contemporáneo de la Universidad Nacional del Litoral
El MAC surge en la Universidad Nacional del Litoral a partir de la gran cantidad de obras de arte acumuladas en sus más de 80 años, de las que no había un registro apropiado y a las cuales era necesario proteger y resguardar, ya que constituían un sólido patrimonio.
Así fue que, en febrero de 2000, se presenta el proyecto y se comienza con el relevamiento e inventario de las obras que ya eran patrimonio de la UNL, aprobándose, por resolución del Consejo Superior, la creación del Museo de Arte Contemporáneo en fecha 27 de julio y produciéndose su inauguración formal y pública el día 4 de diciembre de 2000, contando en ese momento con 93 obras patrimoniales.
El MAC nace como un espacio único en su género, acompañando la actividad cultural de nuestra ciudad y promoviendo actividades propias. En su primera etapa, se instala con su sede administrativa y su depósito de obras en el edificio del Foro Cultural Universitario, donde también funciona la Dirección de Cultura de la Universidad. Sus primeras galerías de exposición fueron los espacios compartidos con el Foro Cultural y su Biblioteca “José Gálvez”, la Radio de la UNL (LT 10) y las distintas unidades académicas, donde las actividades propias de cada lugar se dejaron invadir por las artes visuales en una convivencia activa y participativa.
El 23 de abril del año 2004, con la muestra “Figuraciones y Fulguraciones” del artista Luis Felipe Noé, se inaugura la Sede Central del MAC, luego de la intensa gestión llevada a cabo durante el año 2002 para lograr materializar la donación del inmueble, que fuera cedido a la universidad el día 18 de marzo de 2003 por una institución privada, y una vez finalizados los trabajos de restauración edilicia, realizados durante el año 2003. La novedad que impone el MAC en el área museística es “la descentralización”, característica particular de este museo, con su Casa Central y sus 19 Sedes, que no solo abarca a la ciudad de Santa Fe, sino que amplía su campo de acción en Esperanza y Reconquista.
Para el momento de la inauguración de su Sede Central, el MAC contaba ya con un patrimonio de más de 300 obras de artistas de nuestro medio, del país y del exterior. Actualmente, las mismas alcanzan las 450. Este incremento fue posible en buena medida gracias a la generosidad de los artistas que han acompañado el trabajo y han enriquecido el patrimonio del MAC a través de sus donaciones.
Las obras que constituyen el patrimonio del MAC son huellas pertenecientes a un tejido urbano que abarca valores sociales, culturales e históricos; son registros de nuestra propia memoria que debemos proteger. Si bien parte de este patrimonio es intangible y muchos de los autores ya no están, tenemos sus obras, que sí son tangibles y nos representan.
Asimismo, también aspiramos a expresar toda la fuerza generadora que desde aquí siempre promovimos, haciendo de este museo un lugar que albergue la complejidad de la construcción socio-cultural, con una mirada amplia, funcionando como impulsor dinámico, capaz de captar la dimensión artística actual.
A partir de la creación del MAC, y en estos cinco años de actividad, apuntamos a la apertura de un nuevo espacio museístico, en un contexto que le dé sentido, que consolide el vínculo con la comunidad: su legítima heredera.

—>
From its historical and structural conditions, Szczecin was certainly a good choice for presenting our show for Peace. The city has a very changing history and was nearly completely destroyed in World War II. After the war there was not much to be reconstructed, and in this way the contemporary city is presenting itself strangely faceless without a real or historically grown city center. Everywhere are broken links visible and wounds which do not heal.
Since centuries German until the end of World War II in 1945, Szczecin became Polish afterwards. The city can certainly not be called a “place of art”, the few existing museums get lost in the strange architectural conglomerate.
Maybe this was the reason, why the founders of Officyna - a non profit art space, located somewhere decentrally in the suburbs of Szczecin - wanted to create a special “place of art”, i.e OFFICYNA, in order to give contemporary art expression a home and a space.
Nearly consequently, it is also Officyna which is organising divers festival events during a year, whereby a particular relevance got “Performance and Intermedia Festival”, an event which is curated by Antoni Karwowski, an internationally reknown Szczecin based performance and visual artist and organiser and independent curator of performance events since many years.
In 2005, I was curating for the 2005 festival edition a selection from VideoChannel for screenings during in the video section of the festival PI 5 Videofestival, and invited Antoni Karwowski for particiting in the show for Bethlehem. Later, he invited me to present the exhibition in Szczecin as the frist venue after Bethlehem.

Although the art space of OFFICYNA seemed to be a good place especially also for installing the selfportrait exhibition, during the installation phase these peope showed how they understood the term “professional”.
In contrary to what was agreed, the technical equipment and the needed exhibition components were not available or prepared in any way. Instead of starting the exhibition installation when I arrived at Szczecin, I was standing for two days in the icecold exhibition space waiting and waiting, and nobody knew what would be happening else than waiting, resulting that I caught a heavy cold, which was forced also by the icecold hotel room without any heating and partially also without electricity.
I do not want to go more in details in order to remain contructive, as in the end one minute before the vistors entered the gallery space for the opening precedure, the exhibition setup was finished. Inspite of all restrictions, I would say it was a very nice exhibition and a lot of feedback from the visitors confirmed by subjective impression.
The inauguration on 20. October was not standing for itself, but represented the start of PI Performance and Intermedia Festival, a festival organised at different locations.
The selfportrait exhibition represented the main part of the Intermedia section, besides some video installations which were set up in another exhibition space located in a separate building, but installed only during the festival days 20-22 October.
The next item after the two openings was the screening of videos as the part of PI Video Festival, whereby Agricola de Cologne, me, was the first who was starting the video screening. He presented a selection of Cologne OFF I - genderscapes, a selection of videos and short film dealing with gender issues and sexual identity.
Antoni Karwowski, the organiser and curator of the festival video section, was presenting his selection afterwards consisting of short videos with a duration of not more han 5 minutes.
The second day of the festival, 21 October, changed the festival location, the second part of the screenings and the extensive performance event took place at the National Museum of Szczecin, a volumious building originating from 19th century.
The evening started with the second screening curated by Agricola de Cologne–> Cologne OFF II - image vs music at the screening and event hall of the museum, followed by an unusual form of organising artists performances.
At midnight, the main performance section of the festival followed. The gigantic museum entrance hall was modified and used for presenting a dozen of performances simultaneously.
On one hand, the visitor has a wide choice between different performance works, but at the same time he got completely confused, and he did not know on which performance he should concentrate and prevent that he is missing anything. No chance, the visitor was really missing everything, if he is not concentrating from the beginning on one certain performance piece.
For me, who is no expert in the art of performance, I had my problems to value the single performance pieces as I tried to catch as many impressions from all the 12 peformances as possible.
Anyway, I think some of the participating artists should be mentioned individually.
Even I saw only short cuts, the excellence of some artists presentations could not be overviewed –> Antoni Karwowski (Poland), Valerian Maly (Switzerland), Andrzej Pawelczyk (Poland) and Chip for Peace (Poland). An artist who was really suffering from the unusual presentation form was the Berlin based CAP Grundheber, her performance located somewhere in the shadow between the huge columns of the museum architecture, and some other younger artists were also acting nearly without an audience. This is and was a pity.

On the 3rd day, 22 October, the festival was moving to another place - Swinouscije (German: Swinemünde) a place at the Baltic sea situated directly at the German/Polish boarder, where Andrzej Pawelczyk was organising a festival of art in action. Here the second screening of Antoni Karwowski’s curated selection took place and another performance section whereby the performance pieces followed the rather traditional way of presenting, one piece after another.

At the end of this small report, I would like to thank three artists for being present personally in Szczecin on occation of the inauguration of the selfportrait show, i.e Moon Na (South Korea), Marlen Karlen (Switzerland) and Antoni Karwowski (Szczecin), who did not need to travel far.

Here are some images documenting
the inauguration of the exhibition and the performance festival:

Officyna gallery - entrance area

gallery space - exhibition setup

gallery - exhibition setup

gallery - exhibition setup

inauguration 20 Oct - Bartosz Wojcik, director of Officyna speaks

at the opening

some selfportrait artists Antoni Karwowski (Szczecin),
Agricola de Cologne (Germany) & Marlen Karlen (CH)

inauguration audience

inauguration audience

Swiss performance artists Valerian Maly and Klara Schillinger

festival gallery for video installation

inauguratioon audience - at the computers

Officyna - the exhibition installation

Officyna - the exhibition installation

Officyna - the exhibition installation

Officyna - the exhibition installation

Antoni Karwowski, curator of PI - Performance & Intermedia festival

Marlen Karlen, Swiss artist who came especially for the opening to Szczecin

National Museum - location for screenings and performances

National Museum - sceening space

National Museum - temporary festival installation


performance Klara Schillinger

performance Andrzej Pawelczyk

Polish performance “Chips for Peace”

German peformance artist - Christian Schmidt-Chemnitzer

German performance artist Cap Grundheber

National Museum - Cap Grundheber’s performance