Website: “The Banana Eater” Fine Art Print Release
Contact email: brad@pressureprinting.com

Educatie si formare

� Actualmente masteranda la Facultatea de Arte Plastice, Decorative si Design Iasi, sectia Arte Plastice anul I
� 2003-2007 Facultatea de Arte Plastice Decorative si Design Iasi, sectia pictura
� 1999-2003 Liceul de Arta Ciprian Porumbescu, Suceava, sectia pictura
� 1991-1999, Scoala Generala nr 2, Gura Humorului, Suceava

Expozitii de grup

- 14 decembrie 2007, expozitie Salonul U.A.P., Iasi, World Trade Center
- noiembrie 2007,expozitie de grup, Hotel Astoria Iasi
- octombrie 2007,expozitie de pictura in cadrul festivalului �George Enescu�, Corpul D al Universitatii de Arte �George Enescu�, Iasi
- 3 mai 2007,expozitia de arte vizuale galeria Aparte, Iasi
- 18 martie 2007 expozitie de arte plastice �Atelier 35�, Iasi
- aprilie 2007, Festivalul de arta, Timisoara
- ianuarie 2007, expozitie de pictura cafeneaua Sage, Iasi
- 15 decembrie 2006, salonul U.A.P., Iasi, World Trade Center
- 13 decembrie 2006, expozitia de pictura �Semne� in cadrul manifestarii �Semn de carte, pagini rosii:fragmente in istoria comunismului�, Ghoete Zentrum, Iasi
- 14 iunie-octombrie 2006, expozitie de pictura Ghoete Zentrum, Iasi
- mai 2007, expozitie de pictura Murcia, Spania
- decembrie 2005, expozitie de arte vizuale �Ion Irimescu�, muzeul �Ion Irimescu�, Falticeni
- mai 2005, expozitie de pictura Ghoete Zentrum, Iasi
- mai 2005, expozitie de pictura galeria Aparte, Iasi
- mai 2003, expozitie de arte vizuale galeria �Ion Irimescu�, Suceava
- decembrie 2002, expozitie de pictura Banca Comerciala Romana, Suceava
- noiembrie 2002, expozitie de pictura �Club 60�, Suceava
- august 2002, expozitie de pictura Comitetul de Cultura, Sibiu
- mai 2002, expozitie de pictura Casa Corpului Didactic, Suceava
- aprilie 2002, expozitie de pictura Casa de Cultura �Dom Polski�, Suceava
- decembrie 2001, expozitie de pictura Banca Comerciala Romana, Suceava
- 28 aprilie 2001, expozitie de pictura, Spitalul de Oncologie Suceava, lucrari donate spitalului
- decembrie 2000, expozitie de pictura Casa de Cultura, Suceava
- iunie 2000 expozitie de pictura Camera de Comert, Suceava
- decembrie 1999 expozitie de pictura Muzeul de Stiinte ale Naturii, Suceava

Expozitii personale
- 8 martie 2002 expozitie de pictura sediul Eurombank, Suceava
- 26 ianuarie 2001 expozitie de pictura sediul Banca Comerciala Romana, Suceava
- 24 februarie 1998 expozitie de pictura Muzeul de Etnografie, Gura Humorului

Concursuri si premii

- februarie- iunie 2006 bursa de studiu Socrates-Erasmus, Murcia, Spania
- 27 decembrie 2005 - premiul 3 sectiunea pictura, Concursul International Ion Irimescu
- apriliei 2003- mentiune la Olimpiada de Istoria Artei in cadrul Olimpiadelor Nationale de Arte Vizuale si Istoria Artei, Bistrita
- 20-29 august 2002, participare la tabara de creatie, �Structura-Traditie-Spatiu�, Sibiu
- 17-22 iunie 2002 - mentiune la Olimpiada de Istoria Artei in cadrul Olimpiadelor Nationale de Arte Vizuale si Istoria Artei, Miercurea Ciuc
- iunie 2001, participare la Olimpiada de Istoria Artei, in cadrul Olimpiadelor Nationale de Arte Vizuale si Istoria Artei, Pitesti

Website: http://www.sabinaborhan.blogspot.com/
Contact email: sabi_ky@yahoo.com

Ismet Jonuzi -biography

Was born on 9th February 1961 in Rahovica
1986 Scolarship INTERNATIONALE DES ARTS PARIS
1996 Scolarship HEINRICH BOLL SCHTIFTUNG GERMANY

Solo Exhibition

1986 House of Culture, Presheva
1986 Studio gallery Karas,Zagreb,Kroatia
1987 Cite Internationale Des Arts,Paris,France
1987 Art Gallery,Prishtina,Kosovo
1988 Alfa Gallery,Split,Kroatia
1989 Srambuk Gallery,Split,Krotia
1989 Gallery Elite,Rorschach,Switzerland
1989 Gallery Palmizana,Hvar,Krotia
1990 Litle East Gallery,Herbrug,Switzerland
1992 Gallery Polltinger in Balgach,Switzerkand
1995 Intermedia,Prishtina,Kosovo
1996 Hani i 2 Roberteve,Prishtina,Kosovo
1997 Leopold Hoesch Museum,Duren,Germany
1997 Heinrich Boll Hause,Germany
1998 Lutz Rohs Gallery Duren,Germany
1998 Hause of Gallery ,Aachen,Germany
2000 City Library Duren,Germany
2003 Gallery Qafa,Prishtina,Kosovo
2005 National Gallery,Skopje,Macedonia

Group Exhibition

1985 Contenporary Kosovar Art,Egypt
1988 10- Kosovar Artist in Gallery Brecht,Augsburg D
1989 6th BAJ of Yugoslav Bienniale Watercolors,Karlovac,Lubljana Belgrad
1989 Yugoslav Youth Salon,Modern Gallery,Rijeka Kr.
1989 Spring Salon,Prishtina,Ks
1989 Artist,Sound and Marble,Arandjelovac,selector V.Buzancic
1989 11Artist of Duren in Burgan , D
1989 International Exhibition �Onufri�, Al
1999 International Biannale of Drawing Salon Krezby,Slova.
1999 Park Sculpt Saint Amand les Eaux, F
2000 Parkraum 2000 Duren, D
2001 Drawing exhibition Sent Leger, F
2002 International Ceramics Exhibition ,Zagreb , Kr
2004 International Drawing Bienniale Prishtine,Ks
2004 Kosova Contenporary Art Exhibition, India
2005 4 th Lessedra World Art Print Annual Sofia,Bl
2006 DIN4 Exhibition of Original Drawing Malaga,E
2006 Muslim Mulliqi prize Art Gallery Prishtina , Ks
2006 V.International Biennial of Drawing Pilsen, Cz
2006 12 International Pint & Drawing Biennial, Taiwan
2006 5th Lessedra World Art Print Annual Sofia, Bl
2006 Iternational of small drawing AUID, R
2006 5 International Triennial of Graphic art Bitola, Mk
2006 The Third International Drawing Competition Wroclaw , Pl
2006 Circulo de Arte Toledo International Exhibition, E
2006 Kosova Contenporary Art National Gallery Tirana, Al
2007 International Exhibition Visual Immortality Basel, Ch
2007 4 International Drawing competition Melbourne, Au
2007 Fragile State Stockport Gallery Manchester, Uk
2007 International Small print Brezllaw,Cz

Prizes

1985 � Spring Sallon Art Gallery Prishtina, Ks
1996 - 10 artist Prize City Duren, D
2004 � First Prize Exhibition Kosova Art Asotiation Prishtina , Ks
2006 � First Prize Exhibition Muslim Mulliqi Prize Art Gallery Prishtina,Ks
2007 � Grand Prix 4th International Drawing Competition Melbourne, Au

Website: www.ismetjonuzi.net
Contact email: ismet_jonuzi@yahoo.com

There are art works by following artists: Moshkovich V., Lebedev A., Zuikov L., Kultyshova M.

Website: Art Shop
Contact email: ama779@yandex.ru

My work can be understood as a kind of visual poetry. It is a mixture of contemporary influences, graffiti, icons, texts and images from traditional samplers. The work contains narrative elements. Not really complete stories, with a beginning, a storyline, and an end.
On the contrary, the narrative structures are used as a form of communication with the viewer.
The viewer is invited to decipher connections or to create them.
The viewer may assemble the stories and to produce chronological and causal structures. Actually the viewer might step into the role of the “author”. It can become a kind of play between the viewer and me. The work also related to the history of humanity that is determined through stories.

The humor in my work is typical for my Jewish background: a mixture of a laugh and a tear.
Folkart and daily life are great sources for inspiration. I love textiles because of its tactile looks.
Textile generally has a more intimate relationship with the public and is very suitable
to communicate emotions.

Aside from embroidery I work in mixed media and I am professionally active in making
drawings and paintings

Website: Tilleke Schwarz
Contact email: info@tillekeschwarz.com

Art Shop collection of russian artworks of russian folk applied art: gold painting on wood tableware, icon painting, lacquer miniatures on jewellery caskets.

Art works by following artists: Moshkovich V., Lebedev A., Zuikov L., Kultyshova M.

Website: Art Shop gallery of folk russian painting
Contact email: ama779@yandex.ru

Joseph Beuys

about Beuys/ uber Beuys: Joseph Beuys was born in 1921 in Krefeld, a city in northwestern Germany near the Dutch border.
He grew up in the nearby towns of Kleve and Rindern, the only child in a middle class, strongly Catholic family.
During his youth he pursued dual interests in the natural sciences and art, and he chose a career in medicine. In 1940 he joined the military, volunteering in order to avoid the draft. He was trained as an aircraft radio operator and combat pilot, and during his years of active duty he was seriously wounded numerous times. At the end of the war he was held in a British prisoner-of-war camp for several months, and returned to Kleve in 1945.
Coming to terms with his involvement in the war was a long process and figures, at least obliquely, in much of his artwork. Beuys often said that his interest in fat and felt as sculptural materials grew out of a wartime experience a plane crash in the Crimea, after which he was rescued by nomadic Tartars who rubbed him with fat and wrapped him in felt to heal and warm his body. While the story appears to have little grounding in real events (Beuys himself downplayed its importance in a 1980 interview), its poetics are strong enough to have made the story one of the most enduring aspects of his mythic biography.
On his return from the war Beuys abandoned his plans for a career in medicine and enrolled in the Düsseldorf Academy of Art to study sculpture. He graduated in 1952, and during the next years focused on drawing he produced thousands during the 1950s alone and reading, ranging freely through philosophy, science, poetry, literature, and the occult. He married in 1959 and two years later, at the age of 40, was appointed to a professorship at his alma mater.

During the early 1960s, Düsseldorf developed into an important center for contemporary art and Beuys became acquainted with the experimental work of artists such as Nam June Paik and the Fluxus group, whose public concerts brought a new fluidity to the boundaries between literature, music, visual art, performance, and everyday life. Their ideas were a catalyst for Beuys own performances, which he called actions, and his evolving ideas about how art could play a wider role in society. He began to publicly exhibit his large-scale sculptures, small objects, drawings, and room installations. He also created numerous actions and began making editioned objects and prints called multiples.
As the decades advanced, his commitment to political reform increased and he was involved in the founding of several activist groups: in 1967, the German Student Party, whose platform included worldwide disarmament and educational reform; in 1970, the Organization for Direct Democracy by Referendum, which proposed increased political power for individuals; and in 1972, the Free International University, which emphasized the creative potential in all human beings and advocated cross-pollination of ideas across disciplines. In 1979 he was one of 500 founding members of the Green Party.
His charismatic presence, his urgent and public calls for reform of all kinds, and his unconventional artistic style (incorporating ritualized movement and sound, and materials such as fat, felt, earth, honey, blood, and even dead animals) gained him international notoriety during these decades, but it also cost him his job. Beuys was dismissed in 1972 from his teaching position over his insistence that admission to the art school be open to anyone who wished to study there.
While he counted debate, discussion, and teaching as part of his expanded definition of art, Beuys also continued to make objects, installations, multiples, and performances. His reputation in the international art world solidified after a 1979 retrospective at New York´s Guggenheim Museum, and he lived the last years of his life at a hectic pace, participating in dozens of exhibitions and traveling widely on behalf of his organizations. Beuys died in 1986 in Düsseldorf. In the subsequent decade his students have carried on his campaign for change, and his ideas and artwork have continued to spark lively debate.

* artist portrait and resources
* available works in Extralot Gallery

Joseph Beuys

Er gehörte zu den wegweisenden Künstlern in der zweiten Hälfte des 20. Jahrhunderts.
Joseph Beuys wurde am 12. Mai 1921 in Krefeld geboren. Er wuchs in Kleve und dem nahe gelegenen Rindern auf und zeigte schon früh vielseitige Interessen für Naturwissenschaften, Musik und Bildhauerei, Kulturgeschichte und Philosophie.
Im Alter von 17 Jahren beeindruckten ihn Reproduktionen von Skulpturen Wilhelm Lehmbrucks.
Nach dem Abitur in Kleve wollte Beuys 1940 ein medizinisches Studium aufnehmen, erhielt aber seine Einberufung, wurde bei der Luftwaffe ausgebildet und als Sturzkampfflieger in der Ukraine eingesetzt. Die Folgen eines Absturzes auf der Krim im Winter 1943 wurden für ihn zu einer auch künstlerisch prägenden Erfahrung. Nomadisierende Tartaren bargen den Schwerverletzten und retteten ihm das Leben, indem sie ihn mit Fett einrieben und in Filz einwickelten.
Filz und Fett wurden später zu den bevorzugten und symbolträchtigen Materialien seiner bildhauerischen Arbeit. Bis Kriegsende wurde Beuys noch vier Mal verwundet. In seinem späteren Werk spielten die Themen Krankheit und Verletzung – allerdings in einem ins Metaphorische erweiterten Sinn – eine große Rolle.

Der ständig getragene Filzhut, der später, als er einer der berühmtesten Künstler seiner Zeit war, zu einer Art Markenzeichen seiner Person wurde, diente ihm eigentlich als Schutz einer alten Kopfverletzung.
Nach dem Krieg studierte Beuys von 1947 bis 1952 Bildhauerei an der Staatlichen Kunstakademie in Düsseldorf. Anschließend war er bis 1954 Meisterschüler bei Ewald Mataré und Joseph Enseling. 1961 übernahm er den Lehrstuhl für monumentale Bildhauerei, der ihm 1972 wegen massiver Streitigkeiten mit dem damaligen Bildungsminister Johannes Rau entzogen wurde. 1978 erklärte das Verwaltungsgericht die Kündigung als nicht rechtmäßig, Beuys wurde wieder Professor in Düsseldorf und engagierte sich bald darauf bei der Gründung der Partei der Grünen. Er starb am 23. Januar 1986.

Das zentrale Anliegen von Joseph Beuys war die Erweiterung des tradierten Kunstbegriffs hin zu einer „anthropologischen Kunst", in der der Mensch Mittel- und Ausgangspunkt ist. In diesem Zusammenhang entwarf Beuys seinen Begriff von der „sozialen Plastik", der das Wirkungsfeld der Kunst auf alle menschlichen Tätigkeitsbereiche, besonders aber Gesellschaft, Kultur, Politik und Ökologie, ausdehnte.
Sein berühmt gewordener, aber meist missverstandener Satz „Jeder Mensch ein Künstler" meint nicht die Einbeziehung der Sonntagsmaler und Laienkunst („Kunst als Freiraum"), sondern ein ästhetisches Konzept, das Leben und Welt des Menschen als „Werk" auffasst, an dem jeder Mensch mitwirkt („Kunst als Verwirklichung von Freiheit"). Die Bewusstmachung dieses Prozesses ist Aufgabe der Kunst.

Auf das Lebenswerk von Beuys trifft in besonderem Maß der Begriff des Gesamtkunstwerks zu, der aus dem 19. Jahrhundert stammend das Zusammenfließen und -wirken verschiedener Gattungen (bildende Kunst, Musik, Theater, Literatur, aber auch Lebensstil) unter der Regie eines Künstlers oder einer Künstlergruppe bezeichnet.