Martina Grlic

Diogo RebeloTânia Diniz

Swoon (Marc Neys)

Matt CollierTina Hage

Jayne Surrena

Marie Irmgard

Ossi Piispanen

Piotr KotlickiWeronika Trojanska

Jophel Ybiosa

Eberhard Bosslet

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Crise, je t’aime: Uma longa-metragem série B.

F.M.I., TROIKA, DÉFICIT, RATING, RESGATEFINANCEIRO, AUSTERIDADE...

Se não o soubéssemos de antemão, podíamosser levados a crer que as palavras acimaenunciadas faziam parte de um qualquer guiãode filme categoria B, de baixo orçamento e noqual actores e actrizes, mal pagos, tentam atodo o custo interpretar diálogos intragáveisentre cenários e adereços que já viram melhoresdias.

Ao grito de “Acção!”, os resignados actoresobedecem.

Enumerar neste editorial os motivos que noslevam a dedicar o 3º número da Park ao tema“crise” é uma tarefa à priori condenada aofracasso.Esta é apenas uma breve e modesta tentativade sondar o modo como os artistas a abordame a forma segundo a qual esta se manifesta nasua prática.Tendo em conta a forma e conteúdo dassubmissões recebidas, a crise surge muitasvezes como um factor pessoal, da relação doeu com o outro e com o mundo. No campodas artes, deseja-se que em vez de inibidor,este seja um factor catalisador de mudança,não a mudança inconsequente, usada eabusada sob a forma de slogan político, massim uma transformação efectiva de mentalidadese atitudes; do ressurgimento do sentimento decomunidade e partilha, da justa distribuiçãoda riqueza e da acessibilidade à justiça.Porém, a realidade contradiz-nos, sobretudonum país que vê recentemente o sector dacultura ser despromovido de ministério asecretariado, vendo-se ainda a braços comuma política de cortes cegos.Entretanto, as massas embrutecem. À dosediária de (más) notícias, acrescente-se umamão-cheia de reality shows e o inevitávellembrete de que a nossa, a anterior e asgerações por vir já carregam a pesada cruz aque decidiram chamar dívida.

Enquanto esta tragi-comédia se arrasta, oscréditos finais teimam em não aparecer. Opúblico debanda. Não vamos ouvir aplausosnesta sala

Crise, je t’aime: A longplay B-rated film.

I.M.F., TROIKA, DEFICIT, RATING, FINANTIALRESCUE, AUSTERITY ...

If we didn’t knew it beforehand, we could beled to believe that the above-listed words werepart of a script of any B category film, a lowbudget one and in which the underpaid actorsand actresses, try at all costs to interpret poordialogues between props and sets that have allseen better days.

At the cry of "Action!", The actors resignedlyobey.

To enumerate over the following lines the reasonsfor which we’re dedicating Park’s 3rd issue tothe theme “crisis” is a task doomed to failureat birth.This is only a brief and modest attempt to probethe way some artists approach the subject andthe manner in which it is manifested in theirartistic practice.Considering the form and content of submissionsreceived, crisis often appears as a personalfactor, the relationship of the self with the otherand the world as a whole. In the arts, wouldbe that instead of an inhibitor, this factor couldbe a catalyst for change, not the inconsequential,change, used and abused as a political slogan,but a concrete change in both mentality andattitudes, the resurgence of the sense ofcommunity and the process of sharing, theequitable distribution of wealth and access tojustice.However, reality contradicts us, especially in acountry that sees it’s cultural sector recentlybeing demoted from a ministry to a feeblesecretariat, in addition to a policy of blind cuts.Meanwhile, the masses get thicker. To the dailydose of (bad) news, one just needs to add ahandful of reality shows and the inevitablereminder that ours, the previous and thegenerations to come already carry the heavycross that goes under the name of “debt”.

While this tragicomedy drags on, the end creditsdo not appear. The public stampede. Noapplause will be heard in this room.

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A Park gostaria de agradecer a todos os colaboradores queforneceram material para este número. Os artistas retêm todosos direitos de autor sobre os trabalhos, a menos que surjanota específica em contrário. Estamos dispostos a corrigirqualquer erro ou omissão no próximo número.

The publishers would like to thank everyone who has furnishedinformation and materials for this issue. Unless otherwisenoted, artists featured in PARK retain copyright to their work.The publishers will be pleased to correct any mistakes oromissions over the next issue.

© Park 2012

DESIGN: Sérgio Marques www.astigmatico.blogspot.com

BLOG: Paulo Jesus www.pj-untitled.blogspot.com

WEB: Bruno Mota www.bmota.net

No dia 25 de Setembro de 2011, sentiu a crise de um modo especial, não lhe apeteceufazer o almoço e apanhou o metro até ao Corte Inglês, à sua frente, estava sentadauma africana grávida a ler um livro, vestia uma saia verde, sapatos verdes, casacoverde e mala verde. Espreitou para ver se o titulo era “verde” e leu: “Especial Sopade Letras”.Entrou no Corte Inglês e escolheu o menu fatia de pizza + bebida= 2,95€. Nas mesasos velhotes lêem o jornal e as velhotas olham simplesmente para o estado das coisas.No supermercado ninguém faz compras e as meninas das caixas têm o olhar daMonalisa.

Regressou a casa e não sabia o que fazer, (estava mesmo em crise), sentar-se, embrulhar-se num cobertor, comer chouriço com pão, fumar, trocar o sítio de um obbjecto qualquer,lavar a loiça que ficou desde ontem, sair, pegar num livro, telefonar sem saldo.Ligou a TV e as vozes dos políticos excitam-na, decide-se então pela masturbação nosofá. Foi interrompida por dois homens que tocavam na rua o Besame Mucho e atirouo euro pela janela.

On September the 25th 2011, she felt the crisis in a special way; didn´t felt like makinglunch and took the subway to the mall, in front of which sat a pregnant african womanreading a book, wearing a green skirt, green shoes, green coat and a green suitcase.She peeked to see if the title was "Green" and read: "Special Soup of Letters."She entered the mall and chose the slice of pizza + drink = 2.95 menu. As old menread newspapers old women just s imply gaze the state of things.In the supermarket you shop one of the boxes and the girls have the look of the Monalisa.

He returned home and did not know what to do, (it was even in crisis), sit down, wrapin a blanket, eating sausage with bread, smoking, changing the site of a obbjecto any,who was washing up since yesterday out, pick up a book, call out of funds.She turned the TV on to find that the voices of politicians aroused her, then decide bymasturbation on the couch. Was interrupted by two men who played on the streetBesame Mucho and she shot the euro through the window.

Leonor Oliveira

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Diogo Rebelowww.kimosabedesign.com

Neste trabalho, a abordagem ao tema “Crise” foi feita através de uma dicotomia entre a crisefinanceira, a nível geral e uma crise de valores e parâmetros de felicidade, a um nível pessoal.Vivemos hoje numa sociedade de consumo, tecnologicamente avançada no sentido de nos criarmais oportunidades a nível de tempo de qualidade para desfrutar das nossas vidas. No entanto,a ideia de felicidade é traduzida numa necessidade de adquirir produtos e tecnologias e sãoesquecidos por vezes os valores e os pequenos gestos que, no final, são os verdadeiros Temposde crise são difíceis. São tempo propícios a que estes valores sejam esquecidos e que aspreocupações acabem por ganhar mais importância que a família, amizade, compaixão, ouamor. Este trabalho serve para relembra (-me) como é exactamente nestas alturas que devemosabraçar estes valores e perceber a sua real importância.Espero com esta ilustração, incentivar a uma reflexão sobre valores que são inatos, que crescemconnosco, na nossa experiência e educação e que estão presentes quando tudo o resto nos étirado. Chegou a hora de perceber que os bens materiais de nada nos servem, que a buscaincessante pelo consumo de nada serve, quando tudo o que precisamos é amor… e é grátis!

Para expressar a minha ideia tentei criar uma imagem de felicidade, simples: uma família quedesfruta da companhia uns dos outros, em que todos partilham um momento de felicidadeproporcionado apenas por eles.A família está em primeiro plano na ilustração para ter o destaque que lhe é devido, ao fundo,uma barraca que simboliza falta de bens materiais, assim como as roupas humildes que usam.É uma família humilde, simples, mas uma simplicidade feliz.As cores são alegres, utilizei o verde “bandeira” para transmitir o elemento da esperança. Nabarraca coloquei elementos inerentes à crise, como retalhos de vários temas, campanhaseleitorais, pedaços de um todo desfeito. A presença destes elementos servem para mostrar comocertas decisões nos pode retirar a qualidade de vida material mas que no final, cabe-nos a nósa decisão de deixar que nos tirem aquilo que nos faz mais feliz.

Para a Crise, com amor

The approach to the theme “Crisis” was made by a dichotomy between the financial crisis,at a general level and, on a personal level, a crisis of values and happiness parameters.We’re living in a consumer society these days, a technologically advanced one in order to createmore opportunities in the level of quality time to enjoy our lives. However, the idea of happinessis translated into a need to acquire products and technologies and values and small gesturesare often forgotten, the ones which ultimately are the real drivers of this happiness.Times of crisis are hard. Times in which these values are forsaken and day-to-day worries endup gaining more focus than family, friendship, compassion or love. This is a work that servesto remind (me) how it´s exactly during these times we should embrace these values and understandtheir real importance.My hopes with this illustration, are to encourage reflection on values that are innate, they growwithin ourselves, in our experience and education and that are present when everything elseis taken away. It's time to realize that material possessions serve us very poorly, that the incessantsearch for the consumption is of no use, when all you need is love… and it’s free!

To express my idea i tried to create a picture of hapiness, a simple one: a family enjoying thecompany of eachother, sharing a moment of hapiness themselves “produced”.The family occupies the most of the illustration’s space so it´s highlighted the way it should, inthe background, a shed symbolized the lack of material possessions, as so do the humble clothesthey’re wearing. It´s a simple, humble family, but happy.The colours are joyfull, flag green was used as to convey a feeling of hope. The shed incorporatessome crisis related elements, like shreds of electoral campaigns. The presence of these elementsserves the purpose of showing how some decisions can strip us from material goods but in theend, it’s ours the decision to let someone take us apart from what really makes us happy.

For Crisis, with love

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Martina Grlicwww.martinagrlic.blogspot.com

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As pinturas de Martina Grlic questionam a memória de um tempo passado e o medo sempre presente

nas vidas das pessoas, ao confrontar o pessoal (cenas de família) e o colectivo (famosos filmes de

propaganda que mostravam as medidas a tomar em caso de guerra nuclear). Esta atmosfera de medo

nuclear é representada numa tela de grandes dimensões que representa uma acrobata a caminhar sobre

uma corda. O jogo está ligado ao perigo, o lidar com o medo. Estas pinturas são “pesadas” ao mesmo

tempo que lançam um comentário humorístico sobre um tempo não muito distante, assim como na própria

condição humana. Alegria e esquecimento são necessários para sobreviver; ignorara o perigo é um

método para nor tornar-mos mais fortes preservar a saúde.

A ameaça de outrora torna-se num facto estético do presente, similar ao negro fascínio com o conflito

nuclear que podemos encontrar na película Dr. Strangelove de 1964, numa altura em que o mundo

estava de facto muito próximo de entrar numa guerra nuclear.

Martina Grlic’s paintings question the memory of a past era and it’s omnipresent fears in the lives of

individuals confronting the personal(family scenes) and the collective(popular propaganda films prescribing

cautionary measures in case of nuclear war).This atmosphere of nuclear fear is represented by a large

canvas depicting an acrobat walking on a thin line. The game is connected with danger, ease with fear.

These paintings are a dark but humorous commentary not only on times long gone but also on human

condition itself. Joy and forgetting are necessary in order to survive ignoring danger is a method of

endurance and preservation of our health.

The threat of yesterday turns into an aesthetic fact of today, similar to the dark fascination with nuclear

war which can be found in the 1964 black comedy Dr. Strangelove at a time when the world was in

fact on the verge of nuclear war. Atomic Landscapes

On a Wire | oil on canvas, 140x170 cm | 2011

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MARTINA GRLIC

Born in Zagreb in 1982.Graduated in 2009 from the Academy of fine arts Zagreb,Department of Painting, mentored by prof. Zlatko Keser and Duje Juri.Participated in around ten group exhibitions since2008.

SOLO EXHIBITIONS2011'Atomic Landscapes', Gallery SC, Zagreb, Croatia

GROUP EXHIBITIONS201022nd Slavonija Biennale, Gallery Gluo, Osijek45th Zagreb Salon, Gallery Prsten, Zagreb30th Salon of Young art, Gallery Prsten, ZagrebGallery Marisall, “Women”, Zagreb

2009GirlPower festival, KoprivnicaGallery Stancic, Zagreb

2008Transfer Magije, Gallery Forum, ZagrebDubrovnik summer festival, "Marinu Drzicu crtezom", Dubrovnik

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“What a strange nurse you found for yourself […], it really doesn’t seem like avery good idea […] but then again who I am to talk. To be smothered in all thatstuff doesn’t seem so good but in God we trust and maybe it’s good you havesomeone who can keep your pyromaniac tendencies in check [...] I’ve got you’vebad here in Copenhagen here, but then again I get lost in all those people whomI’ve got so bad so hold your horses on that plane ticket. The strangest things hashappened though – actually two things; I have developed a fear of heights […],remember how I used to love them, actually it is not so strange but I will spareyou that story, the other thing is that a couple a weeks or maybe months ago Isaw a girl on a bike that kind of resembled our era […], strange to see such agirl in Copenhagen, she was on a bike so it was in passing, I was leaving anopening. […] so, husky eyes are still here […], I know she really broke his heartbut he deserves it I think, he is always so lucky anyway […], I try hard not tobe jealous […], anyway she had too much past for him, the Americans call itbaggage – like luggage [...] attempting to create images through words [...] isthat possible? [...]Too much, much too young […], uh, but now we actually areold & I am so surprised of how many of us are still […], vive le weekend vs. thebeast in me, the jury is still out on that one but the verdict is closer than it hasever been [...] beginning to feel like home, beginning to feel happy and blessedfor the clear water running through the faucets, [...] M is really a great nameeven if she was always the prettier of you two […]. I think about the desert often,I could go to one of those pyramid countries but I’m not sure I would like it there;it’s too foreign & too noisy, but I should tell you what happened to everyone,but it’s hard to remember, some days I remember everything so clearly and Ican watch it as a movie, other days it’s just gone. C has a big sneaker collectionand a wealthy husband and […]. Twinkle, mopeds and Melissa […] Black-Steel-Brutus […] and rooftop summers […] but I digress again […] I always thoughtManhattan was overrated […] I remember every word you’ve said though I tryhard not to […]. There are no fireflies in Denmark but the air is clean & I amsupposed to appreciate that but every time I am in a parking garage I inhalethe smell deep and miss home […]. I took the best and the worst times and Ialways dance too long, while you always held up your head high and got thebest boys even […] , you know he made a music video, gward it seems sooutdated: music video – but anyway he did, with little bunnies running aroundhim, what an idiot but maybe he did it to seem taller? Two people or threepeople […] but I really want to have grandchildren so I sort of became my ownchain gang – there are no good in evil hearted woman and I ain’t cut out to beno Jesse James. […] I think the only time I ever liked D was the day he wore ared t-shirt and his eyes looked so sore like they were withholding tears, howeverit was just a brief glimpse, otherwise he was mostly a cliché of himself […], sois J, he is so old now but he also was then, what an idiot chasing dementedteenage girls then and still doing it now […], about D I blame it on the rain Milli-Vanilli-style […] but sometimes I’m the sore one. […] and no guys wears biggold rings here apart from a few deviated criminals […] the day in the mountainswas pathetic and made me feel very uncomfortable though I’m sure he enjoyedit […]. We are too old to run away […], how’s your husband? How’re thechildren? […] Ave Maria and April snow […], I got tired of just playing bit partsso I retired, I rejected some leads […] that is too much responsibility and I don’tever want anyone […] again, whether it was really my fault or not […] it wasn’the was crazy […]. I need a new phase; I miss your clearness and your razorsharp brightness in all this blurriness. To have a fresh feeling would be so good[…]. Polly-Meat and […] I do whatever I want, and mostly I want to walk alone[…]. Papa blank-expression goes around trying to cast spells but he isn’t catchinganyone. He is such a love-pervert and I can’t really stand to see him […]. Sanitarysanity that is a good thing but all my friends are so […] dirty and […] don’thave money to buy new […], there are no surprises here […]. […] do you knowshe married a businessman, how well of her […], no return […] and I havesomething in my eyes; […] most incriminating parts. I will see you soon or […]actually maybe […] - Je suis venu te dire que je m'en vais”

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Marie Irmgardwww.marieirmgard.com

The Copenhagen Letters/ Je suis venu te dire que je m'en vais/ (Crisis, i love you)

Georgia | acrylic on canvas, 150x162 cm, 2011

Count your Fingers JJ (D) | acrylic on canvas, 61x46 cm, 2011 >>>

Flesh World | acrylic on canvas, 200x180 cm, 2011

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Eberhard Bossletwww.bosslet.com/instant-sculpture.htmlwww.bosslet.com/closed-circuit-comme.html

Eberhard Bosslet estudou na Academia de Artes de Berlim de 1975 a 1982. Desde1997 é professor de escultura e conceitos espaciais na Faculdade de Belas Artes deDresden.

No final dos anos 70, começou a trabalhar com instalações reforçando as esculturastridimensionais. A obra de Eberhard Bosslet abarca disciplinas tão variadas como apintura, escultura, instalação, intervenção e fotografia. No inicio dos anos 80 começoua interessar-se pela arquitectura de interiores e ao mesmo tempo, pelo conceito daintervenção no espaço ao ar livre. Isso permitiu a Bosslet desenvolver obras plásticasoriginais em torno dos conceitos de construção e casa, com exteriores e interiores,espaços públicos e privados, que no geral contribuiram para cimentar a sua reputaçãoartística a nível internacional.

Eberhard Bosslet has studied at Brelim’s Art Academy from 1975 to 1982. He´s asculpture and spatial concepts since 1997 at Dresden’s Fine Arts School.

Since late 70’s, began working with installations re-enforcing his sculptures. The workof Eberhard Bosslet spans such diverse disciplines such as painting, sculpture, installation,intervention and photography. In the 80’s began to work with interior architecture andinterventions in open spaces. That allowed Bosslet to develop original artworks aroundthe concepts of home and construction, with exterior and interior, public and privatspaces, which contributed to solidify his reputation as an international artist.

Akquisition 33/77steel, galvanized synthetic material |1x13x10,25 m, 2008

Consum Star Ostralesteel, galvanized synthetic material | 1,10x14,50 m, 2008

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Arte no espaço público – Escultura “instantânea” - Círculo de carrinhos de compras:Akquisition, Closed Circuit Commerce II, Consum StarDesde 1970 que faço esculturas com carrinhos de compra nos estacionamentos emfrente de grandes centros comerciais, lojas de ferramentas, etc, ao transformar oscarros/trolleys em estruturas novas e autónomas.Circle: 100 carrinhos de compras são encaixados para formar um círculo.Devem-se colocar os cadeados presos. Depois de reunir alguns carros, as pessoas nãoacreditam que se possa formar um círculo. Mas se reuniu 50 ou mais carros percebe-se que é possível. Precisa-se de cerca de 100 carros e 0 moedas.Vai precisar de cerca de 10m de diâmetro.

O círculo deve ser posicionado de uma forma que bloqueie ou desactive os espaços deestacionamento e respectivas ligações.

Art in public space – Instant sculpture - Shopping trolley circle : Akquisition,Closed Circuit Commerce II, Consum Star.Since 2007, I make sculptures in public spaces using shopping cart on the parking spacesin front of large shopping centers, hardware stores etc. by transforming the waitingcarts/trolleys to new structures.Circle: 100 shopping carts are fitted together to form a circle.You must put the chains in the coinlock. Once you put together a few cars, people donot believe that one can form a circle. But if one has put together 50 or more cars yourealize this will be possible. You need about 100 cars and no coins.You need about 10m in diameter space.

The circle should be positioned in a way that it blockes or disables parking spaces andthoroughfares.

www.youtube.com/watch?v=8SIQ6cOx4ag&feature=related

www.youtube.com/watch?v=dKWqKp_MGvE

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Closed Circuit Commerce Isteel, galvanized synthetic material | 1x13x10,25 m, 2008

Education:2005 – 2010 Academy of Fine Arts, Poznan, PolandM.A. in Fine ArtsFaculty: Education of Art – Art CriticismIX 2008 – VI 2009 “MASKA” Theaters Make Up and Wig-makingSchool (title: Make-Up Artist) ,Poznan, Poland10. 2007 – 02. 2008 Universitae Nationala de Arte, Bucharest,Romania

Professional Experience:05. 2011 - today assistant in Grimmuseum, Berlin, Germanyintern in gallery G11, Berlin, Germany05. 2011 intern in Zero Project Gallery, Berlin, Germany01. 2010 internship in Museum of Modern Art, Lódz, Poland02. 2011 internship in daily newspaper “Gazeta Wyborcza” inculture department01. 2009 – 02. 2011 work as a waitress in cafe “Czekolada”and café-restaurant “Pracownia”,Poznan, Poland2008 – 2009 internship as a makeup artist in theater and opera“Teatr Wielki”, Poznan,Poland2006 internship as a stylist in fashion magazine “PANI”, Warszawa,Poland

Art Related Activities:07.2011 “Zellenbank. Internationale Gruppenausstellung”, GalleryG11, Berlin,Germany06 - 09 2011 “Cabinet of curiosities”, Lage Egal, Berlin, Germany06. 2011 “The Beauty of Minor Matter”, Skalitzer 140_temporary,Berlin, Germany03. 2011 “Transaction combined”; Academy of Fine Arts, Wroclaw,Poland12. 2010 “ Project - Education of Art”, Zamek Culture Center,Poznan, Poland10. 1010 “Seeing is forgetting” (solo); Naprzeciw Gallery, Poznan,Poland05.2010 “Seeing is forgetting ” (solo); Muzalewska Gallery, Poznan,PolandPublication of articles about art and exhibition’s

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Weronika Trojanskahttp://weronika-trojanska.blogspot.com

Universum Urania"The wind rose, and made an endelss howling,and with a swell of eight cubits.Only the mast broke it for me.Then the boat died."

(The Tale of Sinuhe and Other Ancient Egyptian Poems, 1940 - 1640 B.C)

Fantasy is Toxis | mixed media, 2011

Universum Urania II | mixed media, 2011

Utopia | mixed media, 2011

Liberté | mixed media, 2010

www.parkmagazine.org

Starting in 2010 and based in Oporto, Portugal, PARK [art magazine] is a joint project wichaims to bring together as many creative minds as possible, from different backgrounds andwilling to share their work through a home-grown online and future printed publication dedicatedto art and culture, making it's debut into the web as a digital online edition in the form of a flipmag as well as a downloadable PDF. The very anatomy of the magazine will hopefully rely onan ever growing list of contributors.

We want to make it as diverse and challenging as possible.

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Swoon (Marc Neys)www.swoon-bildos.be

Video-art2011 – 07 Selection of “Unentitled” for the Experimental film and videofestival (D)FEFV (Krk, Croatia)2011-07 Screening and selection of “Words” for the television program“De Canvasminuut” (Canvas, nat ional Belgian television)2011-04-30 Screening and selection of "Clouds" at "The West VirginiaMountaineer Short Film Festival" (Morgantown, USA)2011-04-30 Screening and selection of “Could it be” at “The one minutesBelgian open” (Ghent, Belgium), category art and narration2011-04-30 Publication of “Words” and introduction page in “TowerJournal” Spring edition2011-04-26 First prize Moving Poem’s first videopoem contest2011-03-26 Screening of “Siren Song”, “Clouds”, “Shuttered Windows”,and “Not Yet” at “Arena” Centrum voor beeldexpressie2010- 2011· Selection of several video poems for the website “Moving Poems”· Collaboration with the American poet H.K. Hummel· Collaboration with the American poet Howie Good (author of severalpoetry chapbooks; three time nominee for a Puchcart Prize)· Collaboration with Andrea Gibson for her poem “Jellyfish”· Collaboration with the Egyptian American writer/poet Yahia Lababidi(Fever Dreams – Crisis Chronicles Press, Ohio, 2011 )· Collaboration with the Belgian poet Marleen de Crée (Het is niet de lava– Uitgeverij P,Leuven, 2010)

Skills· Video-art (Image treatments, editing, image recycling, camera, soundscapecomposer)· Theatre maker with Cie. Parallax (actor - director - writer - video)

Education1985 - present autodidact (Image treatments, editing, image recycling,camera, composer)2004 - 2006 Theatre training (WISPER by Eva De Mulder)1988 Introduction to modern theatre (by Frank Focketeyn)

Curtain (from “Not Again (Prypiat)”) | video still | 2011

“Como toda a boa arte, o trabalho de Swoon transporta-nos para um estado particular.

É, ao mesmo tempo, um estado de atenção e devaneio, no qual o artista partilha connosco a sua própriaexperiência intensa do momento, enviando-nos de seguida a produzir a nossa própria investigação interna.Meditações sobre a Natureza, Time Art, a condição humana e o custo espiritual da modernidade - estassão algumas das alturas vertiginosas que os ensaios audiovisuais de Swoon de propõem a explorar.

"Longing", como Heidegger o define, "é a agonia da proximidade do distante". Algo desse tormentodelicioso encontra-se nas densas tapeçarias, visuais e sonoras que encontramos nestas fotos e vídeos. Nassuas pinturas, miniaturas e filmes, Swoon vai dispondo camada sobre camada pilhas de informações esensações fantasmagóricas, vozes e pathos, ecoando memórias difusas, ao lado de fragmentos de sonhossemi-esquecidos, ou vidas.

A sua visão sugere que pensar, ou sentir, por si só não é suficiente. Ao rendermo-nos ao delírio da sua arte,é como se nos submetêssemos a um transe. Nesse estado, as suas obras de arte evocativas jogam precisamentecom os nossos sistemas nervosos - deixando-nos mais sensibilizados para a fragilidade e indestrutibilidade,de todas as coisas".

"Like all good art, the work of Swoon transports us to a state.

It is a state of attention and reverie at the same time, where the artist shares with us his own intense experienceof the moment, and then sends us each on our own inner investigations. Meditations on Nature, Time, Art,the human condition, and the spiritual cost of modernity - these are some of the dizzy heights that Swoon’saudiovisual essays explore.

“Longing,” as Heidegger defines it, “is the agony of the nearness of the distant”. Something of this delicioustorment informs the dense visual and sonic tapestries found in these stills and videos. In his miniatures paintingsand films, Swoon piles layer upon layer of information and sensation –ghostly voices and pathos, echoingmemory’s dizzy playground, alongside snatches of half - forgot ten dreams, or l ives.

Swoon's vision suggests that it's not enough to think, or feel, alone. By surrendering to the delirium of hisart, it is as though we submit to a trance. In this state, his evocative artworks play upon our very nervoussystems - leaving us more sensitized to the frailty, and indestructibly, of all things."

Yahia Lababidi (writer of Fever Dreams , Crisis Chronicles Press ,2011 - Trial by Ink: From Nietzsche to Belly Dancing -

Common GroundPublishing, 2010, Signposts to Elsewhere - Jane Street Press, 2008)

Smoke (from “The Stockholme Syndrom”) | video still | 2011www.vimeo.com/swoon

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Jayne Surrenawww.jaynesurrena.netwww.fakeice.blogspot.com

Co ageCollage

Chamo me Jayne Surrena, sou natural de Filadélfia, PA. Estudei na

University of the Arts onde me licenciei em pintura, desenho e no ensino

de artes visuais.

Tenho vindo a expôr o meu trabalho desde 2006 quando a galeria Bambi

de Filadélfia mostrou interesse nas minhas colagens. Desde então o meu

trabalho já surgiu por 3 vezes em capas de revistas, na Art Basel Miami,

em duas colecções museológicas permanentes e em vários concursos e

exposições colectivas. Quando começo novos projectos procuro por

inspiração naquilo que me rodeia . Trabalho em Educação Visual em

escolas de Filadélfia, faco curadoria e pesquisa para exposições. No

passado já trabalhei em galerias e casas de leilões.

My name is Jayne Surrena, I’m from Philadelphia, PA. I studied at the

University of the Arts where I received both my BFA in painting and drawing

and MAT in the Visual Arts.

I have been showing my work since 2006 when a Philadelphia Gallery

called Bambi was interested in my collages. Since then I have been featured

on four magazine covers, Art Basel Miami, two museum permanent

collections, multiple juried shows and group shows.As I work on new

projects I look for inspiration through observation from my surroundings.

I work in art education in Philadelphia schools, curate shows and research.

In the past I have worked in galleries and auction houses.

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Improvement | collage

Education2010 MAT in Visual Arts University of the Arts2006 BFA in Painting and Drawing University of the Arts

Awards, Grants & FellowshipsUniversity of the Arts Teaching Fellowship, 2008–2010Upcoming Artist Grant, 2002–2006Young Artist Grant, 2002–2006Alumni Award in the Commitment and Progress of Painting, 2006

PublicationsPhiladelphia Stories Anthology: Volume 2Fall 2009Philadelphia Stories, Best OfFall 2009Philadelphia StoriesSummer 2009, InclusionPhiladelphia StoriesSpring 2009, InclusionPhiladelphia StoriesFall 2007, Cover and InclusionObscurity MagazineSummer 2008, Inclusion

Permanent Collections2012Collage Centennial-The IMCAC Permanent CollectionFort Worth, Texas2009Shah Alam Gallery - Permanent Collection, Malaysia

Juried Exhibitions2011Nurture- Chelsea Museum of Art, NY2010Making It Alumni Show– University of the Arts

Auctions2011Philadelphia Stories Charity Auction2009Philadelphia Stories Charity Auction2008Inliquid Un - Zipped Auction2006Sasa! Sasa! Auction - Mascher Space

Solo Exhibition2006Senior Thesis Solo Exhibition – University of the ArtsGroup Exhibitions2010Art March- Villanova, PAArt Burn - Art Basel - Miami, FL2009Destination - University of the ArtsSummer in the City - Projects Gallery2006Wax, Light and Lacquer - Bambi GallerySenior Exhibition - University of the ArtsThe Human Pixel Project – Venice, CA2005Cream of the Crop - Gallery OneStudent Exhibition - Siano GalleryLove/Hate - Gallery OneBrown - University of the Arts2004Election - Gallery One

FeaturedGawker.comhttp://tiny.cc/ttl4wArt Scene Newshttp://tiny.cc/rs18d

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Education

2006-2009: Master in Fine Arts at Goldsmiths College,London, UK2003: College of Fine Arts Sydney, Australia1999-2004: Diploma in audio visual studies at theAcademy of Media Arts, Cologne, Germany

Solo exhibitions

2004: “dial:ogee” exhibited at the gallery MoltkereiWerkstatt, Cologne, Germany2003: “Erika” exhibited at the gallery of the Academyof Media Arts, Cologne, Germany

Group exhibitions

2011: “The Wolfson Syndrom“, The ModernLanguage Experiment, London, UK“Simulacrum”, Moon Gallery, Hong Kong“The Big Picture”, Illiterate Gallery, Denver, US2010: “Arbeit / Labour”, Fotomuseum Winterthur,Switzerland“Shift Work”, Art Under The Westway, London, UK“Deceit” as part of the ‘Hackney Wicked’ Festival,London, UK“Down the road of Globalisation”, The Crypt, StMartin’s in the Fields, London, UK“Hell In A Handcart”, Happening, Opposite 48Hoxton Square, London, UK“Bay View”, Bay Gallery, London, UK“Ways of Seeing”, I-MYU Projects Gallery, London,UK2009: “Exposure”, TAP, Southend on Sea, UK“Two Positions”, Thomas Rehbein Gallery, Cologne,Germany“NEU/NOW online Festival”, Vilnius, Lithuania“Flexible Aura”, Brain Factory, Seoul, Korea”Jamais vu” as part of the ‘Hackney Wicked’ Festival,London, UK“Goldsmiths College MFA Degree Show”, London,UK“KiC – Nord Art 09”, Buedelsdorf, Germany”HackGold” at The Triangle, Space, London, UK“group/grope” at Area10, London, UK2007: “Stopover” at ADA Gallery, London, UK“Pure Balls” at 222 Space, London, UK”Golden Mugs” Project, Online curatorial project &auction“24h Fall-in-Theatre” at the V22 Ashwinstreet, London,

UK2006: “VBI - Satellite of Love”, in collaboration withambient.tv aspart of the 35th International Film festival, Rotterdam,Netherland2005: “City of Science”, Bremerhaven, Germany2004: “Academy of Media Arts Presents”, TrinitatisKirche, Cologne, Germany”DORKBOT”, Ghent, Belgium2003: “Academy of Media Arts Presents”, TrinitatisKirche, Cologne, Germany2002: “The ShowCase”, Screening at the Filmhaus,Cologne, Germany

Awards & Others

2010: Residency Program with ‘LoBe - London BerlinArt Kunst’, Berlin, Germany“Plat(t)form 10”, Fotomuseum Winterthur, Switzerland2009: Warden’s Purchase, Goldsmiths College,London, UKShortlisted for the Red Mansion Prize2006-07: Scholarship from the DAAD - GermanAcademic Exchange Service2005: Finalist for the VivaCity 2020 Exhibition Grant2004-05: Scholarship at the Design InstituteBremerhaven, Germany2003: Accepted for the exchange program at theCollege of Fine Arts, Sydney2002-04: Scholarship from the Friedrich-Naumann-Foundation

Publications

2010: “patricide 01”, (book/print project), UK“Catlin Guide”, handbook for new British art in 2010,UK2009: ”Flexible Aura”, catalogue & curatorial project,Seoul/London“Universial Pattern - Tina Hage”, catalogue2007: ”Interview with Amanda Lush” in IMNewspaper, curatorial project, London, UK

Collections

Fotomuseum Winterthur, SwitzerlandGoldsmiths University of London, UK

UniverPatt IV (series) | color photography, 2011 Boot 02 | color photography, 2011

32

Piotr Kotlickiwww.kotlicki.com

Suitcreature (street performance) | oil on canvas, 2011Suitcreature (meadow) | oil on canvas, 2010

Piotr Kotlicki (1972) – Polish artist. Graduated 2000 Academy of Fine Arts in Lodz,Poland. Diploma with distinction in R.Hunger studio. Currently works as assistant atState Film School in Lodz (PWSFTViT) at The Film and Television Directing Department.

Group exhibitions:

2011 "I Piotrkow Biennale of Art", ODA, Piotrkow Tryb., Poland"When parks becomes an arena”, SURVIVAL 9-Art Review, Wroclaw,

Poland2010 "Kettle full of diamonds", Nachtspeicher23, Hamburg, Germany

"Young Polish Art", National Gallery of Art, Sopot, Poland"Quadratkubikmeter hoch eins", Nachtspeicher23, Hamburg, Germany

2009 „What can one see?”, ODA, Piotrkow Tryb.,Poland"30 years of art on SieradzkaStreet", ODA, Piotrkow Tryb.,Poland

2008 Vien-Lodz, Artbook museum, Lodz, Poland "Back side of medal-Artists for Tybet," Gallery of Young Promotion, Lodz,

PolandXXII Festival of the Polish Modern Painting, ZKPwS, Szczecin, Poland"The Grande Bouffe", GAZ, Lodz, Poland

2007 „U•pildyta erdve 3”, Petro Kriau i•no Viešoji Biblioteka, Mariampole, Lithuania

„Echange symetrique”, Génie de la Bastil le, Paris, France„Echange symet r ique”, Ar tbook museum, Lodz, Po land

2002 “Two citys- four artists”Stadt Gallery, Esslingen, Germany 2000 “Piano-forte”, Manhattan Gallery, Lodz, Poland1999 “Beyond the plan”, Manhattan Gallery, Lodz, Poland1998 „Bests students of prof. Ryszard Hunger”, Studio Theatre, Lodz, Poland

Individual exhibitions:

2010: "Man jumping over", Galeria Ba•ucka, Lodz, Poland2009 "Painting", PWSFTiTv. Lodz. Poland2008 "Searchings 2000-2008", BWA, Piotrkow Tryb.,Poland2004 "Painting", MDK, Radomsko, Poland2002 "Piotr Kotlicki", BWA, Piotrkow Tryb.,Poland

Wrrrr| 2011

Suitcreature (museumof art) | oil on canvas, 33x24 cm, 2011

Teachers almost agreed | 2011

34

Ossi Piispanenwww.piispanossi.com

Eu uso a fotografia para me expressar e a forma como vejo as pessoase lugares é claramente reflectida nas minhas imagens. Como formade arte a fotografia é interessante, pois mistura realidade e ficção,obrigando a uma presença física para tirar a fotografia, mas o quedecidires mostrar na imagem final é o teu reflexo.

A maioria do meu trabalho retrata momentos simples da minha vida,o meu trabalho é uma interpretação do mundo ao meu redor e estoumais in te ressado no absurdo da v ida quo t id iana.Esse corpo de trabalhos foi concebido em Marselha, França, duranteum workshop de três semanas com Antoine D'Agata, o fotógrafointernacionalmente aclamado. Como fotógrafa retratista necessitoconstantemente de temas, objectos e assuntos para fotografar.Foi em França e por não conhecer ninguém que criei "I Doubt We´llMeet Again (Duvido Que Nos Voltemos a Encontrar)" um projectoque mistura o real, o absurdo e o emocional. As fotografias foramtiradas durante os encontros curtos com as pessoas que eu nuncatinha conhecido antes e as imagens resultantes são as minhasr e p r e s e n t a ç õ e s d e s s e s m e s m o s e n c o n t r o s .Era-me importante obter acesso ao ambiente dos próprios sujeitospara forçar, não só as minhas relações sociais, mas também as minhashabilidades e processos criativos enquanto fotógrafa para os limites.A maioria das fotografias foram criadas de forma intuitiva e qualquertipo de preparação era impossível já que todos os sujeitos e respectivashabitações eram diferentes entre si.

Este corpo de trabalho é produto da crise pela qual passava, enquantome encontrava num novo ambiente. Alguns dos encontros foramemocionais, enquanto outros foram mais absurdos, isso dependiamuito da ligação que entre nós houvesse, ou se nos compreendíamosmutuamente. Muitas vezes senti que os meus próprios sentimentoseram expostos através do assunto da foto. Por vezes queria fugir doencontro, enquanto noutros momentos parecia que já conhecia apessoa há bastante tempo.

I use photography to express myself and the way I see people andplaces is clearly reflected in my images. As an art form photographyis interesting because it mixes reality and fiction, physically you haveto be there to take the photograph but what you decide to show inthe final image is totally up to you.

Most of my work depicts simple moments from my own life; my workis an interpretation of the world around me and I am most interestedin the absurdity of everyday life.This body of work was conceived in Marseille in France during athree-week workshop with internationally acclaimed Antoine D’Agata.As a portraiture photographer I am in constant need of subjects totake photographs of.In France not knowing anyone I created ‘I doubt we’ll meet again’ aproject which mixes the real, the absurd and the emotional. Thephotographs were taken during short encounters with people I hadnever met before and the resulting images are my representations ofthese encounters.It was important for me to get access to the subjects own environmentto push not only my social skills but also my creative skills to the limits.Most of the photographs were created intuitively and any preparationwas impossible as all the subjects and their houses were different.

This body of work is a product of the crisis I was going through whenplaced in a new environment. Some of the encounters were emotional,whilst others were more absurd, this depended on how much of aconnection there was between us, or if we understood each other.Many times I felt that I exposed my own feelings through the subject.Often I wanted to escape from the encounter whilst at other times itfelt like I had known the person for a long time.

Idoubtweelmeetagain5 | color photography, 2011

I Doubt We’ll Meet Again

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Idoubtweelmeetagain8 | color photography, 2011Idoubtweelmeetagain9 | color photography, 2011

Idoubtweelmeetagain2 | color photography, 2011

38

Education:

2011Workshop with Antoine D’'92Agata, France.Photography in the Arts (BA) Swansea MetropolitanUniversity, UK 2007--•] present,Shoe Design (BA) Hamk University of appliedsciences, Finland

2006Media Assistant (Vocational degree) JyvaskylaCollege, Finland

Group Exhibitions:

2011–'91KL international photoaward 2011’'92 –'96Kuala Lumpur–'91Free Range Degree Show’'92–'96 London–'91Degree show’'92 –'96 Dynevor Campus,Swansea–'91Jours Sombre•f--•] Dynevor Campus, Swansea–'91Workshop exhibition’'92–'96 Atelier De Visu,Marseille

2010–'91Our Summer’'92 –'96 Grand Theatre, Swansea–'91DAF•f--•] London Design Festival–'96 Dreamspace, London–'912nd Year Degree Show’'92–'96 Dynevor Campus, Swansea–'91Opusculus’'92 Book Exhibition–'96 Y Lle Gallery, Swansea

2009–'91Timeless’'92 Public Site--•]Specific Exhibition,Swansea

WorkExperience:

2011Energy entertainment–'96 Commercial video

2010Fernando Korpi–'96 product / campaignphotography

2008Press photography--•] Hamk University of AppliedSciences

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Jophel Ybiosa

01/04 - From “Life at the Rio Grande de Mindanao” series

05 - “Reflection of Love”

06 - “The Children’s Play”

07 - “The Orphan Girl”

08 - “Child’s Freedom”

01

02-04

05

06

07

08

42

Tânia Dinizwww.taniadiniz.com

Este projecto foi desenvolvido no Portugal dos Pequenitos, em Coimbra, fundado durante ofascismo, em 1940, para exaltar a presença dos portugueses no mundo, através de réplicasem pequena escala de casas e monumentos do país e suas colónias.Em vez das fachadas do Império, esta série centra-se nos interiores inglórios dos edifícios,muito semelhantes entre si, independentemente da sua tipologia ou período. A escala reduzidados edifícios altera a percepção do observador, cujo olhar atravessa os diferentes pisos semlaje.

This was a project developed in Portugal dos Pequenitos (Little Portugal theme park), in Coimbra,founded in 1940, during the fascist era, to exalt the presence of the Portuguese in the world,through small-scale replicas of houses and monuments in the country and its colonies.Instead of the facades of the Empire, this series focuses on the inglorious interiors of buildings,very similar, irrespective of their type or period. The reduced scale of buildings alters theperception of the viewer, whose gaze goes through the different floors without slabs.

O Avesso do Império | fotografias digitais (série) | (The Reverse of the Empire) | digital color photography (series), 2011

44

Tânia Diniz nasceu em Lisboa, Portugal, em 1982. Cresceu em Macau,China. Frequentou a Escola Secundária António Arroio e licenciou-se emPintura pela Faculdade de Belas Artes da Universidade de Lisboa. Em 2007foi para Londres, onde fez um Mestrado em Artes Plásticas na Central SaintMartins College of Art and Design. Presentemente vive e trabalha em Londres.Par t icipou em diversas exposições colect ivas e individuais.

Tânia Diniz, born in Lisbon, Portugal, 1982. She grew up in Macau, China.Attended Antonio Arroyo High School and graduated in Painting from theFaculty of Fine Arts University of Lisbon. In 2007 went to London, where shebecame a Master of Fine Arts at Central Saint Martins College of Art andDesign. Currently lives and works in London. Participated in several group andsolo exhibitions.

Estou a trabalhar numa série de obras que espero que vejam comoestando suficientemente relacionadas com o tema para entrar na próximaedição.

Breve sumário do conteúdo do trabalho:A "crise" no meu trabalho é corporal. Tem a ver com as manipulaçõesque colocamos sobre o corpo nas instituições medicas e semelhantes.Muitas das minhas imagens explorar as possibilidades absurdo dessescenários.Os elementos de desenho são derivados a partir das ilustrações sucintasque encontramos nas publicações médicas e anatomicas. Estas sãojustapostas com elementos mais violentos e processos mais acidentais.Pessoalmente, tenho tambem passado por alguns tratamentos médicosque recentemente têm contribuído para os trabalhos e o conteúdo quelhes serve de base.

I am working on a series of works which I hope you see as relating tothe theme enough to enter the next edition.

Brief summery of the content of the work:The 'crisis' in the work I make is bodily. To do with the manipulationswe put upon the body in the institutions of medical advancement andcare. Many of my images explore the absurd possibilities of these scenarios.The drawing elements are derived from the clean illustrations of instructionalmedical and anatomical publications. These are juxtaposed with moreviolent or accident driven inputs. I have also personally gone throughsome medical treatments recently which have fueled the work and thecontent behind them.

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Matt Collierwww.pedroguimaraes.net

Education:

Glasgow School of ArtMasters Fine Art (MFA).

Wimbledon School of ArtBA (Hons) Fine Art

Bournemouth Institute of Art and DesignFoundation in Art and Design,

Awards and Collections:

Birth Rites Collection and Symposium (Nov ’10 and 9-11th of May ‘11) My drawing ‘Gravid Uterus Twin’ hasentered the Birth Rites Collection.In May I panelled the artist discussion for the symposiumat Whitechapel, London and The Whitworth Gallery,Manchester.

Royal Scottish Academy. The Kinross Scholarship toFlorence: Funding to study and live in Florence for threemonths (Nov ‘09 to Jan ’10).RSA Collection. A selection of drawings were added tothe collection on my return from Florence.

Leverhulme Scholarship (Sept ’07-’09): Full award to coverall fees and maintenance over the two year MFA.

‘Glasgow Royal Infirmary/Glasgow School of ArtCompetition’ (Sept ’08): Runner-up prize for a large scaleinstallation for a new wing for the hospital.

‘Platform for Art’ and its publication, the ongoing artprojects over London undergrounds, featuring artists suchas Jim Lamby, Chiho Aoshima, Cindy Sherman, MarkTitchner, and lesser known artists. My proposal I wasawarded the use of a station to show new work. The workexhibited (January ‘06 to June ‘07) across the SouthWimbledon tube station.

Art Related Achievements:

‘The Moment of Privacy Has Passed’: Sketchbooks byArtists, Architects and Designers’. (11 Dec ‘10 – 20 March‘11). Usher Gallery The Collection, Danes Terrace, Lincoln.

‘Remasters’: (Dec ’10) group exhibition by artists re-interpreting a work of a master.Rag Factory, Henege St. (off Brick Lane), London.

‘IamONE magazine’: Issue 9 (May) and 10 (Sept ’09)feature my images throughout main articles. Refer to:http://www.iamone.co.uk/

‘Set It Up And Go’: group exhibition (14 Aug – 18 Sept’09) APS Artnews Projects + Twinspace, BrunnenstrasseBerlin. www.artnews.org/projects

Tramway: MFA Degree Show, 25 Albert Drive, Glasgow(June - July ’09).http://www.gsamfa.com/2009/matt_collier.php

The Mews at 269: Solo show: ‘SternoCleidoMastoid’.(July 29th to Aug 19th ’09 ). London.

‘Jamie Radcliff’, The Ultimate Romantic Gesture for OneNight Only’: group exhibition SW3, Glasgow (April ’09).http://www.swg3.tv/swg3/?p=2000

Glasgow School of Art: Interim shows MacIntosh andNewbery galleries, Glasgow (May-June‘08). Londonexhibitions and catalogues, and painting exhibition at theRoyal Scottish Academy of the arts New Contemporaries(Jan- Feb ‘06).

Spitalfields City Farm London: Commissioned to makevery large permanent wood sign (’08), leading a workshopof corporate volunteers as assistants.

Celeste Art Prize: Painting survey of British painting. Initialshortlist selected by the Curatorial Programme at GoldsmithsCollege, London (April- May ’06).

Wall Mural Santa Fe, NM, usa. March/April ‘06. Large‘Muscle Structure’ wall painting.

‘Collect:’ group show of painting, photography and mixedmedia. (’06). Candid Art Galleries, Angel, London.

‘Medical Edge’ exhibitions (’04 and ‘05). Medical relatedwork featured. EuroArt Gallery, Tottenham High Road,London.

Metro Newspaper London (Jan. 2006) and On The Move(Feb. 2006 Issue 119) Magazine articles feature Post-Selection Translation.

Glass, Proposed Project (July – August ‘05). Largecommissioned painting (painted on site).

Voluntary Work:

Oxfam Bookshop Banbury (‘10). Volunteer one day aweek, includes all charity shop duties.Performance actor for ‘Hey Girl’ (Feb ’08) by the SocietasRaffaello Sanzio (Italian Performance Art company),Tramway Theatre/Gallery, Glasgow.Madder Rose Gallery (July-Aug ’06) 137 Whitecross St,London EC1Y 8JL. High profile contemporary gallery.Fabrica Art Gallery, Brighton. Talking about the work ondisplay, general promotion of contemporary art to thevisitors.

<<< Pulled From The Earth | rootballed pen on paper, 2011

Priapism | pen on paper, 2011

Stitching and Plugging Things Up | pen, ink on paper, 2011

48

Anexos/Annex_

Que estranha enfermeira encontraste para ti [...], não parece uma ideia lámuito boa [...], mas, uma vez mais quem sou eu para falar. Estar sufocadopor todas essas coisas não parece muito bom, mas em Deus confiamos etalvez seja bom teres alguém que pode manter as tuas tendências piromaníacascontroladas [...] Eu tenho-te aqui em Copenhaga em má conta , mas maisuma vez perdi-me entre todas aquelas pessoas que eu tenho em má contapor isso segura os cavalos nessa passagem de avião. As coisas maisestranhas que aconteceram - na verdade duas coisas, tenho desenvolvidoum medo pelas alturas [...], lembro-me como eu costumava amá-las, naverdade não é tão estranho, mas vou poupar-te a essa história. A outracoisa é que há um par de semanas ou talvez meses atrás eu vi uma rapariganuma moto que se assemelhava à nossa era [...], estranho ver uma raparigacomo esta em Copenhaga, ela estava numa moto assim que estava depassagem, deixei uma abertura. [...] Assim, os olhos de husky ainda estãoaqui [...], eu sei que ela realmente lhe partiu o coração, mas ele mereceeu acho, de qualquer maneira ele tem sempre sorte [...], eu tento dificilmentenão ficar com ciúmes [...], de qualquer maneira ela tinha demasiado passadopara ele, os americanos chamam-lhe bagagem - como bagagem [...] tentandocriar imagens através de palavras [...] isso é possível? [...] Demasiado,demasiado jovem [...], uh, mas agora estamos velhos e eu estou tãosurpreendida de como muitos de nós ainda estão [...] vive le weekend VSa besta em mim, Ainda não há consenso, mas o veredicto está mais pertodo que nunca [...] começo a sentir-me em casa, começo a sentir-me felize abençoada pela a água limpa correr das torneiras, [...] M é realmenteum grande nome, mesmo que ela fosse sempre a mais bonita de vocês osduas [...]. Eu penso sobre o deserto, muitas vezes, poderia ir para um dessespaíses com pirâmide, mas não tenho certeza se gostaria, é muito estranhoe muito barulhento, mas devo dizer-te o que aconteceu a toda a gente, masé difícil de recordar, as vezes lembro-me de tudo tão claramente que consigovê-lo como um filme, outras vezes simplesmente vai-se. C tem uma grandecoleção de ténis e um marido rico e [... ...]. Twinkle, ciclomotores e Melissa[...] Black-Steel-Brutus [...] e terraços de verão [...] mas eu discordo novamente[... ...] Sempre achei que Manhattan foi sobrestimada [... ...] Eu lembro-mede cada palavra que disseste mas esforço-me para não me lembrar [... ...].Não há pirilampos na Dinamarca, mas o ar está limpo e devo reconhecerque, todas as vezes que estou numa garagem inalo profundamente o cheiroe sinto saudades de casa [... ...]. Eu Fiquei com os melhores e os piorestempos e danço sempre muito tempo, enquanto tu sempre ergueste a cabeçae ficaste com os melhor rapazes [...], sabes que ele fez um vídeo de música,gward parece tão desatualizado: vídeo da música - mas de qualquer maneiraele fê-lo, com coelhinhos correndo à volta dele, que idiota, mas talvez tenhafeito isso para parecer mais alto? Duas ou três pessoas [...] mas eu realmentequero ter netos por isso de certa maneira tornei-me o meu próprio gong -não há bondade no coração diabólico de uma mulher e eu não vou cortaresse mal para me converter em Jesse James. [...] Acho que a única vez quegostei de D foi no dia em que ele usava uma t-shirt vermelha e os seus olhospareciam tão dolorosos como se fossem lágrimas retidas, no entanto, foiapenas um breve vislumbre, normalmente, ele era no essencial um clichéde si mesmo [...], tal como é J, ele está tão velho, mas também o era antes, o que um idiota perseguindo adolescentes dementes, e continua a fazê-loainda agora [...], Sobre o D eu culpo o estilo Milli Vanilli [... ], mas às vezeseu sou a única ferida. [...] E não há tipos a usarem anéis de ouro grandesaqui para além de alguns criminosos [...] o dia nas montanhas foi patéticoe me fez sentir muito desconfortável, embora eu tenho certeza que ele gostou[...]. Nós estamos muito velhos para fugir [...], como está o teu marido?Como estão as crianças? [...] Ave Maria e a neve de Abril [...], Cansei-mede apenas lançar as cartas por isso retirei-me, rejeitei algumas das pistas[...] isto é muita responsabilidade e eu não quero mais ninguém [...] outravez, se foi realmente culpa minha ou não [...] não era que ele estava louco[...].Preciso de uma nova fase, tenho saudades da tua clareza e da tualuminosidade nítida sobre todas essas manchas. Para ter uma sensaçãode frescura, seria tão bom [...]. Polly-Meat e [...] Eu faço o que quero, egeralmente eu quero andar sozinha [...]. O Papa-blank anda a tentar lançarmagias, mas não está a enfeitiçar ninguém. Ele é realmente um pervertidodo amor e realmente não posso parar para vê-lo [...]. Sanidade sanitáriaé que é uma coisa boa, mas todos os meus amigos são tão [...] sujo e [...]não tem dinheiro para comprar novos [...], não há surpresas aqui [...]. [...]Sabias que ela se casou com um empresário, que bom para ela [...], semretorno [...] e eu tenho algo nos meus olhos; [...] a maioria das partesincriminatórias. Ver-te-ei brevemente ou[...], actualmente, talvez [...] - Je suisvenu te dire je m'en vais.

Marie Irmgard (pg. 10)

O autor concede à PARK [art magazine] o direito de reproduzir os trabalhos submetidos em qualquer um dos seusnúmeros, em todas as edições, revisões e repetições da publicação, em material de divulgação (tanto impressocomo digital) e em todos os meios que tornem a PARK disponível em formato digital para leitura e/ou como agentecontribuidor para outras obras publicadas. O autor confirma que todas as informações envidas são igualmenteverdadeiras e que é o único proprietário de todos os direitos da obra de arte (e para todas e quaisquer fotografias,amostras ou desenhos) ou tenha sido autorizado pelo proprietário a ceder os direitos. Concorda igualmente em nãoreceber qualquer tipo de remuneração pela sua contribuição. A PARK não é responsável por qualquer tipo de violaçãode direitos de autor cometido pelos respectivos contribuidores

The submitting artist grants to PARK [art magazine] the right to reproduce the respective work in any of their numbers,in all editions, revisions and repetitions of the publication, in promotional material (whether printed or digital) and allmedia which makes PARK available in visual form for reading and as a contribution to other collected works in media.The submitter confirms that the information attached to the works is correct and that that he/she is the sole ownerof all rights of the artwork (and to any and all photographs, samples or designs) or has been authorized by the ownerto grant the rights granted and that the publication of the work does not infringe the rights of others. The artist herebyagrees to not receive any direct financial compensation from PARK for his/her contribution. PARK is not responsiblefor any copyright infringement committed by the respective submitters.

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The Copenhagen Letters/ Je suis venu te dire que je m'en vais/ (Crisis, i love you)