The Brixen Water Light Festival builds bridges between Copenhagen and Italy

Celestial Garments by Mads Vegas, Julian Angerer and Nora Pider at the Copenhagen Light Festival

The Brixen Water Light Festival © powered by Durst in Northern Italy has developed over the past few years into an event that enjoys great popularity throughout South Tyrol and beyond its borders, so much so that it has been reported in headlines all over the world. 2022 marked the beginning of a close cooperation between the Water Light Festival © and the Copenhagen Light Festival. Italian artists exhibited their art installation during the festival in February in the Danish capital.

For this new edition, the collaboration will be strengthened by bringing together local artists from the respective light festivals to create a joint artwork for both events.

Celestial garments is an artwork for all free spirits. Sit back and enjoy your own light. The Danish light artist Mads Vegas met the Italian musicians Julian Angerer and Nora Pider for the first time on the Reffen Bridge in the Danish capital. The second time in the Italian Alps. The jointly created installation builds a bridge between North and South, between light and music, between expression and sound under the wings of the “celestial garments”.

The Brixen Water Light Festival connects creative artists across borders. From 3 to 21 May, the art installation will be on the Widmann Bridge as part of the Brixen Water Light Festival ©.

“We are thus building a virtual artistic bridge between Denmark and South Tyrol in Italy and encouraging South Tyrolean artists to be able to present themselves internationally,” says Werner Zanotti, Managing Director of the Brixen Tourism Cooperative. Not only do Brixen and Copenhagen share water as an important part of their origins and city life, but both cities also represent common values. Denmark, in fact, is an excellent example of a country that lives sustainability in many sectors in a successful and forward-looking way. The Brixen Water Light Festival focuses on spreading a respectful awareness in the sustainable use of nature and water resources and sees its task, among other things, in raising awareness for conscious and environmentally friendly consumer behaviour.

“We are excited and happy to be part of the Copenhagen Light Festival again”, say Nora Pider and Julian Angerer. “There is always something very liberating about Copenhagen for us, with all the water and its open architecture. There are no mountains there, but it reminds us of Brixen because sometimes the same rough wind blows, and you feel the connection to nature strongly. Together with Mads Vegas, we have created connections between the two cities in different ways. Connections between light and music, between north and south, between heaven and earth. We are very proud of our joint work and look forward to showing it to the audience in Copenhagen this February and in Brixen in May” the two comment on the collaboration with the Danish capital.

Erica Kircheis, Press & PR

Tel. dir.: +39 0472 27 52 15 – Mob.: +39 335 28 30 62

E-Mail: erica.kircheis@brixen.org

Brixen Tourismus Gen. / Bressanone Turismo Soc. Coop.

Regensburger Allee 9 Viale Ratisbona

39042 Brixen Bressanone

Mwst. Nr. / P. IVA IT 00397760216

Tel: +39 0472 27 52 52 info@brixen.orgwww.brixen.org

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“Beauty is Truth, Truth is Beauty” – Nadezda Nikolova’s homage to John Keats

Elemental Forms, Landscape no. 183, 2023

NADEZDA NIKOLOVA – Unique Works

4 February – 1 April 2023

HackelBury Fine Art, London is pleased to present Unique Works, a solo exhibition of work by Nadezda Nikolova in which the artist seeks to capture a singular sense of oneness and universal connectivity in her work through multi-layered compositions.

Nikolova’s profound love of nature and concern about the detrimental human impact on the environment is a recurring theme. There is a palpable sense of loss and fragility in her work in which she expresses a desperate plea for change and for “a radical shift in collective values in the way we live our lives and coexist on this planet.”

“I believe that we need to create new templates for how we relate to ourselves, to one another, to the living planet.” – Nadezda Nikolova

However, Nikolova’s belief in humanity and a deep sense of spirituality provide hope, expressed through her desire to reimagine the landscape. She deconstructs the landscape, creating “frames of perception” – the reimagining of the new possibilities articulated through her compositional use of openings, portals and doorways.

“My work becomes a portal to place outside of space and time… the work aims to evoke mystery and awe, inviting contemplation and stillness, so that on some level, it speaks to beauty and hope.”

– Nadezda Nikolova

Throughout her work, there is a fascination with balance and harmony of contrasts – the balance between positive and negative space, movement and stillness, definition and gesture, solidity and softness, static and fluid shapes, etc.

“I have always been intrigued by the idea of finding beauty and balance in apparently opposite, disparate or contrasting phenomena…. I believe that the recogniton of beauty and our search for beauty speaks to our yearning for hope.”

– Nadezda Nikolova

Elemental Forms, Landscape no. 30, 2018

Nikolova’s search for beauty in all its guises is deeply felt. John Keats’s phrase “‘Beauty is Truth, Truth Beauty.’ – that is all. Ye know on earth, all ye need to know” in his Ode on a Grecian Urn resonates strongly with her. Through her work she seeks that which is always true, the essence of life, that which remains and is permanent, is innate and sacred.

“In my work, I seek to approach this essence as I experience and reflect on the landscapes, the forces that shape it, the energetic confluences and imprints, in the play between light and dark.”

– Nadezda Nikolova

Using wet plate collodion chemistry, paper masks, and light, Nikolova creates photogram silhouettes working with a complex set of variables and the precise timing of exposure and development – factors which fundamentally determine the outcome. Her compositions are built incrementally using multiple exposures to create a layering in which time is suspended and becomes almost elastic. This speaks to her interest in the notion of everything existing in constant flux – cycles of nature and elasticity of forms as they transform and metamorphise over time. Her process and compositions may be seen as a metaphor for illuminating the dark. “The idea that nothing can ever change unless it is first exposed to the light.”

– Nadezda Nikolova

As Nikolova’s landscapes become more abstract so her gaze shifts further outward and becomes more esoteric and spiritual to consider the cosmos, embodiment and alchemy.

Immanent Forms, Waves: Transposition, 2023


“I have been steeped in metaphysical and mystical teachings in the last five years and these insights naturally flow into my artwork and the way I create, as they permeate every other aspect of my life.” “My work is about training oneself to notice that leaf, the quality of light, the shape of the mountain.”

– Nadezda Nikolova

Elemental Forms, Landscape Rearticulated no. 12, 2020

About Nadezda Nikolova

Nadezda Nikolova (b. 1978, former Yugoslavia) is a Croatian-Bulgarian-American photographic artist working with wet plate collodion photograms – a historical technique dating back to the 1850s which uses light-sensitive salts to cover a glass plate before exposing it to the light in a darkroom. Her practice is informed by an experimental approach to early photographic processes and her interest in the image as an object.

Captivated by the fluidity of wet plate collodion, she manipulates the medium while simultaneously courting chance intrinsic to handmade photography:

“I spray, dab and brush on the chemistry in a performative enactment rather than an image capture. (Sometimes, the brush strokes leave physical marks on the emulsion.) In essence, I am negotiating with the chemistry, guiding it. But only to a point. The chemistry has a say in the final image.”

– Nadezda Nikolova

The abstract landscape series, Elemental Forms, Landscapes and Elemental Forms, Landscape Rearticulated, emerged as the artist’s direct response to her surroundings and to feeling a sense of well-being and security within the landscape. She believes that each locale has its specific identity, history, and emotional imprint.

Nadezda Nikolova studied 19 th century photographic printing processes at the University of Kentucky and the George Eastman Museum. She has a Bachelor’s degree in Environmental Science & Conservation and a Master’s degree in Policy Analysis. She currently lives and works in Oakland, California.

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackeklBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688

Instagram @hackelburyfineart

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 www.hackelbury.co.uk

HackelBury Fine Art presents the exhibit Art + Books

HackelBury, London, until 28 January 2023  

HackelBury Fine Art presents the exhibit Art + Books, exploring the art book in all its’ many guises. The exhibition celebrates the art/artists’ book as a form of collaboration – between art and text and between artists, writers, galleries, and publishers.

For many years, HackelBury has worked with artists to produce art books. Their publishing arm, Imprint, has seen five books produced in collaboration with numerous artists who often document important work which would otherwise go unseen.

Art + Books highlights a selection of these collaborations, including Doug and Mike Starn’s Gravity of Light, the first book to celebrate the full breadth of the Starns’ innovative photographic career, Alys Tomlinson’s Lost Summer and Willy Ronis’ Willy Ronis: The Master Photographer’s Unpublished Album, a photo-book which retraces his career and contributions to photography and photojournalism.

Elliott Erwitt’s Personal Best is a collection of photographs spanning his career, gathering together many of his most remarkable images alongside many which have never before been published. Ojeikere Photographs explores J. D. Okhai Ojeikere’s photographs of Nigerian hairstyling. Captured in meticulous detail, the images are ethnographic documents of this evolving aspect of Nigerian culture.

California Kiss, 1955 © Elliott Erwitt (courtesy of HackelBury Fine Art, London)

Star Koroba, 1971, J.D. Okhai Ojeikere
Attracted to Light – B, 1996 – 2000, Doug and Mike Starn

Artist Biographies:

Elliott Erwitt

Born in France in 1928, Erwitt moved to the United States in 1939, where he studied photography and filmmaking. He began working as a photographic assistant while serving in the Army Signal Corps unit in Germany and France. While in New York, Erwitt met Edward Steichen, Robert Capa and Roy Stryker, the former head of the Farm Security Administration. He was initially hired to work on building a phot graphic library for the Standard Oil Company and on the project documenting the city of Pittsburgh. In 1953, Elliot Erwitt joined Magnum Photos and worked as a freelance photographer for “Collier’s”, “Look”, “LIFE” and “Holiday”. He photographed many prominent figures, including John F. Kennedy, Charles de Gaulle, Muhammad Ali, Marilyn Monroe, and Jack Kerouac. Conjointly with his commercial practice, Elliott continued working on his personal work which distinguishes itself through its humorous and often satirical character. His works are held in many prominent collections including the Art Institute of Chicago, the National Gallery of Art in Washington, D.C., and the Cleveland Museum of Art, among others.

“Photography is an art of observation – it’s about creating something extraordinary out of the ordinary. You choose a frame and then wait until the right time for something magical to come along and fill it.”

William Klein

William Klein’s celebrated career encompasses street photography, fashion photography, abstract photography, filmmaking and painting. Klein is lauded for his revolutionary approach to fashion photography, taking models out of the studio and onto the streets. He is also know for his abstract pieces which he descibed as “drawn by light and its trajectory” that he produced in his darkroom in the 1950s.

A major retrospective, William Klein: YES – Photographs, Paintings, Films, 1948 – 2013 was recently held at the International Center of Photography in New York. Other major exhibitions were in the institutions including Georges Pompidou, Paris; Gallery Lumiere in Seoul, South Korea; Tate Modern, Lodon; and the The Espacio Fundacion Telefonica, Madrid.

Klein’s works are in the permanent collections of the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; the J. Paul Getty Museum, Los Angeles; Yokohama Museum of Art, Nishi-ku, Yokohama; the Japan National Museum of Modern Art, Tokyo; the Centre Pompidou, Paris; the Museum of Photography, Seoul; the National Portrait Gallery, London, among many others.

“I have always done the opposite of what I was trained to do… Having little technical background, I became a photographer. Adopting a machine, I do my utmost to make it malfunction. For me, to make a photograph is to make an anti-photograph.”

Ian McKeever

Born in 1946, Ian McKeever is a photographer and painter who often juxtaposes the two mediums in his practice. While his early work as a painter grew out of a conceptual interest in landscape, his later works give prominence to more abstract forms. In focusing on elements of the human body, architectural structures, and the qualities of light, McKeever pushes the notion of photography as a literal, figurative epresentation of reality. His photographs are often extreme close-ups, cropped, or turned upside-down before being over-painted, de-emphasising their figurative qualities. McKeever has received numerous awards including the prestigious DAAD scholarship and has exhibited extensively including major exhibitions at the Whitechapel Art Gallery, London; Moderna Museet, Stockholm; Museo d’Art Contemporarie, Barcelona; National Gallery, Beijing; Shanghai Art Museum; Royal Academy of Arts, London and Tate Britain, London. McKeever has taught extensively in Great Britain, Germany, and the USA. He has held several teaching positions including Guest Professor at the Städel Akademie der Kunst in Frankfurt, Senior Lecturer, Slade, University of London and Visiting Professor at the University of Brighton.

“I am interested in the nature of light – working with paint to imbue a surface with an implicit light. Not simply a depicted light, but an implicit light that is held inside the piece. As a painter of large paintings, working on small canvases can be very difficult. Cutting up the canvases and affixing them onto small wooden panels, I was able to create an artwork that really functioned. The compact size and physical relationship between the paint, the canvas, and the quality of the wood, creates an interrelationship that I really like.”

Doug and Mike Starn

Doug and Mike Starn, American, identical twins, were born in 1961. They first received international attention at the 1987 Whitney Biennial. For more than twenty years the Starns were primarily known for working conceptually with photography. Major themes of their work include chaos, interconnection and interdependence. ‘Attracted to light’ explores the theme of light – its role in the process of seeing an photographing but also more metaphorically as a symbol of power and knowledge. Major artworks by the Starns are represented in public and private collections including: The Museum of Modern Art (NYC); San Francisco Museum of Modern Art (SF); Solomon R. Guggenheim Museum, (NYC); The Jewish Museum, (NYC); The Metropolitan Museum of Art (NYC); Moderna Museet (Stockholm); The National Gallery of Victoria (Melbourne); Whitney Museum of American Art (NYC); Yokohama Museum of Art (Japan); La Bibliothèque Nationale (Paris); La Maison Européenne de la Photographie (Paris); Los Angeles County Museum of Art, among others.

”We want to show the guts of photography – mainly because we love it so much. Each step in the process has its own beauty and limitless potential.”

Alys Tomlinson

Alys Tomlinson was born in 1975 and grew up in Brighton, UK. After a degree in English Literature, she went on to study photography at Central Saint Martins and recently completed an MA (Distinction) in Anthropology at SOAS, University of London. Her major body of work Ex-Voto (2016-2018) explored Christian pilgrimage sites in Europe. The works encompass formal portraiture, large format landscape and small, detailed still-life shots of the ex-voto objects and markers left behind. Ex-Voto was published as a book by GOST in Spring 2019. An later body of work Lost Summer captures the teenagers whose school proms have been cancelled due to COVID. Three works from Lost Summer – Samuel, Jameela and Jack – won the 2020 Taylor Wessing Portrait Prize. Recently, Alys has been working on Gli Isonalni – a series in which she explores the lives of islanders in modern-day Italy, capturing little-known rituals and tradition inspired by paganism, fables and folklore.

“I suppose I didn’t set out with a clear idea of how I wanted to portray the students, but I wanted them to have this kind of inner strength that would come through. I was really struck at how resilient they were. I didn’t want them to look Like they were victims of the pandemic, I wanted them to look like young people who are self-possessed and confident, but also have this slight fragility and vulnerability about them.”

Willy Ronis

Willy Ronis (1910 – 2009) was a French photographer renowned for his images of post-war life in Provence and Paris. Ronis was interested in music and dreamt of becoming a composer. In 1932, after his conscription in the military, Ronis had to put his music on hold as he had to take over the family photography studio. Four years later, his father died and business closed down. Ronis had become interested in photography and began working as a freelancer. He joined Rapho, a photography agency, with Ergy Landau, Robert Doisneau, and Brassaï. In 1953, Henri Cartier-Bresson, Izis, Robert Doisneau,Brassaï, and Ronis were exhibited by Edward Steichen, in Five French Photographers at MOMA in New York. The exhibition took place at Museum of Modern Art. Two years later, Ronis’s work was included in the travelling retrospective, Family of Man. In 1957, he was given the Gold Medal at the Venice Biennale. “Most of my photographs were taken on the spur of the moment, very quickly, just as they occurred. All attention focuses on the specific instant, almost too good to be true, which can only vanish in the following one.”

J.D.’ Okhai Ojeikere

J.D.’ Okhai Ojeikere (born 1930, died 2014) was raised in a small village in rural southwestern Nigeria. In 1950, he bought a modest Brownie D camera, and a neighbour taught him the rudiments of photography. Just as Nigeria was shedding colonial rule in 1961, he became a still photographer for Television House Ibadan, a division of the Western Nigerian Broadcasting Services, the first television station in Africa. In 1963 he moved to Lagos to work for West Africa Publicity. In 1967 he joined the Nigerian Arts Council, and during their festival of the following year he began to take series of photographs dedicated to Nigerian culture. This body of work, now consisting of thousands of images, has become a unique anthropological, ethnographic, and documentary national treasure. The Hairstyle series, which consists of close to a thousand photographs, is the largest and the most thorough segment of Ojeikere’s archive. For Ojeikere, this is a never-ending project as hairstyles evolve with fashion.

“All these hairstyles are ephemeral. I want my photographs to be noteworthy traces of them. I always wanted to record moments of beauty, moments of knowledge. Art is life. Without art, life would be frozen.”

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Instagram @hackelburyfineart

Carl Hopgood’s Powerful Neon Sculptures

Carl Hopgood’s Powerful Neon Sculptures Acquired by Beth Rudin DeWoody, One of America’s Most Celebrated Art Collectors

Originally from Wales, sculptor and video/installation artist Carl Hopgood earned his BFA from London’s Goldsmiths College. He has shown from New York to Australia and all over Europe. In 2015, Hopgood relocated to Los Angeles’ Hollywood Hills, where he continues to find inspiration in his surroundings.

Hopgood’s most recent exhibition, at Beverly Hills’ UTA Artist Space this summer, combined new and existing works of neon (the first time ever exhibited in this gallery), found objects, and video to explore the themes of identity, masculinity, and today’s socio-political climate. The exhibition, Fragile World (curated by Arthur Lewis), drew in the gallery’s largest-ever attendance.

Following the success of Fragile World, well-known art collector and curator Beth Rudin DeWoody made the move to acquire one of Hopgood’s most talked-about pieces: a neon assemblage sculpture titled “Just Say Gay.” Hopgood created the piece in response to Florida’s ‘Don’t Say Gay’ bill, now in effect, which bans discussion of sexual orientation in schools. “Just Say Gay” will soon be on display at DeWoody’s West Palm Beach gallery The Bunker.

My Pain Today Is My Strength Tomorrow, 2022 © Carl Hopgood

Hopgood has also announced that private members gym Dogpound has acquired another one of his neon works, “My Pain Today Is My Strength Tomorrow,” which will go on display this fall. The idea for this piece came to Hopgood while driving past stores that had caught fire in North Hollywood during the pandemic; everything had burned to the ground except for some burned chairs. The piece offers an affirmation to stay hopeful in challenging times.

“You Think You Buried Me But I Was A Seed” is another work from Hopgood’s Fragile World exhibition. The title of this piece was inspired by a quote from poet Dinos Christianopoulos (“‘What didn’t you do to bury me, but you forgot that I was a seed”), who was sidelined by the Greek literary community in the 1970s for being gay. Hopgood is currently working on a series of other ladders with different messages of hope and survival, which will be on display in the California desert next year.

Hopgood is also currently in production of a short film called Fragile World, in collaboration with UTA Artist Space. The film will take viewers through the lead up to Hopgood’s UTA exhibition, the opening night of Fragile World, and the upcoming installation of “Just Say Gay” at The Bunker.

Learn more at carlhopgood.com and @carlhopgood.

The art space of documenta fifteen

© documenta fifteen 2022

The art space of documenta fifteen

By Christiane Wagner

The current edition of one of the most renowned contemporary art exhibitions, documenta fifteen, opened its doors to the public, questioning: “In light of the alarming consequences of climate change worldwide, how can a globally oriented art exhibition that attracts visitors from all over the world and lasts 100 days minimize harm to the environment and, at the same time, be economically and socially fair?” In this sense, it is essential to put into practice the principles of sustainability, which involves social, political, and economic aspects in search of a balanced and fair development that can be sustained. Also, the ethical notions that should be considered as core values regarding interculturality and its moral and political impacts on individuals and society. documenta fifteen highlights the non-Eurocentric view. For this purpose, documenta fifteen is curated by Ruangrupa, a non-profit organization based in Jakarta, Indonesia, to promote artistic ideas in urban and cultural contexts by involving artists and other disciplines such as social sciences, politics, technology, and media, to open critical reflections and perspectives on contemporary urban problems. The Indonesian word “ruangrupa” means “art space” or “spatial form.”

Ruangrupa was unanimously selected by the documenta fifteen international commission in 2019. This decision was justified, among other important issues, in the essence of the collective work: “At a time when innovative power emanates in particular from independent, collaborative organizations, it seems logical to offer this collective approach a platform in the form of documenta.” The international committee of documenta fifteen is represented by Frances Morris, Amar Kanwar, Philippe Pirotte, Elvira Dyangani Ose, Ute Meta Bauer, Jochen Volz, Charles Esche, and Gabi Ngcobo.

In this sense, documenta presents its fifteenth edition of contemporary art with the proposal of Ruangrupa: “We want to create a globally oriented, collaborative and interdisciplinary art and culture platform that will remain effective beyond the 100 days of documenta fifteen. Our curatorial approach strives for a collaborative model of resource use — in economic terms but also concerning ideas, knowledge, programs, and innovations.” Therefore, documenta fifteen highlights the principles of collectivity, resource building, and equitable distribution as fundamental to the curatorial work highlighting the entire process. Collectivity follows an alternative, community-oriented model for sustainability in ecological, social, and economic terms, where resources, ideas, knowledge, and social participation are shared.

The focus on postcolonial art discusses the challenges of art in overcoming the pervasive notions of modern European thought with artists and artworks from non-Western nations seeking a break with hegemonic Western forms of globalization. Among the selected artists and groups, the presence of the Global South stands out, including Más Arte Más Acción (MAMA), a Colombian non-profit organization founded in 2011 by artist Fernando Arias and entrepreneur Jonathan Collin.  Representing Brazil is the artist Graziela Kunsch, along with Britto Arts Trust from Dhaka, and The Nest Collective, a multidisciplinary arts collective living and working in Nairobi. Founded in 2012, the group has created film, music, fashion, visual arts, and literary work. Also included is  Wajukuu Art Project, a community-based organization situated in the Lunga-Lunga neighborhood of the Mukuru slum in Nairobi.

Furthermore, documenta fifteen presents The Black Archives, a historical archive documenting the history of black emancipation movements and individuals in the Netherlands. Generally, “14 lumbung members and 53 lumbung artists participate in documenta fifteen. They were invited by ruangrupa and the Artistic Team to practice lumbung together and collectively take part in creating documenta fifteen. The lumbung members and lumbung artists were asked to involve their ecosystem of artists, activists, and community members in such a way that documenta fifteen and the common resources benefit the sustainability of that shared local practice on the long term. Thus, not only ruangrupa but a constantly expanding network shapes documenta fifteen.”

documenta fifteen’s postcolonial approach involves all knowledge (including aesthetic) presenting cultural diversity and recognizing otherness in various artistic forms. These postcolonial cultural practices consider a structured set of concepts, assumptions, and discursive approaches to produce, interpret, and evaluate knowledge about non-European people. Differences are present in all situations of public space construction and seek the meaning of interculturality through the arts and aesthetics of everyday life, representing all its subtleties related to the decolonial movement. That is the possible meaning of postcolonial aesthetics when considering overcoming differences in alternative forms of coexistence with new perspectives concerning cultural diversity in urban spaces of the Global South.

© documenta fifteen 2022

Duration of the exhibition: June 18–September 25, 2022

Artistic Direction by ruangrupa

Artistic Team

Andrea Linnenkohl, Ayşe Güleç, Frederikke Hansen, Gertrude Flentge, and Lara Khaldi

Finding Committee

Ute Meta Bauer, Founding Director NTU Centre for Contemporary Art Singapore

Charles Esche, Director Van Abbemuseum Eindhoven
Amar Kanwar, artist, filmmaker, New Delhi
Frances Morris, Director Tate Modern London

Gabi Ngcobo, Curatorial Director Javett Art Centre at the University of Pretoria
Elvira Dyangani Ose, Director MACBA Contemporary Art Museum in Barcelona
Philippe Pirotte, Professor at Städelschule, Frankfurt a. M., Associate Curator Gropius Bau Berlin, Associate Curator Berkeley Art Museum and Pacific Film Archive

Jochen Volz, Director Pinacoteca do Estado de São Paulo

Organized by documenta und Museum Fridericianum gGmbH

Shareholders: State of Hessen, City of Kassel

Director General documenta und Museum Fridericianum gGmbH

Dr. Sabine Schormann

documenta fifteen is organized under the auspices of documenta und Museum Fridericianum gGmbH with the City of Kassel and the State of Hessen in their capacity as shareholders.

Funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation). Funded by the Beauftragte der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media).

The lumbung network is supported by Goethe-Institut.

Main partner of documenta fifteen: Sparkassen-Finanzgruppe (Savings Banks Finance Group), Volkswagen AG

www.documenta-fifteen.de

HackelBury Fine Art, London is pleased to present ‘Can’t, Won’t, Don’t Stop’

Can’t, Won’t, Don’t Stop

An exhibition of new work by Doug and Mike Starn

9th June – 6th August 2022

“Order never persists, the only constant is change” D+M Starn

HackelBury Fine Art, London is pleased to present ‘Can’t, Won’t, Don’t Stop’, an exhibition of new work by Doug and Mike Starn. The Starns have been working conceptually with photography for over 30 years. This series of work, begun in 2021, sees the Starns returning to some of the techniques which they pioneered in the 1980s when they explored the three dimensionality and physicality of photography and combining the more recent inclusion of painting. This body of work also continues the Starns’ fascination with the passage of time. They make visible aging process and deterioration of the material with which they work and examine how the meaning of what was created or conceptualised changes with time.


SCP 2228b, 2021
Acrylic paint on Ultrachrome K3 Epson ink jets prints on gelatin hand-coated Zerkal

‘A photograph is not simply an image of a thing, but an image on a substrate – the photograph is a thing in itself. The same way a photograph is not only a captured instant but exists in time and deteriorates and expands with time, just as all things and all ideas change their meanings through time”. D+M Starn

The exhibition is made up of two contrasting but interconnected photographic bodies of work, Seascapes and their monumental sculpture series – Big Bambú, reflecting the central belief in the Starns’ work that everything in life is interconnected, interdependent and in constant flow. The Starns grew up on the coast of New Jersey. The ocean has long held a fascination for them as it is always changing but always the same. The Starns see an innate connection between the Seascapes and Big Bambú photographs as they reflect the dynamic forces of nature and the progression of time. They describe the construction of the Bambú as “taking the form of a cresting wave, we’re constructing a slice of a seascape (like our photographs), a cutaway view of a wave constantly in motion”. D+M Starn

‘Seascapes’ focuses on the ever changing yet ever constant sea, a body of water in perpetual motion, crashing against itself and captured in a fraction of a second by a camera – always the same but always different. The photographs of their Big Bambú installations also embody these contradictions – the sculpture is always complete, yet always unfinished. These works provide a visual metaphor for the interconnections of life – that of cultures, societies, relationships and individual and collective growth.

Big Bambú represents the invisible architecture of life and living things. It is the random interdependence of moments, trajectories intersecting, and actions becoming interaction, creating growth and change” D+M Starn

1000 Arms to Hold You_6.13.14_0647, 2015-2020 Ultrachrome inkjet prints on pigmented gelatin hand-coated Zerkal

A recurring theme in the Starns’ work is that in the midst of chaos is an order and an essential structure. In the Big Bambú sculptures the Starns create an architecture of random interconnections which becomes a self-supporting structure and takes on a life of its’ own – like a living organism. Adapting to circumstances spontaneously as the structure grows and “each knot is a decision”, it is philosophic engineering. The structures work because, as in life, everything depends upon one another and the loads are distributed throughout, fluidly and naturally.

For the Starns the Big Bambú structures are never finished and they often re-use sections of earlier pieces when creating new structures, which provides continuity and progress. This idea of interconnection and transformation is at the heart of all the Starns’ work and brings with it philosophical and spiritual reflections. The physicality and tactile nature of their work (such as scotch taping photographic pieces together) ensures that they reflect the concept of time through incorporating dust, debris and discolouration that occurs over time. The photograph is both the medium and a document – the images frozen in time, yet time continues to pass.

Seascape 5L, 2020
Archival inkjet prints on gelatin hand-coated Zerkal watercolor paper

About Doug and Mike Starn

Doug and Mike Starn, American, identical twins, were born in 1961. They first received international attention at the 1987 Whitney Biennial. For more than twenty years the Starns were primarily known for working conceptually with photography. Since 2010 their Big Bambú structures, built from “random chaos” with thousands of bamboo poles lashed together with miles of rope, have been installed in public institutions such as the Metropolitan Museum of Art, the MACRO Museum in Rome, at the 54th Venice Biennial and the Teshima Triennial. Major themes of their work include chaos, interconnection and interdependence.

“Our vision is that nothing in the world is monolithic, nothing is one thing—everything is interconnected (…) life is created through interconnected random moments (…) the invisible interconnected factors make us who we are, and culture what it is”

About HackelBury Fine Art

Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding program of gallery exhibitions, museum projects and publishing ventures.

The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

FOR ALL PRESS ENQUIRIES PLEASE CONTACT

Camilla Cañellas – Arts Counsultancy & PR
E: camilla@culturebeam.com M:+34 660375123

Phil Crook – HackelBury Fine Art
E: phil@hackelbury.co.uk T: +44 20 7937 8688

Instagram @hackelburyfineart

Between Symbolic and Rational Thinking: The Art of Dr Gindi

Between Symbolic and Rational Thinking:

The Art of Dr Gindi

By Christiane Wagner

Even nowadays, the limits of art and knowledge are questioned, and discoveries enrich the “art of knowledge” even more in the face of the complexity of understanding the human being. The fact is that, by classifying and organizing it throughout history, knowledge, in and of itself, is becoming increasingly complex in its foundations, analysis, and conclusions. We, therefore, have to ask ourselves: How do we represent this complexity through art?

From abstractions to what becomes concrete and vice-versa, among so many terms and rational answers to questions, and especially when words are insufficient to express many feelings, Dr Gindi’s art can be considered an essential component of the answer. Between illusion and reality, the representative role of art and symbolization becomes an essential part of all human existence.  Between figurative and abstract motifs, the forms of its perception represent many concepts, feelings, and situations fundamental to humankind, whether through mathematics, philosophy, even theology, and in art, which is the focus here.

For example, the concept of infinity, which has its deepest roots in mathematics, is perceived and materialized in three-dimensional forms. Infinity, for Dr Gindi, is beyond rational thought, as seen in her sculpture series Immanent Conception of Infinity. Other fundamental concepts of human existence are also part of her artistic work, ranging from reason to myth and symbolism. An example is the Interstellar Dilemma sculpture, which poses the question: “Is there such existence as matter without energy, and Earth without the divine?” Her works also represent various existential situations of everyday life, among them “overcoming the conventions of life” or even “torn between purpose and avolition.” For example, the sculpture The Fateful Choice, in all its bodily expressiveness—a predominant characteristic in the artist’s mastery of human anatomy—highlights the gesture and the decisive moment of the human condition. As if that were not enough, the question “How is trust being conceived?” is added. Nevertheless, with the mastery of her perception of the world of things and humans, Dr Gindi states, “I am an illusion changer.”

The term “illusion” derives from the Latin ludere, “to play.” Well, in our contemporary society, in the world of things, we experience a reality of appearances. The concrete form of the things consolidates this reality. Appearances are the shapes and forms of how things are presented. The dynamic that is established between appearances and the reality of the environment, in the conception of aesthetics, concerns the relationship between the artifact and the space, adding time when one experiences the sensation of having the possibility of seeing something, which is then understood, and finally distinguished and defined as something concrete. This process is how Dr Gindi changes the play—the illusion.

We should note that aesthetic experience is necessary for the artwork to be perceived. This is how we feel, understand and gain knowledge of the artifact—something, which until now, existed only as a concept. Only then, in Dr Gindi’s art, is it defined as something concrete. Reality is the illusion—in the dimension of appearances—that, in the sculptor’s words, “we are all bound together by the human question of origin and destiny.” Thus, through art, we can attribute that to the universe of appearances, in the dimension of time and space, offering the illusion of transformation and change. Nevertheless, that still conditions us to ask the same existential questions as our ancestors. Finally, to know more about this sculptor and her artistic work, I present a brief interview with Dr Gindi below.

Christiane Wagner: How are science and art present in your work? I think of your medical training and your path in the arts. But not only that, of course, because the main concepts in your art show your interest in science and knowledge, while at the same time questioning its limits. What are your views?

Dr. Gindi: When sculpting, I re-create the physical and psychical aspects of humanness, as in an open-ended anamnesis—the scientific inquiry into the frailty of being is key to my practice. Then, I augment that inquiry until it gives life and empathy to the materialized characters I am forming and—most importantly—until it reflects their yearning toward infinity. Looking for answers to complex problems is a common thread in science and art—I have been experiencing both pursuits as I was trained and worked as a medical doctor prior to graduating from art school. A hypothesis about the human body in medicine and in sculpture is falsifiable if it is clear that the visualization or an evaluation disproves the hypothesis in question. Just because something worked in the past doesn’t necessarily mean that it will work in the future. My sculptures are more like emblematic nativities eternalized in bronze rather than the eternal circulation of old fallacies. The best physicians and sculptors are those who can take all the facts and make sense of them with an unending amount of rational thinking. There is one major difference between physicians and sculptors, though—sculptors, at least in my understanding, can add an empathic, symbolic, illusionary dimension to the creative process. In my own sculpting practice, for instance, I model characters at inflection points of life, often represented by actions and events that call for unbound infinity whilst calling into question the certainty of truth. My protagonists’ struggle to find intrinsic purpose is illustrated by an often oddly striking and almost always non-scientific stylistic idiom that might produce an unusual spatial experience. I adore the ephemeral, the eerie, and the quixotically ethereal.

CW: Which works or themes represent the most significant influence on your creations? I think mainly of the expressive power of your works based on human anatomy, as well as the masterpieces of sculptors such as Camille Claudel.

DG: When starting to study sculpture, I became inspired by 19th-century French realism, but—without much remorse—I soon discovered and became inclined towards the unfettered approach of Camille Claudel. In a rather natural vein, I moved further on and unlearned what I learned before, convinced that there should be no exemplars and rules at all. While always nurturing Claudel’s sanguine temperament and exuberant sensuality, I started to develop my own sculptural language. I embrace my works pragmatically, and yes, even naively. My practice is thus empirical and very often profoundly absurd—I am not afraid of idiosyncratic escapades if they need to be. If there is a logic, maybe it is Diogenes’ logic—as each of us has to choose his own alternative to reason when living in the tub emerged in the market of truths. I believe that our mind is not just an organ for utilitarian reasoning but also a symbolic instrument for creating illusions. As humanity is cloistered, polyhedral, and unpredictable, I am searching to understand what it means to be human within that infinite realm of being.

CW: We must consider that today the innovation and art universe are much more favorable for women artists. In this sense, how do your sculptures maintain a dialogue with the present time?

DG: Well, there have been many improvements to support women artists while acknowledging gender diversity and promoting gender equality. Still, biases continue to exist. To give you an example: a striking minority of museum acquisitions around the world are artworks created by women artists. I don’t want to complain. Women can grasp and create the opportunities for which they wish and need. Further, in my case, I have not come to grips with the maze of my gender, as I don’t understand myself as female-only—I consider myself an almost androgyne being. We all are androgyne, in one way or the other—we are human. Rather than concern myself with gender ideologies, I try to explore the chokepoints of female and male infinity. It shall all be one. Nevertheless, born as a female, I endeavor to live my own identity narrative by sketching the beauty, buoyancy, and unapologetic lustiness I believe all women deserve to experience.

CW: Artistic anatomy is fundamental to figurative creative knowledge. And undoubtedly, your sculptures evidence this quality. However, besides figuration, we perceive a high-quality abstract tendency in your sculptures. In this sense, abstractionism is a way to express art without the mimetic representations of reality, offering new aesthetic experiences. So, how do you define your art in terms of figuration and abstraction in the Immanent Conception of Infinity series?

DG: Most generally, my approach toward sculpting can be described as organic as I look into the symbiosis between the individual and their outer ambit. I do not want to see the individual split apart from this very ambit, as the individual is always an organic part of it. You might thus perceive my style as figurative, but my approach and inner self are perhaps much more complex than that. I cheerfully resist categorization. My practice is based on synthesis and a conviction of holistic unity embedded in illusions, without falling into the trap of merely incarnating reality—I will always cherish the singularity of us human beings with all our veritable wounds and abstract edges. My sculptures do thus not emphasize appearance and suggest that essence is to be found in appearance. Take Immanent Conception of Infinity as a telling example: A human figure reposes on the ground to explore the fabric of time and space, having neither beginning nor end. The spectator’s gaze might encounter abstract tracks here and there whilst almost intuitively sliding into floral figuration. Figurative art can be abstract, and abstract art can be figurative—that’s, for me, the secret of organicism. And yes, I am an organic sculptor who grows in the face of illusionary reality. That’s what I am.

© Dr Gindi

Dr Gindi is one of Switzerland’s most acclaimed sculptors who works with clay and bronze. On the surface, her approach might be comparable to that of Camille Claudel, but the protagonists in the enthralling sculptures she creates can only spring from her imagination—they are the progenies of symbolic and concurrently rational thinking. Resisting attunement, she scarcely has a mainstream art career—she was originally educated as a medical doctor and worked as a physician prior to graduating from the Florence Academy of Art. Intrinsic to her artistic practice is the focus on the infinite aspects of human existence that she describes as the main thing worth attaining in life.

For complete artworks, and for more information, see her website:

www.dr-gindi.com

Immanent Conception of Infinity © Dr Gindi

Immanent Conception of Infinity © Dr Gindi
Immanent Conception of Infinity © Dr Gindi

Beaufort 7 © Dr Gindi

Transfigured Immortality  © Dr Gindi

The Fateful Choice © Dr Gindi

The Fateful Choice © Dr Gindi

Let’s stay tuned!

Let’s stay tuned! This is a session for more coverage of art and culture. In addition, it features publications devoted to shorter, creative concept-based pieces pertaining to arts and culture.

This session is where collaborators and journalists will be welcome to submit interviews, opinion pieces, reviews of exhibitions and events. To put this cause into practice, all interested in collaborating can participate by sending your pieces or press releases to our email. We will take care of contributions, select essential works, and publish them.

Mala Gallery of The Association of the Artists of Applied Arts and Designers of Serbia, in Belgrade, is pleased to present: PANdemia PANscape, a solo exhibition by Katarina Andjelkovic.

Katarina Andjelkovic – PANdemia PANscape

25th August – 2nd September 2021

Katarina Andjelkovic, PANdemia PANscape. Sequence 1. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 2. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 3. Digital graphics on mirror, 2021.

Katarina Andjelkovic, PANdemia PANscape. Sequence 4. Digital graphics on mirror, 2021.

In ancient Greek religion and mythology, Pan is the god of the wild, shepherds and flocks, nature of mountain wilds. He was also considered a cause of sudden and unjustified fear. Being a rustic god, Pan was not worshipped in temples or other built edifices, but in natural settings, usually caves. Inspired by Pan’s world, the project uses narrative visual devices, fragmentation techniques and image layering, to provide an insight into ways of inhabiting the non-human space. Contrary to expectations, instead of analyzing the collective destiny of the post-pandemic world, the project deals with the possibilities for understanding architecture through the lens of metaphysics, the magical and the fantastic. A repetition of the only recognizable motifs, stairs and lights on the horizon, opens a portal between reality and fantastic underground worlds that are accessed similarly to Alice through a hole that leads to Wonderland. At the same time, the horizon itself represents the flow of time, nature, and power within the system distorted by a twisted perception of the horizontal plane. Leaving the observer’s imagination to define the scale of structures without any known referent, the author transforms the spaces of the known into the territory of abstract architectural reveries. A series of digital graphics is created in the combination of digital drawing techniques, moving image editing programs and manual drawing techniques, in several stages. Dominant gray tones are created by overlapping layers of different textures, creating rich dark tones, often black surfaces, and fragmented rhythmic transitions of coloured texture. These tones are contrasted by key areas of open white, which often represent the ground into which the imagined spaces of halls, staircases and atriums are engraved.

Lecture

As part of the exhibition, the author will give a multimedia lecture titled “Surrealism and the architecture of end space,” on August 25, 2021, at 18:30h.

Biography

Katarina Andjelkovic (1983, Yugoslavia), with a Ph.D., M.Arch.Eng., is a theorist, practicing architect, researcher and a painter. She is a high-skilled draftsman, writer and a researcher. Katarina’s research, writing and teaching is transdisciplinary and crosses architecture, visual arts and film. In Spring semester 2021, Katarina is the main instructor of the Hand-drawing course: the Face[s] of Architecture in New York City. She served as a Visiting Professor, Chair of Creative Architecture, at the University of Oklahoma U.S.A., Institute of Form Theory and History in Oslo, Institute of Urbanism and Landscape in Oslo, University of Belgrade – Faculty of Architecture, and guest-lecturing and mentoring at Master Studies of TU Delft – Faculty of architecture and the built environment, Doctoral studies of AHO – Oslo School of architecture and design, FAUP Porto, DIA Anhalt Dessau, SMT New York, and Bachelor studies of ITU – Istanbul Technical University. She lectures internationally at conferences in architectural representation, modern aesthetics of architecture, film-philosophy, drawing research and visual culture in more than 26 countries in Europe, United Kingdom, North America and Canada. Katarina has published her research widely in international journals (Web of Science) and won numerous awards for her architecture design and urban design competitions. She is a full author of the Preliminary Architectural Design, a national project supported by the government of Serbia. She won the Belgrade Chamber of Commerce Award for Best Master Thesis defended at Universities in Serbia in all disciplines. Katarina has published two monographs; an upcoming book chapter and several journal articles with Intellect UK. Andjelkovic exhibited her artwork at 5 Solo Exhibitions and at many international architectural, fine arts and photography exhibitions, including group exhibitions at Pall Mall Gallery in London, Royal Hibernian Academy in Dublin, MAAT Museum in Lisbon, International Biennial of Illustration ”Golden Pen” in Belgrade, TU Delft in the Netherlands, the Museum of Applied Arts in Belgrade, the National Museum in Belgrade, Gallery Singidunum in Belgrade, Stepenište in Art Education Center ”Šumatovačka”, Gallery of the Central Military Club, Suluj Gallery, Pavillion Cvijeta Zuzoric of the Association of Fine Artists of Serbia, and Mala Gallery of the Association of Fine Artists of Applied Arts and Designers of Serbia.

About Mala Gallery of The Association of the Artists of Applied Arts and Designers of Serbia

Mala Gallery and Singidunum Gallery of The Association of the Artists of Applied Arts and Designers of Serbia, 12 Uzun Mirkova Street and 40 Knez Mihailova Street, are the center of cultural, tourist and business events in Belgrade. Located in the city center, these galleries are committed to nurturing long-term relations to the ancient history of Belgrade, while permeating and connecting art in the field of applied arts and design with the interests of a wide and diverse audience. Galleries are designed as a sales-type for works in the field of applied and fine arts.

Exhibition opening: Wednesday, 25th August, at 18h.

Visits: Mon-Fri 11-18h, Saturday 10-16h, Sunday: closed.

Access: from the ground floor, catalogue (print) available during the event, e-catalogue available on demand.

Contact: Katarina Andjelkovic: katarina.code@gmail.com

Address: Mala Gallery, 12 Uzun Mirkova Street, Belgrade 11000, Serbia

HackelBury Fine Art, London is pleased to present: Elemental Forms, Landscape, a solo exhibition of new work by Nadezda Nikolova-Kratzer

Nadezda Nikolova Kratzer – Elemental Forms, Landscape
9th September – 30th October 2021

Nadezda Nikolova Kratzer, Elemental Forms, Landscape no. 30, 2018

HackelBury Fine Art, London is pleased to present: Elemental Forms, Landscape, a solo exhibition of new work by Nadezda Nikolova-Kratzer in which her love of nature and concern for the environment is reflected in her abstract landscapes which capture “the still point of the turning world”. (T.S. Eliot ‘Four Quartets’). Nikolova-Kratzer chooses a balancing act in her work between control and surrender, simplicity and intricacy, light and darkness. She uses simple shapes to create her photogram silhouettes, yet she works with a complex set of variables including temperature, humidity and the timing of the exposure – factors that fundamentally affect the outcome. Nikolova-Kratzer embraces this as she feels strongly that “it is this artifact of chance that brings meaning and excitement to life.”Her work becomes a metaphor for having
the fearlessness to embrace the unknown.

Drawing on poetry, literature and a myriad of artistic influences including Japanese Notan design, Matisse paper-cuts and the organic landscapes of Georgia O’Keefe, Nikolova-Kratzer creates photographic compositions which become sculptural in their focus on the object yet have the depth and thought of a painting. Using geometrical shapes and floating planes, these works build on her preceding series of landscapes taking them to a higher level of abstraction. With the materiality of the photographic medium, she seeks to record intangible aspects of the landscape, as she experiences them, through immersion and observation, without the camera’s capacity for transcription.

Her practice is inextricably linked to her way of life. The physical process of creating work uses her daily ritual of walking in the redwood forests near her home in Oakland, California to connect with nature and respond intuitively whilst reflecting her belief in the concept of immanence.

About Nadezda Nikolova-Kratzer

Nadezda Nikolova-Kratzer (b. 1978, former Yugoslavia) is an artist working with wet plate collodion photograms – a historical technique dating back to the 1850s which uses light-sensitive salts to cover a glass plate before exposing it to the light in a portable darkroom. Her practice is informed by an experimental approach to early photographic processes and her interest in the image as an object. Captivated by the fluidity of wet plate collodion, she manipulates the medium while simultaneously courting chance intrinsic to handmade photography: “I spray, dab and brush on the chemistry in a performative enactment rather than an image capture. (Sometimes, the brush strokes leave physical marks on the emulsion.) In essence, I am negotiating with the chemistry, guiding it. But only to a point. The chemistry has a say in the final image.” Nadezda Nikolova-Kratzer.

The abstract landscape series, Elemental Forms, Landscapes and Elemental Forms, Landscape Rearticulated, emerged as the artist’s direct response to her surroundings and to feeling a sense of wellbeing and security within the landscape. She believes that each locale has its specific identity, history,
and emotional imprint. Nadezda Nikolova-Kratzer has a degree in conservation and environmental sciences and a Master’s in Public Policy. She went on to study photography and historic processes at George Eastman Museum with
Mark Osterman and at the University of Kentucky. She was a finalist for the 2018 LensCulture Exposure Awards. She lives and works in Oakland, California.

About HackelBury Fine Art

Founded by Sascha Hackel and Marcus Bury, HackelBury Fine Art deals in 20th and 21st century artworks. Established in 1998, the London gallery in Launceston Place is committed to nurturing long-term relationships with both artists and clients. It continues to evolve and progress through an expanding
program of gallery exhibitions, museum projects and publishing ventures.
The small group of artists with whom HackelBury work, represent a diversity of practice, pushing the boundaries of various media. The work and practice of these artists encompasses the worlds of photography, painting, drawing, sculpture, architecture and performance. Each artist, whether emerging or established, creates work defined by a depth of thought and breadth and consistency of approach.

HACKELBURY FINE ART LTD 4 LAUNCESTON PLACE, LONDON W8 5RL T: 020 7937 8688 www.hackelbury.co.uk