“It’s all about freedom, yours, mine, ours”
Digital Art, Drawings, social critic, constructivist, geometry
Venice Biennial of Architecture 2012
Born 1975 in Bratislava, Czechoslovakia
Lives and works in Bratislava, Slovakia
University of Fine Arts and Design, Bratislava
Art Institute of Boston, Boston, Ma., USA (Fullbright Scholarship)
University of Houston, Clear-Lake, Tx.,USA
Slippery Rock University, Pa., USA
STRABAG Art Collection Vienna, Imago-Mundi Collection of Luciano Benetton Treviso ect.
2021 Drawings . . . and Contents, Art 9Teen – Vienna’s Private Art Club, Vienna
2020 Group Exhibition “Remapping the Future”, Art 9Teen – Vienna’s Private Arts Club, Vienna
2020 Group Exhibition “Remapping the Fture”, Kunsthaus 7B, Cisnadioara, Romania
2018 Standing Waters, Remont Gallery Belgrade, Serbia
2017 Drawings . . . and Contents, Gallery of Slovak Institute Prague, Czech Republic
2017 Standing Waters, Gallery of the Municipality of Bratislava, Slovakia
2012 13th Biennale of Architecture Venice, Venice Italy, curator: Jan Pernecky
2010 STRABAG Art-Award
"My freedom comes with the end of your arguments"
Ink on paper | 76x56 cm | 2014
"Borders, Barriers, Obstacles and other Funny Things"
Ink on paper | 56x54 cm |
"Brave Brave World"
Ink on paper | 56x45 cm | 2017
Mika Ela Fisher adds an entirely new aspect to the Paris Schools “Art Plasticienne” -
the sculptural clothing. In its diversity, the components bespoke clothing and model
or tailor's dummy merge into a total work of art and thus into an extraordinary form of
body art. It is less about the type of presentation; Mika Ela Fisher is too complex and
pan-disciplinary for that, between tailoring, photo modeling, acting, filming and
chanson. Rather, Fisher is engaged with the fact that the bespoke dress becomes an
essential sculpture. Working on the human body, taking measurements, processing
the materials becomes the work of the sculptor, who releases the sculpture from the
textiles and their cuts and gives it its own physicality.
It's easy.It's hard to understand, but it is still the case that clothing is seen as a necessity,
fashion design or at most haute couture, i.e. a luxury product, but rarely as a work of
art, certainly not as a sculpture. Mika Ela Fisher makes it clear that the production of
made-to-measure clothing can be a manual act, but it can also be an artistic act,
since it represents nothing other than sculpture - the three-dimensional images are
created from solid materials. It is characteristic of Mika Ela Fisher as a maître tailleur
(master taylor) to manufacture women's clothing using a manual technique and processing
it in the way that it's used for men's clothing. In doing so, she elevates the work above anything
sexual and yet, creates new tensions between male and female.
Fisher deliberately goes beyond the usual, daring to take her own new paths. Critical comments like
"Impossible! You can't wear something like that!” provoke the artist to continue on the chosen path.
Mika Ela Fisher learned the handcraft “from scratch” with Max Dietl in Munich. Playing with the
techniques she had learned, developing them further and putting them together again,
unintentionally in the experimental sense, open-ended, was particularly important to her.
It was the basis for the artist that enabled her to go further, to go beyond what she had learned
and to break new grounds.
Mika Ela Fisher's is always the sculpture's own bespoke model, but also allows the art connoisseur to slip into the role of the model and be his own sculpture. Your own forms become an art object. In her work, Fisher remains minimalist, in a clear language of form, connected to the French "Art Plasticienne".
She expresses this in a timeless style of textiles, but also in other media, such as installations in which the human body is part of the overall work of art, but also touches on the field of performance. Mika Ela Fischer shows the interplay of "identity - role - physicality"; just as expressively in her films, in the composition of photographs in which the artist herself appears as a model, optionally with the aforementioned tailor's dummies and even in improvised chansons. The body with its forms of expression such as the voice, intonation, speed and marble-like persistence in positions, the accurately drawn folds, which in reality is living material, all this becomes a medium for transporting art, turns people and the situation into a petrified sculpture, and thus at the same time an essential art object. As in classic body art, Fisher turns her own body and the body of the art connoisseur into medium and object at the same time. Mika Ela Fisher's body art is not shocking or sensational at any price. Fisher tends to confuse by overturning and rearranging classic identities and roles such as between man and woman. She works on the body, with the body, through the body in the interaction of the two opposing aesthetic principles, the bright, Apollonian-sublime and the cruel Dyonisian-uninhibited. Friedrich Nietsche believed that the two are united only in Attic tragedy. The concept and implementation of Mika Ela Fisher's Art Plasticienne are part of this classic tradition.
The artist's work undoubtedly belongs to conceptual art in the true sense as Henry Flint defined it innthe 1960s; her improvisations stand for this, but even more so her avant-garde self-image and the constant striving to try out new things, to subordinate technology and implementation to the idea, but at the same time to increase the technique and implementation in ability. For Fisher, the meaning of the work of art has the same value as the implementation. Coming from a craft
background, Fisher sees her art as a craft that she has continued to develop over decades. She lets her work mature and continues to develop. This also includes the careful selection of the fabrics, some of which are no longer available on the market, or the careful design of the inner workings of the clothing that gives the overall appearance support, the yarns used and the tools used. "Back to skill" one could understand her understanding of "savoir faire", with which Fisher also clearly rebels against the superficiality and indifference of our global "hysterically cool and technology-worshipping" society.
The photographs were taken during the shooting of the movie "Valiant
Hands in the Chaos of Time", Chrysopras Films, Paris, 2013.
Thomas Emmerling, Cisnădioara April 2022
Born 1984 in Romania
Living and working in Bucharest
National University of Fine Arts, Bucharest
L'Ecole Superiure d'Art (Cinema et Peinture), Grenoble, France
PhD in Visual Arts at National University of Fine Arts, Bucharest
Private collections in USA, France, UK, Korea, Germany, Romania
2021 Cultural Festival Memmenterrae “Limitazione e Delimitazione in Arta e Natura” in Villamaina, (AP), Italy, curator: Dr. Elmar Zorn, Munich
2020 “The Secret Stories of Danube River”, Art 9Teen – Vienna’s Private Arts Club, Vienna
2020 Group Exhibition “Global Contemporary – Art from Romanian Private Collections”, Art9Teen –Vienna’s Private Art Club
2020 “River as Connector”, Visual Art Museum, Galați, Danube
2019 “Danube – River as Experience”, Galateca Gallery, Bucharest
2018 Group Exhibition “Aici – Acolo”, Cotroceni National Museum, Bucharest
2018 Group Exhibition “GPL – Contemporary – Fine Arts From Vienna”, Kunsthaus 7B Cisnădioara
2018 Group Exhibition “Impreuna – Together”, Sibiu Airport
2017 Group Exhibition “Art Privat”, Kunsthaus 7B Cisnădioara
"Mnemonics – Ada Kaleh"
Oil, wax and gold-dust on canvas | 40x40 cm | 2018
“Art means perception and emotion”
Painting, installation, video-art, lyrical-abstract, deep-minded social-political concepts
Artist and curator
"Border as Invitation"
Acrylic on canvas |130x100 cm | 2018
"Crossing Borders" | Acrylic on canvas |100x100 cm | 2020
Bryn Marie Migliore
Bachelor of Fine Arts Sculpture, Plymouth State University, Plymouth, NH, USA
Bratt Institute of Art, Brooklyn, New York, NY, USA
“My work consists of exploring the transformation within ourselves that occurs over the course of
our lives and existence. From our DNA existing within the enormity of our universe, to the role these
forms play and how they exist within the cycles and dichotomy of life. How beliefs and credence
morph and change people within a society and are constantly evolving. While some people will use
the experiences throughout their lives as inspiration, others become stifled. Exploring the
relationships between those connections and changes with the fundamental belief of who we are
within the universe and how we interact and that there is no coincidence between these
relationships has become essential to my practice as an artist.” (Bryn Marie Migliore, Lugano, 2022)
2019 Conversion, La Filanda, Mendriso, Switzerland
2017 Press Pause & Play, Bang & Olufsen, Lugano, Switzerland
2017 Transfiguration, Piazza Luigi Taddei, Bre, Switzerland
Selected Group Exhibitions:
2019 Connections, The Eubie Blake Cultural Center, Baltimore, Maryland
2019 Manifestarte, Spazio Arte & Valori, Giubiasco, Switzerland
2018 Daddy Was A Milkman Concert, Harang Gallery, Kaunas, Lithuania
2018 Gold Art Gala, Villa Sassa, Lugano, Switzerland
2018 CollinArte, Comune di Collina d’Oro, Montagnola, Switzerland
2018 Korea-US exhibition, Harang Gallery, Seoul, South Korea
2017 New Works, Galleria Strasburgo, Milano, Italy
2017 Citta divise, Citta plurali/ (r)esistenze, Spazio 1b, Lugano, Switzerland
2017 Lasting Impressions, The Museum of White Mountains, Plymouth, New Hampshire
2017 CollinArte, Comune di Collina d'Oro, Montagnola, Switzerland
2017 Provobis 2nd International Contemporary Art Exhibition, Palazzo Franchi, Assisi, Italy
2017 Gala di Beneficenza, Zonta Club di Lugano, Monte Generoso, Switzerland
2016 Iran Contemporary Art Biennale "Peace on Paper", Niavaran Cultural Center, Tehran, Iran
2016 Presentazione MAG: Il Portfolio dei Creativi in Ticino, Five Gallery, Lugano, Switzerland
2016 Sculpture Network New Year's Brunch, Perseo Fonderia D'Arte, Mendrisio, Switzerland
2015 Locarno Citta del Gusto Associazione Artigiani GLATI, Locarno, Switzerland
2010 All Along the Clocktower, Bronx, NY
2010 Avenue A Gallery, New York City, NY
#identity #beingourselves #exploringmysteriesoflife #bronzeart #mysteryofbronze #experienceofbronze #growth
Kansas City, Missouri, USA
“All life is architecture” Armin Mühsam is known for geometrical, post-constructivist paintings, that show apocalyptic sceneries, without humans. But we can see the impact of the Western Society, which tries to keep nature under control.
Armin Mühsam, born 1968 in Cluj-Napoca lives and works in Kansas City, Missouri, USA. In his work is visible the constructivist influence which leads to architectural clear subjects, calculated, without any space for coincidence.
Aside the architectural quotation of his new home, the Middle-West of Northern America which reminds on Edward Hopper, Mühsam completes his work with organic elements of nature as forests, trees, clouds. He describes a technocratic consumist contemporary world with all its exaggeration. Geometric clear lines are representing the analytic linear thinking, which is discovered as one of the possible causalities..
In his later works he is reducing until almost it is not more possible, to identify the scenery he wants to make us aware of. Diagonals, lines, cubes, squares and complementary colors are representing a reasonable world. But nature is breaking through by the easiness of clouds, sunny atmospheres and the fade green of the forests.
Armin Mühsam’s work is more than social critic on the “American way of life” which became a “global way of life”, it is a reminder on natural, classical, eternal laws, like the appreciation of life. Even when he shapes the nature into gemometric lines, it becomes a rememberance on classical values and based on that a social critic.
As the situation of our polluted world has many causalities, as well, Armin Mühsam has many causalities, to warn us. The obvious strong colors in his work are a sign for the passion for life, but as well, in all deep thinking, he awakes emotions and reminds us to get angry. There are many different good reasons to loose the patience.
The nowadays rare combination of message and artistic approach in Mühsam’s work, makes him one of the most remarkable contemporary artists born in Romania.
"The absence of the sacred"
Oil on canvas | 58x76 cm | 2015
Oil on canvas | 60x56 cm | 2018
Oil on canvas | 60x45 cm | 2018
“The act of painting means to live in my own wonderland”
Painting, Installation, deep-minded social-political concepts about mythology
Oil on nettle | 120x100 cm 2021
Born 1977 in Sibiu, Romania
Lives and works in Bonn, Germany
Master of Fine Arts University of London
Kunstakademie Düsseldorf at Markus Lüpertz and Herbert Brandl
Henkel-Art-Collection, Art-Collection Ernst & Young Düsseldorf
2010 Galerie Anna Klinkhammer, Düsseldorf
2021 “Cushioned Clouds”, Kunsthaus 7B, Cisnădioara
Januar 2021 „Cushioned Clouds“, Art 9Teen – Vienna’s Private Art Club, Vienna
Oil on nettle | 120x100 cm | 2020
Oil on nettle | 120x100 cm | 2021
Oil on canvas | 120x80 cm | 2018
The main issues in life are appearing in fine colors and in minimalistic shapes. They appear reduced to the question “what happened?”
Painting gives me the opportunity to combine them, realism and reduction, shock and consolation, restraint and driving passion, lines and colors, as a mirror of our life.
Painter, Music-Performance, Film-Maker
The eternal game between women and men, and how to understand the changes of our time
National Academy of Fine Arts Bucharest
2019 – “Declosure of a romance”, Berlin
2019 – “Spirit of Ecstasy”, Rolls Royce Motorcars, Munich (Group exhibition)
2018 – Inauguration Exhibition, GEORADO Foundation, Dresden-Dorfhain (Group exhibition)
2018 – “Should I go or should I stay?” Kunst Klinger, Vienna
2017 – “Art Privat”, Kunsthaus 7B, Cisnădioara, Romania
2016 - Art Safari, Bucharest, Romania
Oil on canvas | 70x50 cm | 2018
Oil on canvas | 50x80 cm | 2018
Artworks available by artists from Central and Eastern Europe (CEE) or in a strong relation to the CEE-area:
Alena Adamikova, Painting, Nova Dedinka, Slovakia
Irina Epifan, Photography, Bucharest, Romania
Cristina Gagiu, Painting, Cluj-Napoca, Romania
Gabriela von Habsburg, Stainless steel sculpture and Lithographs Stockdorf, Germany
Sorina von Keyserling, Sculpture, Berlin, Germany
Tatjana Lee, Painting, Augmented reality, Munich, Germany
Daniel Munteanu, Photography, Video, Augmented reality, Cisnadioara, Romania
Bianca Turner, Painting, Los Angeles, CA., USA