Visiting sanssouci in Potsdam with Sylvia and Johannes

No roses for Anita Bryant, but a pie in the face

Beaux-Arts - Hors Série - L'art contemporain en Europe (Experience Pommery 5)

Including a text by Demetris Taliotis, click here

The visionary New Alphabet of Amanda Lear from 1977 is still very "new" today, especially when it get's to "Y"

Christoph always wears a hat and has an irreversible statement on his left hand

If Tomorrow Never Comes (…we can make it of the past) - Rodeo

September 20 – November 1 2008
Opening: Friday, September 19.
Gallery: Tuesday- Saturday 12- 18

Mark Aerial Waller, Loukia Alavanou, Andreas Angelidakis, Haris Epaminonda, Emre Hüner, Gülsün Karamustafa, Beaute Orientale (The Collection of Yilmaz Aysan), Christodoulos Panayiotou, Eftihis Patsourakis, Angelo Plessas.

Rodeo is happy to announce the group show If Tomorrow Never Comes with favourite artists and finds a common line between all in what can one call "lost and found traces of our civilization". We are presenting works of artists that use the past and its records as an act against oblivion. But this is not an exhibition on memory; it (neither) is a nostalgic show.

Humans have become collectors of all kinds. A simple and authentic postcard collection of graphic designer Yimaz Aysan, Beaute Orientale has a central role since the postcards dating back to the end of the Ottoman era become carriers of female stereotypes at this time; next to it the work of Angelo Plessas, a youtube.com channel titled Fantasy Gates brings today sci-fi films from the beginnings of the history of film. Haris Epaminonda's Tarahi III is a video made (as most of the artist's work) from footage collected, selected and subtly and masterfully edited at a point where the original does no longer exist. On the contrary the latest work of Gülsün Karamustafa Bosphorus 1954 made from archival photos brings back an outstanding event in the local history of Istanbul when icebergs floated from the Black Sea to the Bosphorus and blocked the communication between east and west shores.

The work which the exhibition borrowed its title from, is a black and white slide projection by Christodoulos Panayiotou in which images from newspapers in Naples show fireworks in the sky; their meaning ambiguous as is their time since their lacking colour makes them timeless. Loukia Alavanou's haunted animation Geppeto's Clocks unravels hidden psychological mechanisms within a photo of granny and papa. The figurative becomes abstract in the Erase oil paintings by Eftihis Patsourakis; his ghosting method of disappearing the past through everyday practises. Mark Aerial Waller's single scene from Flipside of Darkness, Resistance Domination Secret, is an amalgamation of different ghosts from the history of film cut and edited in a magical way. He is using history as its medium to create new scenaria and iconographies by bringing together power plant aesthetics with baroque and classic elements.

Emre Hüner's Boumont is an archaeological filmic excavation shot in the near future. A possible scenario that comes out of mass production and consumption shows the possibilities in the cities we inhabit, consume and leave back. The exhibition is closing with the project of Andreas Angelidakis on the decadent villa of art dealer and collector Alexander Iolas, titled A Short Visit. The grand life Iolas had, the ruined house and the dispersed collection, the becoming public of something so private and the fall of this empire epitomize If Tomorrow Never Comes.

Horror Vacui - Layr Wuestengaen Contemporary

HORROR VACUI
Marius Engh, Constantin Luser, Simon Faithfull, mahony, Michael Müller, Christodoulos Panayiotou, Misha de Ridder

Private view: 18. 9. 2008, 6 - 9pm
Exhibition: 19. 9. - 8. 11. 2008

Horror Vacui, an exhibition by the artist group mahony, is the first presentation within the long-term Odyssee 500 project.
This is an artistic analysis of the cultural history of global travel, which examines the emotional connotations of the travel
theme in historical traditions, construed narratives and established myths, as well as its reference to problems affecting real societies.

Seven international artistic positions revolving around the topic of horror vacui have been selected for this exhibition.
A thematic bridge is built from political conflicts through subjective notions to the Voyage into Nothingness.
At the beginning of the exhibition there is an induction globe, a model of Earth abstracted to its spherical geometric form.
Marius Engh (N, 1974) has contributed the sculpture “Hotel California”, a monochrome semi-transparent movable wall, and “Gulfstream V”,
a photographic piece in four parts.
Engh’s pieces, which seem formal, are based on a detailed examination of precise political practices. Constantin Luser (A, 1976) studies his own thoughts with cartographic means in his detailed drawings and thus brings to the fore his subjective world outlook. The video piece “Escape No. 6” by Simon Faithfull is based on a performance, in which he let a chair ascend into the stratosphere using a registering balloon. The video ends with the signal of the radio-controlled camera attached to the balloon breaking off. Michael Müller (D,1970) uses scientific representations of solar systems and galaxies as basis for his own freely interpreted drawings. In the sound piece “To be willing to march into hell for a heavenly cause“ by Christodoulos Panayiotou (CYP, 1978) a compilation of seven songs from American musicals can be heard, which bring meteorological phenomena in connection with political utopias.These were recorded live during a performance on board of a ship by the Danish singer Kristian Kristensen, and later pressed on vinyl. Misha de Ridder (NL, 1972), who concentrates in his large-format photographs on the unimportant, the fleeting and the non-existent, shows the picture of a river landscape in the fog, which identifies itself only by its title, “Niagara”. For mahony, who have the twin roles of artists and curators
of this exhibition, the incorporation of additional artistic ideas signifies a necessary extension of the perspectives on this topic. The last room of the gallery, the garage, refers to the general process of creation/production. The induction globe of the first room is translated there into the two-dimensional representation of the sphere and the potato is the basic working material, providing the segments as well as the letters for the printing of the exhibition poster.

LAYR WUESTENHAGEN CONTEMPORARY
An der Hülben 2 A-1010 Wien
T +43 1 524 5490 F +43 1 523 8422
www.layrwuestenhagen.com

Never Land - Taipei Biennale

Never Land, new work commissioned by the Taipei Biennale, 153 color slides / 3 synchronized slide projectors (work realized after reseach in the archives of the newspaper Phileleftheros, Nicosia, Cyprus, Installation view

Wonder Land - Taipei Biennale

Wonder Land, 2008, 80 color slides (work realized after reseach in the Municipal Archives of the city of Limassol, Cyprus), Installation view

2008 Taipei Biennial

Never Land, new work commissioned by the Taipei Biennale, 153 color slides / 3 synchronized slide projectors (work realized after reseach in the archives of the newspaper Phileleftheros, Nicosia, Cyprus)


Sep.13 2008 - Jan.4 2009

Curators Manray Hsu, Vasif Kortun

Participating Artists

Nevin ALADAG, Germany
Lara ALMÁRCEGUI, Spain / Netherlands
Ziad ANTAR, Lebanon
Yochai AYRAHAMI, Israel
Bbrother, Taiwan
Matei BEJENARU, Romania
Lene BERG, Norway
Roderick BUCHANAN, Scotland
CHE Onejoon, South Korea
Anetta Mona CHISA, Romania ＋ Lucia TKACOVA, Slovakia
Burak DELIER, Turkey
Democracia, Spain
Internacional Errorista, Argentina
Didier Fiuza FAUSTINO, France
Mieke GERRITZEN, Netherlands
Shaun GLADWELL, Australia
Minja GU, South Korea
Nicoline van HARSKAMP, Netherlands
Institute for Applied Autonomy (IAA), USA
Irwin, Slovenia
LIU Wei, China
Trevor PAGLEN, USA
Christodoulos PANAYIOTOU, Cyprus
Mario RIZZI, Italy
Katya SANDER, Denmark
Sašo SEDLAČEK, Slovenia
Superflex, Denmark
Bert THEIS, Luxembourg
Kuang-yu TSUI, Taiwan
Nasan TUR, Germany
WONG Hoy Cheong, Malaysia
Mali WU, Taiwan
Jun YANG, Austria
The Yes Men, USA
YU Cheng-Ta, Taiwan

A World Where Many Worlds Fit, a section curated by Oliver Ressler
RTMark, USA
Zanny BEGG, Australia
Christopher DELAURENTI, USA
Noel DOUGLAS, Great Britain
Etcetera, Argentina
Petra GERSCHNER, Germany
John JORDAN, Great Britain
Oliver RESSLER, Austria
Allan SEKULA, USA
Gregory SHOLETTE, USA
Nuria VILA ＋ Marcelo EXPÓSITO, Spain
Dmitry VILENSKY, Russia

The Taipei Biennial is organised by the Taipei Museum of Fine Arts. The 6th edition, curated by Manray Hsu [Germany/Taiwan] and Vasif Kortun [Turkey], takes place between September 13, 2008 and January 4, 2009.

In addition to the Taipei Museum of Fine Arts, which is the main venue established for the Taipei Biennials, the 6th edition also includes projects in the Beer Brewery, on the mega-digital screen at the Taipei Arena, in Taipei Art Park, at the Zhongxiao Xinsheng MRT Station, and an intervention at No.13, Qidong Street. The Biennial will also employ a number of advertising boards in the city, spreading the exhibition throughout different neighbourhoods and bringing the project into view when least expected.

In addition, upon the invitation of the curators, the artist/activist Oliver Ressler presents an exhibition within the context of the Biennial titled A World Where Many Worlds Fit that is dedicated to resistance movements.

The Taipei Biennial originates from a constellation of correlated themes all connected to neo-liberal capitalist globalisation. The threads of investigation in the exhibition include urban transformation in Taiwan, circumstances for immigrant and illegal labour, mobility, borders, divided states and micro-nations, permanent war condition, ecological breakdown, global unrest, and the opportunities for change. All these threads are processed and witnessed through do-it-yourself practices, individual stories, and humour. While art does not provide answers, it has the capacity to reflect on these issues from multiple angles, to work with different forms of enquiry and determine when to focus on individual moments. As with the approach of the Biennial, no story is infinitely singular. Each area of focus is associated with many other questions, for example, the mobility of a tourist, a temporary worker, or a foreign bride are certainly not the same, not even similar. Towards this end, the Biennial has been commissioning as many new works as possible, or asking the participating artists to rethink and adapt previous projects in light of their presentation in Taipei. There will also be existing works presented in juxtaposition to the new ones. The exhibition will include thematic compilations and farcical and biting videos.

There will be performative works and interventions in the city, some of which will be documented and reconfigured in the exhibition venues. Taipei Brewery, a site that has been through an extended process of transformation from its inauguration as Taiwan's first beer factory (a production and distribution site built during the Japanese occupation), to a state monopoly that involved the privatisation, re-branding and finally relocation to a site outside of the city centre. While the factory's history can be read as a classic example of shifting states of use in any post-industrialised city in the world, the exhibition is interested in seeking the nuances and specificities found within the general. The brewery's daily operation will continue during the exhibition run, and its space will be utilised as a real place rather than an insular exhibition zone.

Parallel programming includes a conference co-presented with the Dictionary of War that takes place on October 24 and 25, 2008; a film programme related to the themes of the exhibition co-hosted by the Urban Nomad Film Program; and in collaboration with Taipei Drift, an International Workshop for Art Academics, 2008.

By means of these projects the curators and artists will explore the diverse opportunities that this Biennial is capable of creating and responding to.


2008 TAIPEI BIENNIAL
Sep.13 2008 - Jan.4 2009

Organized by
Taipei Fine Arts Museum

Official support
Council for Cultural Affairs, Taiwan
Taipei City Government
Department of Cultural Affairs, Taipei City Government

In cooperation with
Taiwan Tobacco and Liquor Corp.
German Cultural Center, Taipei

International support
Credit Suisse
Ifa (Institut für Auslandsbeziehungen e.V.)
Mondriaan Stichting (Mondriaan Foundation)
SEACEX（Sociedad Estatal para la Acción Cultural Exterior）
Danish Arts Council
Australian Council for the Arts
Office for Contemporary Art, Norway
ISECO (Israel Economic and Cultural Office in Taipei)
Institut Français, Taipei

Special projects sponsor
Nova Media CO.LTD.
Yeh Rong Jai Culture & Art Foundation

Assisted by
Taipei Artist Village

Venue
Taipei Fine Arts Museum
Taipei Art Park
Taipei Brewery
Zhongxiao Xinsheng MRT Station
PDP in MRT
Taipei Arena / Taipei Screen

Preview and Opening program

Press Conference
Time: Sep.11, 11:00-23:00
Place: Taipei Fine Arts Museum(TFAM)

Press Preview
Date: Sep.11, 12:00-17:30
Place: TFAM + Taipei Brewery

Time: Sep.12
Place: TFAM (9:30-17:30); Taipei Brewery (9:30-18:00)

Bus Tours
Time: Sep.11, 14:00 &15:00; Sep.12, 12:00 & 13:00, in front of TFAM
Route: Zhongxiao Bridge, Qitong Street, Taipei Arena, Zhongxiao Xinsheng MRT, Taipei Brewery

Opening Ceremony
Time: Sep.11, 18:30-21:30
Place: Museum Square, TFAM

Taipei Brewery Live Concert: Slurpee Revolt!
Time: Sep.12, 19:30-21:30
Sep.13, 15:00-20:00
Place: Taipei Brewery

2008 Taipei Bienniel Forums
session 1: Sep. 12, 14:00-16:30, TFAM
session 2: Sep. 13, 14:00-16:00, TFAM
session 3: Sep. 13, 17:00-20:00, TFAM

TB08 Programs
2008 Taipei Biennial Feature: Dictionary of War
[http://www.dictionaryofwar.org/]

Urban Nomad Film Program at the Taipei Biennial
[http://urbannomadfilmfest.blogspot.com/]

Partner
Taipei Drift: International Workshop for Art Academics 2008
[http://taipeidrift.tnua.edu.tw/]

181, ZhongShan North Road, Sec. 3, Taipei 10461, Taiwan, R.O.C.
Open hours: 09:30-17:30 Tue.-Sun. (Closed on Mondays) Sat. 09:30-20:30
Tel +886-2-2595-7656 Fax +886-2-2585-1886
info@taipeibiennial.org
www.taipeibiennial.org

So the world didn't end today

The world watched and waited for the greatest experiment in history to begin. Impressive though it was, it was also a bit like booting up a sulky PC, says Andy McSmith who was at Cern
Thursday, 11 September 2008

All was quiet at the moment when the greatest scientific experiment in history was scheduled to begin, at 9.30am Swiss time yesterday. No bands, no flags, no cheerleaders – only a silence so heavy and awed that even the 300 journalists stopped talking.

A machine that has taken 13 years to design and build, at a cost approaching £5bn, and which will advance the frontiers of science was switched on for the first time.

Absolutely nothing happened. This was bad enough for those who were doing live broadcasts, who were supposed to capture breathlessly the excitement of the moment. The project leader at the European Organisation for Nuclear Research (Cern), Lyndon Evans, must have wished a black hole would pop out of his machine and swallow him up. There he was, with his new kit, 6,000 scientists and technicians on hand to operate it, a microphone clipped on his shirt to pick up any swear words he might mutter as the world waited – and the machine was not working.

"Five, four, three, two, one... nothing," Dr Evans said, in a nervous attempt at humour. The reputation of European science hung by a thread for nearly four minutes, until at last the computer screen at the control centre said something had happened. There was a round of applause from everyone present.

"It's not like trying to start your home computer," the press relations woman said later. "It's much, much more complicated."

Footage of the reaction to the beginning of the experiment

I disagree. It was exactly like trying to start your home computer. As any Luddite knows, a home computer can detect the moment when it is really important that it should work perfectly, and that is when it develops a glitch. Yesterday was the biggest day in European science for decades. It was the start of the most expensive scientific experiment in history. It was also the biggest PR exercise ever mounted by Europe's scientific community. It was vital nothing went wrong.

One small indicator of the uniqueness of the occasion was that Cern staff abandoned the usual standards of scruffiness associated with advanced science. Dr Evans, a miner's son from south Wales, was dressed in a shirt and jeans. His normal work clothes are a T-shirt and shorts.

The glitch was caused by a cryogenic problem, cryogenics being the science of producing low temperatures. The temperature inside the Large Hadron Collider (LHC), the particle accelerator built by Cern, is about as close to absolute zero as it is possible to get. It is colder than outer space. Around its 27km underground tunnel there are 6,500 magnets, with enough power to cause protons fired into the LHC to accelerate to more than 99.99 per cent of the speed of light. If one of those thousands of magnets is 1C warmer than it should be, or 1mm out of position, it could wreck the experiment.

Engineers discovered on Monday night that there was something wrong, and worked frantically to put it right. The night shift on Tuesday discovered more problems. But when the scientists assembled at 9am yesterday, they were briefed that all was now OK. Then came those four doom-laden moments, when it looked as if something else had gone horribly wrong.

At last, a beam of protons – hydrogen atoms stripped of their electrons – began its slow progress around the 27km circuit. It was halted at eight points to ensure that it was moving in a perfect path. At point six, it appeared that the beam would have to be dumped and the experiment started afresh, because it was oscillating, but the problem was corrected, and at 10.26am, there was a noisy standing ovation as the beam arrived back where it had begun, having completed a 27km circuit in less than an hour.

There are two tubes in the LHC tunnel that are race tracks for protons. In the first, the beam travelled clockwise. The next task was to send another beam anticlockwise around the other tube. That one got back to base at around 3pm to another jubilant ovation. And that was that for day one in the life of the Large Hadron Collider – a good day's work, even though all it has proved is that the machine works.

"This is only the start of the commissioning process. It could take years to fully commission," said Rüdiger Schmidt, the scientist in charge of hardware commissioning. There is still a long wait for answers to the big mysteries of the universe, such as why some particles have mass when others don't, what is "dark matter", and are there more than three dimensions to the universe?

When it is up and running, the LHC will fire beams of protons in opposite direction around the two tubes. They intersect at four points, which is where the energy-laden protons will smash together, replicating the conditions that existed less than a nanosecond after the Big Bang. Above each intersection is a research status where computers will read the data from the collisions. The complex is so vast that visitors need a passport to move from one research centre to another across the Swiss-French border.

The LHC is not the world's first particle accelerator, but it is the most powerful, by a factor of about seven. In the US, a plan to build one of this magnitude was abandoned because of the cost.

Europe is the world leader in experimental particle physics. Discoveries made in the LHC, which would be impossible anywhere else, could mean Nobel prizes for the British physicists Stephen Hawking and Peter Higgs if their theories turn out to be correct. But Professor Jordan Nash, of Imperial College London, who will help analyse LHC's data said: "It's not about prizes. All of us do it out of fundamental curiosity about how the universe works. We have done all the easy stuff over the last 2,000 years. To push further takes a hugely complex apparatus. What we are going to learn is what nature consists of, not what we think it consists of."

The man who devoted 35 years to making it happen

John Ellis joined Cern in 1973 as 27-year-old theoretical physicist, and has been working there ever since. Yesterday marked the culmination of his life's work. He marked it by wearing a T-shirt displaying the mathematical formula for a Higgs boson, the elusive sub-atomic particle that scientists have hunted for decades.

What does this day mean to you and to science?

It's the biggest event at Cern since I have been there, without question. I have been here when we have started up previous particle accelerators, but there was nothing on this scale. The hopes are riding so high. Previously when people have started a new accelerator it has always been in the quiet of their laboratory, but we have had the world's press here, and I don't know how many millions of people have followed it on television or on the web.

Do you expect to find a Higgs boson, or "God particle", that would explain why some particles have mass, but others have none? What would be more exciting: to find it, or not find it?

I expect that it will find one. I am sure that it will either find a Higgs boson or prove that it doesn't exist, though it may take years to do so. If it turns out that there is no Higgs boson, that will be the more exciting discovery because it will mean we have all been barking up the wrong tree for 44 years, and we will have to put our thinking caps back on.

Do you expect to find supersymmetrical particles, proving dark matter exists?

I think it's more likely than not. It would be really negligent of nature not to exploit supersymmetry.

Will the experiment create black holes?

It might, but there will be zero risk. Mother Earth has performed this same experiment at least 100,000 times, and we are still here.

Do you expect it to prove the existence of a fourth dimensions, or more?

Possibly. It would be very exciting if that were to happen, but the arguments are not as strong as in the case of supersymmetry.

What will this experiment do for Mr and Mrs Ordinary?

Ever since recorded history people have between wanting to understand the universe around them. This is a basic human urge, and it's useful. Nobody thought Einstein's Theory of Relativity had a use when it was first expounded, but you can't operate a satnav without it. I don't know what the LHC is going to find – how can you know? – but it's going to be useful.

Andy McSmith

What does it all mean – in 35 words

Today is the most exciting day of my life at Cern so far, but I expect more excitement when the LHC starts discovering things. Maybe the Higgs boson? Maybe supersymmetry? Maybe black holes? Who knows?

The Independent

First day in Taipei

Elvis is very sad today

Screening by Irma Mørch Gallery at Kunsthal Charottenborg, Copenhagen

Video and Sound Art Favourites

After a long week filled with openings, drinks and small talk, all that is needed is just to sit, look and listen. The newly established Irma Mørch Gallery therefore presents a diverse and inspiring video and sound art programme at the Mezzanin at Kunsthal Charlottenborg. The programme is an exclusive selection of visual and sound art that employ themes such as memory, love, fiction and realism, pop culture, and history.

Sunday, September 7th 13:00 – 15:30 (1pm – 3.30 pm)

At Mezzanin at Kunsthal Charlottenborg, Nyhavn 2, 1051 Kbh. K

Works by the following artists :

Michel Auder : My Love, 1985
Yvette Brackman : Lot 10, 2004
Jeremy Deller : Memory Bucket, 2003
Katrine Dirckinck-Holmfeld : Djisr, 2008
Anja Franke : Femø - an Isle in Denmark, 2008
Ursula Nistrup : Whistling-Adjacent-Room-
Museum-Insel-Hombroich, 2007
Christodolous Panayiotou : Alkadaslar, 2006

It is free of charge
There are no strings attached
You just need to be there, that's all…

www.irmamoerchgallery.com

Alexey Goloborodko / Vladimir Gagarine

Guysgocrazy at Busan Biennale

Busan Biennale - Expenditure
Period : Sep. 6 - Nov. 15, 2008 (71 days)
Opening Event : Sep. 6, 2008
Venues : Busan Museum of Modern Art and others
Number of Artists : 190 from 40 countries
Exhibitions :
Contemporary Art Exhibition
Director : Won-Bang Kim
Curator : Tom morton, Nancy Barton, Michael Cohen,
Guest Curator : Azomaya Takachi, Francine Meoule
Sea Art Festival
Director : Seung-Bo Jeon
Busan Sculpture Project
Director : Jeong-Hyung Lee
Curator : Cedar Lewisohn
http://www.busanbiennale.org

Busan Biennale 2008 comprises three parts, including the Contemporary Art Exhibition, the Sea Art Festival, and the Busan Sculpture Project. Under the theme 'Expenditure', these three different exhibitions manifest each of their characteristics.

The Contemporary Art Exhibition is being held at the Busan Museum of Modern Art and the Busan Yachting Center, showing art works by 92 artists from 22 different countries with the theme 'EXPENDITURE - as it is always and already excessive'. Audiences will have a chance to feel the overflowing energy of human beings, that is in the risk of breaking down the modern society. The Sea Art Festival is the unique art event that undertakes the feature of Busan. 78 artists from 27 countries comprehend the theme 'Voyage without boundaries' with the help of the natural setting of Busan. The Busan Sculpture Project attempts to expand the scope of public art, under the theme 'Avant Garden'. It will exhibit the works of 20 artists from 10 nations at the APEC Naru Park.

Busan Biennale 2008 also opens accompanying events. Some of the major artists representing Asian contemporary art are invited to the accompanying exhibitions. The audiences will have an opportunity to enjoy variety of contemorary art works from all over the world, as numerous galleries in Busan are having special exhibitions to celebrate the opening of Busan Biennale 2008.

With all these exuberant events happening, Busan Biennale 2008 will certainly be at the center of the international art world's attention.

Busan Biennale 2008 Participating Artists
Name / Nationality
Eduardo ABAROAE, Maxico
Aehee, Korea
Doo Jin AHN, Korea
Gwangjun AHN, Korea
Jae guk AN, Korea
Richard ANNELY, U.K
Vyacheslav AKHUNOV, Kyrgyzstan
Kriti ARORA, India
David ASKEVOLD, Canada
Nicole AWAI, Trinidad and Tobago
Hernan BAS, U.S.A
In Soek BAE, Korea
Ji Min BAE, Korea
Jonghun BAE, Korea
Seon Chi BAHK, Korea
Jonathan BERGER, U.S.A
Oliver BIRCHLER, Switzerland
Ross BLECKNER, U.S.A
Davin BRAINARD, Netherlands
Jesse BRANSFORD, U.S.A
Bruce La Bruce, Canada
Hua BU, China
Vadra CAIVANO, Italy
Yeo Chee Kiong, Singapore
Wenling CHEN, China
Tae Hun CHOE, Korea
Cody CHOI, Korea
Yea Hee CHOI, Korea
Yeon Woo CHOI, Korea
Sonja Lillebaek CHRISTENSEN, Denmark
Hye Jin CHUNG, Korea
Steven CLAYDON, U.K
Ronald CORNELISSEN, Netherlands
Cesar CORNEJO, Peru
Xian Ji CUI, China
Sue DE BEER, U.S.A
Warn DEFEVER, Netherlands
Chrystel EGAL, France
Doug FISHBONE, U.K
Min Gyeong GAM, Korea
Denis GLASER, U.K
Kenji GOMI, Japan
Wonsuk HAN, Korea
Yota HANAZAWA, Japan
Lyle Ashton HARRIS, U.S.A
Ku Young HEO, Korea
Roger HIORNS, U.K
Christopher k. HO, U.S.A
Hyun Sook HONG, Korea
Myung Seop HONG, Korea
Soun HONG, Korea
Irene HOPPENBERG, Germany
Teresa HUBBARD, Switzerland
Sook Young HUH, Korea
Kenny HUNTER, Scotland
Hea Sun HWANG, Korea
Juliette JACOBSON, U.S.A
Yeo-Ran JE, Korea
Lisa JEANNIN, Sweden
Rob JOHANNESMA, Netherlands
Dong hyun JUNG, Korea
Jaeho JUNG, Korea
Tellervo KALLEINEN, Finland
Kamin, Thailand
Yong Myeon KANG, Korea
Go KATO, Japan
Bharti KHER, India
Bumsu KIM, Netherlands
Chang Kyum KIM, Korea
Dong-Yeon KIM, Korea
Gi Young KIM, Korea
Hea Sim KIM, Korea
Jong Ku KIM, Korea
Kira KIM, Korea
Kye Hyeon KIM, Korea
Mi Ea KIM, Korea
Suk KIM, Korea
Sun Deuk KIM, Korea
Tae Jun KIM, Korea
Tai Kyun KIM, Korea
Pliver KOCHTA-KALLEINEN, Germany
Terence KOH, Canada
Dieter KUNZ, Germany
Surasi KUSOLWONG, Thailand
Philippe LALEU, France
Bei Kyoung LEE, Korea
Hansu LEE, Korea
Hojin LEE, Korea
Jin Kyoung LEE, Korea
Jong Bin LEE, Korea
Jun Yeong LEE, Korea
Kyoung Bok LEE, Korea
Sang Gill LEE, Korea
Sang Woo LEE, Korea
Seung-taek LEE, Netherlands
Soo Young LEE, Korea
Yong-Beak LEE, Korea
Guangxin LI, China
Ligyung, Korea
Ok Sang LIM, Korea
Young Sun LIM, Korea
Ren LIU, China
Wei LIU, China
Long March Project, China
Nate LOWMAN, U.S.A
Lisa LUYTER, U.S.A
Christina MACKIE, U.K
Victor MAN, Romania
Marlene McCARTY, U.S.A
Alex McQUILKIN, U.S.A
Marilyn MINTER, U.S.A
Mioon, Korea
Aiko MIYANAGA, Japan
Sunju MOON, Korea
TV MOORE, Australia
Gen MORIMOTO, Japan
Yasumasa MORIMURA, Japan
Robert MORRIS, U.S.A
Ruriko MURAYAMA, Japan
Myung Kyu NA, Korea
Tetzuya NAKAMURA, Japan
Yasuyuki NISHIO, Japan
David NOONAN, Austria
Eko NUGROHO, Indonesia
Yuki OKUMURA, Japan
Dennis OPPENHIM, U.S.A
Nipan ORANNIWESNA, Thailand
Orlan, France
Jeong Soon OUM, Korea
Christodoulos PANAYIOTOU, Cyprus
Gary-Ross PASTRANA, Philippine
Chong-Bin PARK, Korea
Mi Kyung PARK, Korea
Eun Young PARK, Korea
Adam PUTNAM, U.S.A
Michael RADECKER, Netherlands
Rachael RAKENA, New Zealand
Kelly RICHARDSON, Canada
Porntaweesak RIMSAKUL, Thailand
Stefan RINCK, Germany
Choong-hyung ROH, Korea
Nigel ROLFE, Ireland
Roxlee, Philippines
Aida RUILOVA, U.S.A
Karen RUSSO, Israel
Pinaree SANPITAK, Thailand
Ilan SANDLER, Canada
Larissa SANSOUR, Palestine
Martin SASTRE, Uruguay
Hiraki SAWA, Japan
Sara SCHNADT, U.S.A
Andreas SCHULENBURG, Germany
S.E.A. PROJECT(Team), Vietnam / Laos / Philippines / Thailand,
Joungguk S대, Korea
Fiona SHAW, U.K
Jim SHAW, U.S.A
Jio SHIMIZU, Japan
Moo Kyung SHIN, Korea
Jeoungeun SHON, Korea
Karina SMIGLA-BOBINSKI, Poland
Han Sam SON, Korea
Mong Joo SON, Korea
Blou SOUP, Russia
Sam SU MENG_HUNG, Taiwan
Prateep SUTHATHONGTHAI, Thailand
Koki TANAKA, Japan
Philippe TERRIER-HERMAN, France
THERKILDSEN, Sixten, Denmark
Titarubi, Indonesia
Montri TOEMSOBAT, Thailand
Mitsuru TOKUTOMI, Japan
Jill TRAPPLER, South Africa
Ryan TRECARTIN, U.S.A
Kuang-Yu TSUI, Taiwan
Naoyuki TSUJI, Japan
Guido VAN DER WERVE, Netherlands
Erik VAN LIESHOUT, Netherlands
Alan VEGA, U.S.A
Luyan WANG, China
Marnie WEBER, U.S.A
Andro WEKUA, Georia
Tien Wei WOON, Singapore
Miao XIAO CHUN, China
Fuyuki YAMAKAWA, Japan
Ju Hae YANG, Korea
Qian YANG, China
Tae Keun YANG, Korea
Yeorrock, Korea
Ji Hun YOO, Korea
Seung Jae YOO, Korea
Young-Seok YOON, Korea
Harumi YUKUTAKE, Japan
Ivette ZIGHELBOIM, Venezuela
Liliane ZUMKEMI, Switzerland

The scary face in Wiener Strasse

The secret rainbow in Kottbusser Tor

The kissing palm trees in Adalbert Strasse