We are ALL Africans

Shane Norwood
We are ALL Africans. Does a Dobermann look like a Chihuahua? No. Are they both dogs? Yes. So what’s the fucking difference? There are no human races. There is only one human race.

This is what’s on my mind you manipulative ginger catamite. Thus far I’ve not been tempted to add to the three billion opinions expressed about the current situation, but after what I read today, I can’t keep my trap shut any longer, so indulge me please and read this. It’s a long read, but you might even learn something.

If you feel like unfriending me afterwards, please feel free to fuck off. Anybody unable to distinguish between racism and truth, or anybody who can but is afraid to publically acknowledge it for fear of offending somebody, is too fucking stupid and chickenshit to be my friend anyway, so if you fit into that category, take your naïve second hand politically correct opinions and shove them up your arse.

Of course, I am speaking from my privileged white position. I was privileged to grow up on a working class council estate in a bleak Northern shithole steel town, working for eight quid a week. And you know what? It was a privilege. It taught me that the world owes you fucking nothing.

Racism and discrimination are an abhorrence. No free thinking person can possibly justify an argument to the contrary. Intolerance is a different story. Nobody can be reasonably expected to tolerate or condone extremist opinions actions or philosophies that endanger their wellbeing and way of life. Anybody that would deny this either an imbecile or a shameless hypocrite.

We as a species did not survive by being spineless submissive wankers willing to bend over and get fucked up the arse by every self-entitled minority group that feels empowered to do so, or by cravenly apologizing for our cultural heritage, as flawed as that may be, in order to placate a bunch of whining politically correct pansies, desperate to prostrate and debase themselves and wallow in their fabricated contrition in an attempt to assuage their delusionary sense of guilt and to prove how enlightened and progressive they are. Appeasement is not progress. Its cowardice.

As long the term black person is propagated it will continue to exist and black people will continue to identify and be identified as black people as opposed to just people. Discrimination is enshrined in the term itself. As long as we continue to invent a distinction between races, racism will continue.

I currently happen live in the place where the first humans, AFRICANS, crossed into Europe. I can see it from my window. We are ALL Africans. Does a Dobermann look like a Chihuahua? No. Are they both dogs? Yes. So what’s the fucking difference? There are no human races. There is only one human race. Us. And if you are looking at another human being who is superficially different from you in terms of facial features, skin tone, language or culture, and seeing someone inferior or superior, then you are a stupid cunt and there is no hope for you or any of us.

What happened to George Floyd was reprehensible, but the hysteria, cynicism, hypocrisy, ignorance and gross stupidity engendered by that incident have been truly terrifying. Nobody but the most deranged lunatic fringe nihilist would wish the future to about anything other than hope and change and reconciliation right?

So here’s a bit of advice to all you cretinous motherfuckers of all ethnic persuasions busy beavering away at burning down your own fucking house and undermining your own cultural identity because somebody else told you to.

Know what you are talking about before you start opening your gob. Read, if you can, and fucking learn something. Stop getting all your information and trite and trendy opinions from Twitter and fucking Facebook. Learn to engage in a little critical thinking and find out what cognitive bias means. Neil De Grasse Tyson is your man there. A bit of history might come in handy. Then perhaps you could get a hold of a dictionary and look up a few interesting words like fascism, totalitarianism, anarchism, utopia, and dystopia and find out what they really mean. You might find 1984 entertaining. It’s by George Orwell. Or at least it is for the moment, until some effete guilt ridden revisionist dickhead professor of literature decides that its unfair that a white man should take all the credit and changes history so that George Floyd wrote it.

Everything that happens is predicated upon everything else that has happened. This is chaos theory. What it means is that if human history had not proceeded precisely as it did, in every minute detail, all you fervent protesters would never have been born in the first place, and if any of those unfortunate episodes in the broad and brutal sweep of our troubled past had not occurred, exactly in sequence, you would not actually be alive to protest about them with your little misspelled placards.

What Africa would be like today if no white man or Arab had ever set foot on the continent is an interesting speculation, but one certain consequence of that would be that all you outraged masses merrily jumping up and down in righteous indignation and burning down people’s lives in the name of the injustice meted out to the African American would not exist and the neither would the African Americans. That term in itself it interesting. African American as a euphemism for black. What if you’re a Torres Straight Islander or a Papuan born in the States? What if you’re from Bangladesh? Are you still and African American? And what does that make me? A Norwegian Englishman? According to my old man our family traces its heritage all the way back to Kind Harold Godwinson. Does that mean I can claim compensation from the French because they shot my great uncle in the eye with a fucking arrow?

I am prepared to make the definitive statement, though, that the majority of you freedom fighters out there know absolutely fuck all about Africa and Africans, and that the underprivileged African Americans currently enthusiastically trashing their own country wouldn’t last five fucking minutes anywhere North of Nairobi. Big Macs are in pretty short supply in Sudan these days, and if you think that’s a bigoted statement, go and check out Ethiopia or Mauritania and go fuck yourself while you’re at it.

These people are a fucking disgrace and an affront to the dignity of every decent hard working black person, not only in America, but in the world. They conform to the stereotypical behaviors and attitudes that are part of the reason racial stereotypes continue to be perpetuated. Is it the fault of a system that can elect a black president, and elevate men and women of color to success and celebrity status through hard work and dedication that these gibbering cretins abuse their wives, abandon their children, and spend their welfare money on drink and drugs? Is it the fault of the system that they feel entitled to destroy the lives and life’s work of other black people in the name of equality? Is it the fault of the system that they refer to their women as hos and bitches and call each other niggers? You might want to listen to what Richard Pryor had to say about that. Is it the fault of the system that they listen to music that celebrates gang violence and kill each other in appalling numbers and that Black Lives Matter has absolutely fuck all to say about it?

And to all you noble narcissistic self-righteous hypocritical honkies bleeding your liberal little hearts out at the injustice and the unfairness of your privileged status, stridently shrieking for this and demanding that as you drive around in your BMW, wearing your Nikes, taking selfies on your Samsung to prove you were there, here’s a bit of advice.

If you’re seriously so sincerely overcome by guilt at your privilege, just pick a random stranger of color and obviously in less fortunate circumstances than yourself, and give her your house, car and bank account. Alternatively, if you’re a politician or celebrity, you can publically donate 0.00000000001% of your net worth and call it altruism, making sure you get a good photo-op while you do it.

If that seems a bit extreme and you want to stick to just taking a taking a knee to demonstrate your contrition and solidarity, I suggest you mosey on down to Birmingham, and wrap your lips around some of that Alabama King Snake that the boys are packing down there. That ought to square things away.

Or when you’ve finished pulling down all the statues of people you actually know nothing about, you could erect a monument to George Floyd, although that would probably be racist because pigeon shit is white.

Alternatively, you could do a bit of research before you open your gaping mouth. Where did your car come from? Who invented it? Who made it? Where did your cell phone come from? How is that produced and by whom? Where did you get your trainers? Interesting reading huh?

So here’s a suggestion. You wouldn’t want to support child labor, debt bondage, wage slavery, fascist regimes or white privilege would you? No, of course not. So stick to your noble principals, throw your phone and trainers out of the window, leave your car by the side of the road, and get the bus home. You’ll enjoy it. You’ll get to sit next to one of the people you turned out to support. You’ll have to sit at the back, of course, but that’s okay. Oh wait. You won’t have to that now. Because of Rosa Parks. Forgive me if I’m misinformed, but to the best of my knowledge, sister Parks never punched anybody in the face, torched anybody’s business, or looted anybody’s store. And on second thoughts you can keep the Nikes. Michael Jordan says it’s okay, and anyway it’s only a few Cambodian kids. It’s only racism if it’s black people.

And if you can’t read you might want to You Tube a few people to get a decent perspective on what’s going on or maybe pick up the latest trending opinion if you haven’t been able to formulate one of your own. Prominent black celebrities would suit your purpose. But don’t make the mistake of listening to Morgan Freeman for example, or Denzel Washington. They are liable to confuse you by saying something intelligent, wise, well considered and reasonable, or worse, really fuck your head up by saying something that might conflict with your preconceptions. You’re better off sticking with those deep thinkers like Anthony ‘Shit myself every time I see a fat Mexican,’ Joshua, or Lewis ‘about as black as the fucking Milky Bar Kid’ Hamilton, for advice on how to alienate all the white people who trained, supported, promoted and paid to watch you and made you a multi-millionaire in the process. Or you could tune in to a bit of Tupac Shakur to get the scoop on how to turn yourself into a mythical cultural icon by having your goons shoot little black kids in the park because the system is unfair.

And if, while you’re digesting this useful information, intellectual revolutionaries protesting the death of George Floyd, break in, steal your TV, empty your fridge, and rape your daughter, before setting your house on fire as they helpfully explain to you that this is the only way they can express their rage over the disgusting injustice that afflicts America and alter the fact that not enough BASE people are football managers, what you can do to help is to embrace the spirit of the thing, fuck your own daughter, and then go and get a can of gas from the basement in case these visionaries are having trouble getting the fire going. Perhaps you could even enjoy a little dance together to the rhythmic ringing of the telephone in the empty police station.

And one last question. And I’m going to ask you to brutally honest here, with yourself and everybody else, which I double goddamn guarantee that 99% of you worthy self-aware crusaders won’t. If George Floyd could be somehow resurrected and beatified, as was suggested today, and you could make that decision, with the proviso that he move in next door to YOU, and cruise up and down YOUR street all day with his homies, high on crystal meth, playing rap music full hole, would you do it? Would you fuck!

What happened to George Floyd was unforgivable in any modern society. Did he deserve it? Of course not. Did he deserve to get arrested? Fuck yes. If that incident had not happened, and George Floyd had driven away, smacked out of his head, and run over somebody’s child, YOUR child, a black child, what then? I’ll tell you what then. It would have been just another tragic little footnote, and Black Lives Matter would not have had a fucking word to say about it.

And here’s the real truth. People care about George Floyd the incident. Its causes consequences and repercussions. But George Floyd the man? Nobody REALLY gives a fuck about George Floyd. George Floyd didn’t give a fuck about George Floyd. If he did, he’d still be alive.

Shane Norwood Sunday, 14. June 2020

at the same Time In Israel! But Who Care???

Iyad Halak’s mother, Rana, arranges his room in their home in East Jerusalem on June 3, 2020. Halak, a Palestinian with severe autism, was chased by Israeli border police and fatally shot after he was apparently mistaken as an attacker.

(Mahmoud Illean / Associated Press)

Israeli police killing of autistic Palestinian man draws George Floyd parallel

Halak’s teacher, who had accompanied him on that last walk to school, told Israel’s Channel 13 TV that she repeatedly cried out to the police that he is “disabled” and tried to stop the shooting. “They didn’t listen to me. They didn’t want to listen to me,” she said.

She told the station they fired three bullets at him. He fell to the ground, asked her for help, then ran for cover in a small area housing a garbage bin. Officers came after him and killed him. At least five bullet holes could be seen in the wall of a small structure at the site.

Sharing Yuval Abraham’s words, after his talk
With Varda Abu Hadid, Iyad El Halak’s therapist
This is Israel, this is the occupation. The horror is ever more comfortable to be discovered in this heartbreaking case, but is not an exception to the reign of Israeli oppression. Hope to see you at the important demonstration against the occupation and annexation – now in Rabin Square.

An hour ago I ended a shocking, long talk about the difficulties I had in my life. I spoke with Varda Abu Hadid, Iyad al-Halak’s therapist, who was murdered last week by a Border soldier in the Old City.

I spoke to her to ask something brief. She was already interviewed enough. I didn’t plan to write anything. But her words, which flowed fluently, struck me, and it became clear immediately that I had to translate them here, in full, verbatim. Without editing anything. She said:

“I am a married woman. I have a thirteen-year-old boy who has since been destroyed, like my own soul. He told me today: Pretty mother, no one will come home anymore. Don’t answer the phone.
I called you and left the house. I don’t want him to hear the conversation between us.
My son saw me in the media, and heard that I was talking about Iyad’s blood, which ran in front of my eyes. He has not left the house since. His dad told him today, let’s go for a walk, and he refused. Afraid of the cops. Do you understand? And I, my children’s mental health is important to me.

How’s your name? jubilee? You’re a Jew? Yes. what? Do not worry. My husband works for the Jews. If you saw how they felt empathy for me, visit me at home. We end up living together, in the same city.

For twenty-five years I work as a therapist at the Center for Special Needs. It’s my life’s mission. On that day, on the way to work, I walked past the police station as always. There was no one there. I continued. I reached the parking lot, next to the trash. I saw the cleaning workers, standing outside.

Then I heard screams. I turned around. See Iyad. It’s Iyad, Iyad! My love! And I hear soldiers shouting. Hear the sound of the weapon in their hand. Then a shot. They shot him, Bayad.

After the shooting, one of the cleaners tells me: Grandma, come hide here, come hide and I, frankly, Halas, the fear took over me, and I wanted to protect myself. I went into the trash. I shivered. Iyad limped after me. He looked at me, and shouted, to the soldiers: With her! With her! I’m with her!

He is lying on the floor, dying. Blood is flowing from his leg, and he is constantly shouting: I’m with her. I’m with her. The soldier screams at him: Give a kiss. Give it a kiss. Screaming at me too. And Iyad raised his hand. I’m with her. Verde I’m with you. I was his salvation.

Iyad was a skinny guy. poor. A submissive man. In general, those with special needs are very weak. Do not know how to defend themselves, only through words they have memorized. ‘I’m with her. I’m with her. ‘ That’s what he knew.

We and the soldiers spoke. Five, six minutes we talked. I told them: I work at a special needs center. Iad my patient. No weapons. He has a certificate in his pocket. Check the certificate. I also had a certificate, check it out. And they hear, but do not want to hear. And Iyad lives, on the floor, and constantly says: I’m with her.

Then they shot him again, after five minutes, in front of my eyes. I heard three bullets. Maybe two. I wasn’t focused. Shoot somebody in front of your eyes, what’s going to happen? The person in me collapsed. My mind, mind, were executed together with him.

Someone came into the room. Dressed in army uniform. A soldier also came in, approached, and pinned her weapon on me. If they release the documentation from the cameras all this will be revealed.

She said: I’m looking for you. I raised my hands. Now, the alienation in my body made her hand, as she patted my body, felt like an electric shock. And it’s a resin. Like torture. Every touch of hand, every time it landed on my body, sent me an electric current.

Then they took me to the police station. Two soldiers, one on the left, one on the right. I almost faint from fatigue. I fasted that day. The room made me take off my clothes. Come on, come on, Haja – the soldier said in Arabic. And again, it ran my hands over my body, and the same thing, electricity freezes me, with every touch of my hand. I was also looking for inside my hair.

Don’t know how I put my clothes back on. I’m like being there again now, in this room, saying to myself – how? How did I manage to put on clothes?

I put a handkerchief on my head. I sat in the chair. The soldier tells me, in Hebrew, want water? I told her no. Do not want. I fasted. Slowly the room is filled with soldiers, and I am blurred, my eyes faded, not paying attention. What’s going on. Who’s there at all. Collapsed. Want someone, someone I can trust.

They got me in the car, took me for questioning. The legs tremble. The mouth is dry. Can’t say anything, talk. Feel the lips can’t move. Four soldiers pulled me to the Russian lot. Someone named Adam said: I’ll investigate you. And that’s it. I told him everything.

This story, it’s like, like somebody deleted me. There are things in my life, personal memories from time to time, that have since disappeared. Secret numbers I remembered, and now I can’t remember. I forgot my ID number. Stuff like that.

At night I will not sleep. Constantly thinking someone is coming, someone who wants to shoot me. My son plays on the computer, what a stupid game that has shooting. I screamed at him. In God, take your time. In God. Don’t want to hear that voice. Do not want. And I’m afraid to be there alone, in the Old City again. I’m talking to you now and my whole body is shaking, do you believe? “

Throughout the conversation with Verde, I cry and remain silent. Then I told her, without thinking: But why was he shot? I do not understand. Why they shot him. Why they did it. He was on the floor, bleeding. And she answered:

“I shouted at them, in Hebrew. It’s crippled. It’s crippled. He has a certificate. But they didn’t want to hear me.

The soldiers are always violent towards us in this city. Iyad is one case. I’ve lived in the city for years, and I’m always scared. Soldiers do not listen to the Arabs. Examining them simply, with contempt, does not see them as human beings, but as animals. And they are in the Old City, armed near schools, treatment centers.

It has to do with officers, and this case has to shock, get them to build trainings, teach soldiers how to conduct themselves. Who also knew that our blood was not cheap. If you do


Halak’s parents said they rushed to the scene but were not allowed to see him. Police later came to the house, cursing them as they searched for weapons, they said. They said police found nothing in the home.


Palestinians lift banners protesting the killing of Eyad Hallaq, a Palestinian man with autism shot dead by Israeli police, and the case of George Floyd, an unarmed black man killed by policeman in the U.S., during a rally by supporters of the Fatah movement in the West Bank city of Hebron.
Hazem Bader/AFP via Getty Images


Death Behind the Garbage Can – Police Shots on Autistic Palestinians

“Iyad Hallak”
Israeli police officers’ fatal shots at a young Palestinian provoke comparisons to the George Floyd case in the United States.
In addition, the victim had a disability.

From Jerusalem Tania Chandler.


Mourning for the son: Iyad Hallak’s mother with his picture

WHO CARE? No report about it , No Demo! only in Israel.

Good God, they executed him. If that happened to my son, I’d find it hard to go on living.


in Austria No Report about It, but all Days about George Floyd and the USA!

Press! who can trust them??
they only feed us news where they have their own interest to profit!

Esther Attar Machanek


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MAK – Museum für angewandte Kunst

Wien, Österreich


Liebe Besucherinnen und Besucher,
trotz der Schließung des Museums bleiben unsere virtuellen Türen weit für Sie geöffnet. Gerne möchten wir Ihnen in der kommenden Zeit Ihre Tage mit Design, Architektur, angewandter Kunst und Ideen verschönern.
Begeben Sie sich auf einen virtuellen Rundgang durch das MAK, tauchen Sie ein in die digitale MAK-Sammlung, recherchieren Sie in unseren digitalen Beständen oder lassen Sie sich von unserem Objekt des Tages überraschen.


Wien, 2. Viertel 19. Jahrhundert Stecher: F. Donhoffer
Verleger: J. Bermann Kolorierter Kupferstich
KI 8108-179 © MAK



Mitte 19. Jahrhundert
Leder, Baumwolle, Glas- und Metallperlen; bestickter Stramin
T 11642- © MAK

Seit jeher unterliegt die Gestaltung unseres Alltags einem stetigen Wandel. Momentan erleben wir alle eine durchaus abrupte und einschneidende Veränderung, die sich massiv auf die täglichen Abläufe unseres Zusammenlebens auswirkt. Wir ändern unsere Rhythmen, setzen andere Schwerpunkte, brechen mit alten Gewohnheiten oder entdecken manche von ihnen von Neuem. Für viele ist in diesen Tagen und Wochen die Wohnung zum eingeschränkten Lebensraum geworden: Treffpunkt digitaler Kommunikation, Spielplatz, Arbeitsraum und notgedrungen auch Rückzugsort. Möglicherweise erlangen ja manche Dinge in unserer häuslichen Umgebung neue Aufmerksamkeit und eine andere Wertigkeit.



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photo basel_20

photo basel NEW DATE: September 15 – 20, 2020

photo baselswitzerland´s first international art fair
dedicated to photography
September 15 – 20, 2020

photo basel, Switzerland’s first and only international art fair dedicated to the photographic medium, is pleased to announce its new date for the sixth edition. In accordance with Art Basel week, photo basel will open on September 15th and run until September 20th, 2020. A contingent of over 40 international exhibitors will present works by artists from more than a dozen countries, fostering a dialogue between members of the photographic and broader art world communities.Our selected galleries will exhibit artists from emerging talents to icons of the medium’s history, such as Lee Miller, Irving Penn Jeanloup Sieff, William Klein, Helmut Newton, Guy Bourdin, Inge Morath, Philippe Halsman, Albert Steiner, Alfred Stieglitz, Annie Leibovitz, Peter Bialobrzeski, Roger Humbert, Georges Rousse, Newsha Tavakolian, Ayana Jackson, Sebastian Riemer, Ege Kanar, André Kertész, Sarah Moon and many more.

Alongside the main section of the fair, photo basel will host a curated and dedicated program that aims to further expand the appreciation for, understanding of and conversation about the medium of photography, its artistic positions and practices. 
photo basel NEW DATE: September 15 – 20, 2020



We are striving to create a hub for artistic photography in the cultural capital of Switzerland, Basel. Our goal is to ignite photography in Basel for the long haul. Our vision is that each exhibitor, collector, aficionado and visitor together are creating a unique photo basel DNA.

the fair 

photo basel strives to include and combine galleries that are young as well as those that are renowned, Swiss exhibitors as well as international ones, those with a bold contemporary program as well as others with strong historic positions. The fair aims to provide its visitors and collectors with the ultimate chance to connect with galleries whose respective exhibition programs demonstrate a strong predilection for translating the DNA of momentous photographic practices, historic and contemporary, as well as a gift for revealing talents, from emerging or previously overlooked to underrated or established. 

Volkshaus Basel
Rebgasse 12, CH – 4058 Basel



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Out of the Box

Der mumok Blog präsentiert aktuelle Beiträge aus den Bereichen mumok mini, mumok live, mumok collects und mumok insider.

Museumsplatz 1, A-1070 Wien 


mumok insider

Karola Kraus stellt ihre Lieblingssongs und -bücher vor, welche sie geprägt haben – Tipps für die Zeit der Krise und danach


Kapitulation von Tocotronic
Wir dürfen angesichts der schwierigen Situation nicht kapitulieren.”

Was ist Musik von Justus Köhncke
“Das ist der Beweis, dass man mit minimalen Aussagen große Wirkung erzielen und dabei eine unglaubliche Sinnlichkeit spüren kann.”

Josephine von Chris Rea
“… wie wenn man auf einer Harley Davidson mit dem geliebten Mann durch Kalifornien braust.”

Somethin´ Stupid von Robbie Williams und Nicole Kidman
“So schön kann Liebe sein!”

Jane B von Jane Birkin
“Solche Skandale dürfte es gerne öfter geben.”

We Have All the Time in the World von Louis Amstrong
“Mit diesem Lied könnte man die Welt umarmen.”

Summerwine von Nancy Sinatra und Lee Hazelwood
“Das ist der Inbegriff eines zeitlosen, erotischen Sommerhits.”

Jeanny von Falco
“Dieser Song erinnert mich an meine Begegnung mit Falco in der Paris Bar in Berlin, als ich für ihn das Schwarzwaldlied gesungen habe und er mir dafür einen Handkuss gegeben hat.”

If You Don’t Know Me by Now von Simply Red
“Wer mich bis jetzt noch nicht kennt …”

Diamonds Are Forever von Shirley Bassey
“Mein schönstes monochromes Bild besteht aus Tausenden von funkelnden Steinen.”

Jetzt trink ma no a Flascherl Wein von Hans Moser
“Ich freue mich schon auf die Zeit, in der wir wieder Ausflüge zu den Heurigen machen können …”



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No Respect for Artist in ISRAEL

Artist Motti Mizrahi

Magistrate’s Court TA-03-20
In Tel Aviv – Jaffa
Plaintiff: Moti Mizrahi, ID 004400842
11 Nitzana St., Tel Aviv-Jaffa 6811711
By Attorney Yuval Lippe and / or Nurit Asher Fenig
Moshe Kol St. 1/3, Tel Aviv – Jaffa 6962648
Tel: 052-2923932; Fax: 153-522-923932
– contrary
Defendants: 1. Tel Aviv-Jaffa Municipality
69 Ibn Gvirol St., Tel Aviv-Jaffa 6416201
2. Jordash Israel Ltd., H.P. 512636382
33. Opera Building Hotel Limited Partnership, H.F. 550266308
Both at 1 Sapir St., Herzliya 4685205

The nature of the claim: mercury, violation of moral right, copyright, negligence, contractual, tort, damages
Mental, hurting reputation, doing wealth and not trial, slander
₪ Claim amount: 1,750,000

Exhibit 2 – Attached photograph of the plaintiff dated 14.01.2020, first looking at the pile of debris that was once his work,
The statue “Eastern Kiss” – watching as his pain was evident from his gaze. The anguish and sorrow are evident and reflected in a simple picture
Exceeding any thousand-word description.

Artist Moti Mizrahi
They turned my sculpture into a scrap heap“:
Where did the piece from the Opera Tower go?
Artist Moti Mizrahi spent two years solving the mystery – what happened to the sculpture he created for the opera tower in the 1990s. Only recently revealed that the piece was dismantled and parts of it were abandoned in the building’s parking lot, and he is suing the boutique hotel owners set up there for almost NIS 2 million
By @NaamaRiba

For about two years, artist Moti Mizrahi did not know what the fate of the “Eastern Kiss” sculpture he created for the foyer of the opera tower in the 1990s. It is a large work more than 13 meters high and was familiar to anyone who has ever entered the tower’s entrance floor. But in 2017, after the rights to open a new boutique hotel were acquired, the sculpture disappeared. Only two months ago, after lengthy attempts to include lawyers and municipal officials, Mizrahi discovered that his work had been dismantled and demolished – and abandoned in the building’s parking lot. The artist claims that not only did the Opera Hotel Herbert Samuel not bother to update him that the statue was dismantled – she also tried to deliberately hide the fate of his work.


A view of the balcony from the street, before the renovation. The sculptures in the corners have been preserved (Photo: Sheeran Carmel)

Opera Herbert Samuel Hotel

A huge, tall, bright lobby welcomes guests to the Opera Herbert Samuel Hotel, which recently opened on the ruins of the Opera Tower Mall, at the intersection of Hayarkon, Allenby and Herbert Samuel Streets in Tel Aviv. The mall that died years ago, after planning and redesigning, became another hotel owned by the Nakash brothers – this time a three-story, 115-room beach hotel.

Only the two greenish statues of Motti Mizrachi at its edges remain as evidence of the building’s previous roll. As you exit the dining room onto the terrace, the atmosphere changes suddenly – the busy road and the promenade is bustling.

In the glamorous days of the mall, the lobby area served as a cafe extension, overlooking two floors of shops, with a large sculpture by artist Motti Mizrahi. Today it is a polished space with a bright and shiny stone floor, surrounded by facades covered with white plasterboard, with little artificial vegetation flowing from the metal railings. Mizrahi’s sculpture, by the way, “did not fit the new design,” says public relations officer Ethan Levinstein, “and he waits in the parking lot for the municipality or sculptor to come and take it.”


Statement of Claim
A. Introduction:
A. The plaintiff submits this claim on his behalf, but at the same time it has a broad public statement regarding culture and art.
Which is essentially for the benefit of the public, its welfare and its rights, and the blatant and disparaging manner of all those on the part of the defendants,
As reflected by the defendants’ attitude to the artistic aspect in general and public space in particular, and to the shameful and condescending expression
Given by them, not often, to the artist and the art, and especially to the case as to our case, where foreign considerations and money making become the line
Practically guides and constitutes the sole discretion in their relation to the artist and his creation, to the extent that the culture is discarded
And art as a blank, worthless tool and its replacement in a private business project.
B. As we will see in the lawsuit below, the place of the creators and artists whose rights have been enshrined in law and wide-ranging rulings,
Become one of the most insignificant, until the bodies responsible for maintaining and maintaining the rights of the artists
And the plaintiff as part of them, do not even regard this duty as a recommendation and ignore their responsibility grossly and blatantly and the consequences
Stemming from their conduct, knowing that they act on the margins of the law and even outside it, while trampling on fundamental values
Inherent in art and creation.

third. The interest of the claim in the creation of art created by the plaintiff, at the invitation of the defendant 1 and / or the entrepreneur Mr. Alfred Akirov in
1992, which includes the work known as “Oriental Kiss” and the supplementary work “The Fall of the Muses”, for this purpose
Combining them together, as interior and exterior sculptures in the “Tel Aviv Opera” (hereinafter “the Tower”), which is built as a 3-story tower
Commercial and above residential apartments, the first in Israel and the largest in his era.
D. Construction of the building now known as the “Opera Tower” in Tel Aviv for the consolidation of the lots on which Magic Cinema and the San
Remo was completed in 1993. The tower is located near Hayarkon and Allenby streets. In the early 1930s, the area was built
Hotel San Remo. In 1945, a building that functioned as a ‘magic’ cinema was built next to 1948. In the War of Independence it did
In the Navy headquarters building. The first Knesset held its meetings in the “Magic” cinema for more than nine months
1949. Subsequently, the building was transferred to the Tel Aviv municipality, which held the City Council meetings.
The structure of the “Israeli Opera” dates from 1958 to 1982 and hence its name.
God. “Oriental Kiss” – the work created by the plaintiff “Oriental Kiss”, is a sculpture that rose to a height of 13.5 meters
And stood in great glory in the tower’s plaza. The work expresses the history of the building, which is intertwined with the establishment
The state, the acclimatization of all its citizens to its various shades, along with its tradition, values ​​and personal history
Of the plaintiff, his family and his generation, on whom they grew up and brought them with them to Israel, and instilled it from the bottom of their hearts and minds to the whole.
and. In essence, it is said that the work “Oriental kiss” was created by the plaintiff with a mix of impressive techniques and figures
A 3-foot-tall man and woman, accurate to the smallest anatomy details. The plaintiff tried to maintain a motion, thus
That despite the physical statics of the work, it moves in space and time and in a delicate balance between
Heaven and earth, between East and West, humanity and technology, control and static versus freedom of movement. All this, in spirit
‘Operatic’ is appropriate to where it was placed. When the front of the “Opera Tower”, at the entrance, is placed the complementary work
“The fall of the Muses”, in which the accordion, muses and the Israeli spirit in danger of falling are expressed.

Appendix 3 – Contains 4 photographs of the “Eastern Kiss” pieces, with debris left and cigarette butts on them,
. ‘ Welding marks, cutting and brutal destruction of the sculpture for objects scattered side by side, from 15 images in the appendix

1. Mr. Motti Mizrahi

Motti Mizrahi (“the plaintiff” or “the artist” or “the sculptor”), born in 1946 in the Shabazi neighborhood of Tel Aviv-Jaffa,
Old-age parents of troubled parents of Iraqi-Persian origin.
2. The prominent Israeli artist living today and a multidisciplinary international artist, engaged in photography, sculpture, video,
1973 studied at Bezalel Art Academy. The plaintiff has both limbs from childhood as a result and multimedia. In 1969
From a chronic illness that also hurts his vision, he uses the crutches to walk and his disability is often manifested in his various works.
3. Plaintiff’s works are considered from the 1970s to the present day as key works of Israeli art,
Dealing with personal, social and political experience. His works explore relationships between groups in society
In Israel and around the world, dealing with issues of oppression and control of strong groups in weak groups.
4. The plaintiff belongs to a generation that began operating in the 1970s, the conceptual period in Israeli art. His body was then the center
For all his work. His disability and pains were used in performances such as Via Dolorosa, and in the staged footage “Foot with Wing”,
And “King of Jerusalem,” or “Fool on the Hill.” During the 1970s, the plaintiff contacted the school of seminary,
When the common denominator was social, the common denominator was the reference to the content
Personal, cultural and social at the center of the work, returning from abstraction to program form.
5. Throughout the years of work, the plaintiff has received wide international recognition and numerous prestigious awards, including an office award.
Education and Culture for 2002, Culinary Prize for Young Artist of the Israel Museum, Israel Museum of Sculpture Award
Sandberg and more.

Sie haben meine Skulptur in einen Schrotthaufen verwandelt“: Wo ist das Stück vom Opernhaus geblieben?

Der Künstler Moti Mizrahi hat zwei Jahre damit verbracht, das Rätsel zu lösen – was mit der Skulptur passiert ist, die er in den 1990er Jahren für den Opernhaus geschaffen hat. Erst kürzlich wurde bekannt, dass das Stück abgebaut und Teile davon auf dem Parkplatz des Gebäudes zurückgelassen wurden. Er verklagt die dort eingerichteten Boutique-Hotelbesitzer wegen fast 2 Mio. NIS

Naama Riba
Gepostet um 8:11 PM

Der Künstler Moti Mizrahi wusste ungefähr zwei Jahre lang nicht, was das Schicksal der “Eastern Kiss” -Skulptur war, die er in den 1990er Jahren für das Foyer des Opernturms schuf. Es ist ein großes Werk, das mehr als 13 Meter hoch ist und jedem bekannt war, der jemals das Eingangsgeschoss des Turms betreten hat. Nach dem Erwerb der Rechte zur Eröffnung eines neuen Boutique-Hotels im Jahr 2017 verschwand die Skulptur. Erst vor zwei Monaten stellte Mizrahi nach langwierigen Versuchen, Anwälte und Gemeindebeamte einzubeziehen, fest, dass seine Arbeit abgebaut und abgerissen worden war – und wurde auf dem Parkplatz des Gebäudes aufgegeben. Die Künstlerin behauptet, das Opernhotel Herbert Samuel habe sich nicht nur nicht darum gekümmert, ihn über den Abbau der Statue zu informieren, sondern auch versucht, das Schicksal seiner Arbeit absichtlich zu verbergen.

This is what the abandoned mall looks like two years ago: The sculptor of the artist Motti Mizrahi did not fit the new design and he waits in the parking lot until the municipality or sculptor collects it (Photo: Sheeran Carmel)

#mottimizrachi #sculpture #destroy @telaviv.yafo no #respect for #artistwork Even The Artist dont bekomme Respekt in ISRAEL:!!


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Georg Eisler 1928-98

IM BLICK: Georg Eisler 1928–98
Eröffnung:Opening: 24. September 2020
Kuratiert von Kerstin Jesse
Ausstellung: 24. September 2020 – 10. Jänner 2021
Prinz Eugen-Straße 27, 1030 Wien

Georg Eisler, Selbstporträt, Im Atelier, 1989, Öl auf Leinwand, 80x100cm, Privatbesitz
© Ressler Kunst Auktionen, Foto: Klaus-Dieter Weber

IM BLICK: Georg Eisler
24. September 2020 – 10. Jänner 2021

„Die Zwischenräume sichtbar zu machen, die perspektivischen, emotionellen und geistigen Zwischenräume von Figur zu Figur“ – so formulierte Georg Eisler 1963 sein künstlerisches Anliegen. Obwohl Eislers zumeist großformatige Werke spontan und ungezwungen wirken, rang er damit, das Sichtbare in eine unverwechselbare Bildsprache zu übersetzen. Davon zeugen die persönlichen Tage- und Arbeitsbücher des Künstlers, die in den Jahren von 1962 bis 1997 entstanden und dieser Im Blick-Ausstellung als Ausgangspunkt dienen. Die meist selbstkritischen Aufzeichnungen erlauben einen ungefilterten und offenen Einblick in das Schaffen des Künstlers. Anhand ausgewählter Kunstwerke wird der Fokus auf das Malerische der meist kritischen Interpretationen der Wirklichkeit gerichtet.

In Kooperation mit dem Georg und Alice Eisler-Fonds für bildende Künstler und Komponisten wird seit Anfang 2019 im Belvedere an einem Werkverzeichnis des Künstlers gearbeitet.

Georg und Alice Eisler, London, um 1970
© Georg und Alice Eisler – Fonds für bildende Künstler und Komponisten

Georg Eisler wird am 20. April 1928 als einziger Sohn des bekannten Komponisten Hanns Eisler (1898–1962) und der Sängerin und Gesangspädagogin Charlotte Eisler (1894–1970) geboren. Als er sieben Jahre alt ist, lassen sich seine Eltern scheiden. 1936 Umzug mit seiner Mutter nach Moskau; 1938 vereitelte Rückkehr nach Wien und Aufenthalt in Prag; 1939 Flucht über Polen und Göteborg nach England mit den Stationen Birmingham, Manchester und London. 1942 freundet er sich mit Erich Fried an. 1944 lernt er Oskar Kokoschka kennen und nimmt in der Londoner Foyle’s Art Gallery erstmals an einer Ausstellung zu österreichischer Kunst teil. Nach einer ersten Einzelausstellung im März 1946 in Manchester kehrt der 18-Jährige im September in das zerstörte Wien zurück. Besuch des Abendaktes von Herbert Boeckl und Bekanntschaft mit Alfred Hrdlicka, Rudolf Schönwald und Fritz Martinz. Diverse Nebenbeschäftigungen, um seinen Lebensunterhalt zu verdienen. Intensive Auseinandersetzung mit der Malerei und Reisen unter anderem nach Italien, Holland, Frankreich, Deutschland und England. 1958 erste Einzelausstellung in Wien in der Galerie Wolfrum und zusehends intensivere Ausstellungstätigkeit auch auf internationaler Ebene. 1964 erste Monografie über Eisler, verfasst von Erich Fried und Ernst Köller. 1965 Österreichischer Staatspreis für Malerei. 1966 Heirat mit der Juristin Alice Gerson (1930–2011). Von 1968 bis 1972 Präsident der Wiener Secession. Ab 1970 Lehrtätigkeit, auch in den USA; in diesem Jahr publiziert Otto Breicha eine Monografie mit einem Werkverzeichnis. 1971 Preis der Stadt Wien für Malerei; 1974 Ehrenkreuz für Wissenschaft und Kunst. 1982 Teilnahme an der Biennale in Venedig und Beginn einer langen Freundschaft mit dem französischen Fotografen Henri Cartier-Bresson. 1997 umfassende Retrospektive im Oberen Belvedere, die er mitgestaltet. Eisler stirbt am 15. Jänner 1998 an den Folgen eines Krebsleidens. Er erhält ein Ehrengrab der Stadt Wien.

Georg Eisler | Esther Private collection

Esther Private collection
Georg Eisler Esther 15.1.1995
Bleistift auf Papier, 24x32cm frame 35,5×45,5cm
Schenkung Georg Eisler
Esther Private collection
Georg Eisler 16.1.1995 für Esther
Bleistift auf Papier, 38x56cm Frame 53x70cm
Schenkung Georg Eisler


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Museum of African Contemporary Art Al Maaden, Marrakech
Exhibition: 25 February -19 July 2020
Akira IKEZOE- Kiluanji KIA HENDA-Kapwani KIWANGA-
Commissariat: curated by Marie-Ann Yemsi
25 février – 19 juillet 2020
MACAAL, Al Maaden, Sidi Youssef Ben Ali,
40000 Marrakech

Akira Ikezoe, Coconut Heads around the Ceramic Studio, 2019.
Oil on canvas, 157x127cm.
Image courtesy of the artist and Proyectos Ultravioleta gallery

The Museum of African Contemporary Art Al Maaden (MACAAL), Marrakech is delighted to announce HAVE YOU SEEN A HORIZON LATELY?, a group exhibition opening on 25 February 2020. Taking its title from a song by Yoko Ono, the exhibition explores the politics of space and place and is an invitation to see and know the world differently. The exhibition features work from a selection of emerging and established international artists including Yoko Ono (USA), Kapwani Kiwanga (Canada-France), Rahima Gambo (Nigeria) and Amina Benbouchta (Morocco) and is curated by Marie-Ann Yemsi. Through a variety of media and with several new commissions, HAVE YOU SEEN A HORIZON LATELY? sees participating artists question their lived environment in a sensitive and committed way.
Whether inspired by architecture, urban archaeology and landscape or personal geographies in relationship to the body and history, the work of these contemporary artists resonates strongly with some of the most pressing issues in the world today. Questions around ecology, the unequal distribution of wealth and power, the colonisation of territories, situations of oppression, and fixed and reductive conceptions of identity are all themes explored in the exhibition.
Reflecting on their own histories, a number of artists use their surroundings as a departure point. Maxwell Alexandre draws inspiration from his life in the Rocinha favela in Rio de Janeiro to create a complex and committed narrative around a tense Brazil. His in-situ installation of paintings on brown paper created for MACAAL addresses social, cultural and political issues. Akira Ikezoe’s paintings reflect on the experience of navigating cultural differences between typical depictions of “East” and “West”. His paintings present figures, known as Coconut heads, which reflect on themes of cultural misconceptions and socio-economic power imbalances.  
Kiluanji Kia Henda’s video installation looks at urban and architectural elements of his hometown of Luanda, engaging with the colonial past of Angola and the African continent. Kapwani Kiwanga looks at the archive as a historical, political and symbolic power, demonstrated in her “Flowers for Africa” series. Artist and architect Felipe Arturo’s practice looks at urbanism in relation to politics, history and geography. His work is deeply influenced by vernacular architecture and the construction and production techniques that resist colonial and post-colonial processes. An anthropological interest in the living conditions of minorities is explored in Daniel Otero-Torres’ work. Lluvia, his impressive installation presented at MACAAL is the result of his encounters with the Emberá community, where he studied their system for decontaminating polluted water. Gaëlle Choisne addresses issues of disaster, the exploitation of resources and the remains of colonialism in a dynamic video installation.

Gaëlle Choisne, N.E.V.A.Q.N.A.L.A., 2016.
Video 8’36’’, mixed media, variable dimensions. Courtesy of the artist

Many of the artistic projects in HAVE YOU SEEN A HORIZON LATELY? call for resistance. For example, Amina Benbouchta’s work references the challenges of living as a woman in public and private, questioning how to position oneself in a structured, male-dominant world. Rahima Gambo explores the narrative of “walking”, female bodies, psycho-spiritual-geography, urban environment and autobiography through documentary storytelling. Sandrine Pelletier is inspired by the expression of raw energy, pushing the limits of materials such as wood, glass and metal; a material metamorphosis the artist likens to a “reified rite of passage”. Throughout her career, Yoko Ono has maintained a deep faith in art’s ability to transform and uplift. For this exhibition, she presents a text-based work inviting viewers to grasp the tumultuous landscape of the world.
The exhibition is curated by Marie-Ann Yemsi who works alongside scenographer Franck Houndegla. Conceived as a poetic journey where one theme leads through to another, the exhibition creates a network of interlinking positions and considerations, showing art’s unique ability to question our limits and challenge our perceptions.

Installation view of The Reflections Project organized by the Lower Manhattan Cultural Council, New York Photographer: Isabel Asha Penzlien. Copyright: Yoko Ono.

HAVE YOU SEEN A HORIZON LATELY?  is accompanied by an extensive educational and cultural programme including school visits, curator-led tours, talks, encounters and screenings.


Amina Benbouchta, Eternel retour du désir amoureux, 2019.
Installation, wood, neons, objects, sound, variable dimensions.
Courtesy of the artist

 Running alongside HAVE YOU SEEN A HORIZON LATELY?, MACAAL also presents Untitled: Seydou Keïta, an open air exhibition by Malian photographer Seydou Keïta (1921-2001) organised in collaboration with the Contemporary African Art Collection (Caacart). Pasted on the walls of the Marrakech medina, the large-scale photographic prints, which are part of the Jean Pigozzi collection, depict portraits of people and families in the 1940s and the early 1960s. The exhibition will run from February until March.


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Kunst in Wien 1945 – 1980

Die Ausstellung zeigt die Erneuerer der Kunstgeschichte Österreichs nach 1945.

Kunst in Wien 1945 – 1980

Die Ausstellung zeigt die Erneuerer der Kunstgeschichte Österreichs nach 1945.
AB 13. MÄRZ 2020 TÄGLICH VON 10 – 18 UHR

Die Eröffnungsausstellung der ALBERTINA MODERN
The Beginning. Kunst in Wien 1945 bis 1980
zeigt erstmals eine Epochenübersicht über die österreichische Kunst in den wichtigen drei Jahrzehnten nach 1945.
Die Ausstellung fokussiert damit die für die internationale Gegenwartskunst prägende Epoche bis 1979 und präsentiert die wichtigsten Positionen österreichischer Kunst.

Die ALBERTINA modern wird auf 2.000 m2 umfassende Ausstellungen mit Werken bedeutender österreichischer und internationaler KünstlerInnen präsentieren: Andy Warhol, Cindy Sherman, Gerhard Richter, Jonathan Meese, Hubert Scheibl, Jörg Immendorff, Arnulf Rainer, Neo Rauch, Hundertwasser, Annette Messager, Anselm Kiefer, Robert Rauschenberg, Kiki Kogelnik, Elke Krystufek, Roy Lichtenstein, Pierre Soulages,
Maria Lassnig, Alex Katz, Sherrie Levine, VALIE EXPORT, Karel Appel, Franz West, Erwin Wurm, Georg Baselitz, Sarah Morris, Nam June Paik, Pipilotti Rist, Nan Goldin, Thomas Ruff und viele andere.

Klaus Albrecht Schröder, Generaldirektor der ALBERTINA:
„Mit der Eröffnung der ALBERTINA MODERN können wir endlich unsere Sammlungen der Gegenwartskunst besser und umfangreicher zeigen als je zuvor. Wien bekommt mit der ALBERTINA MODERN ein neues Museum für moderne Kunst, in dem auch die Hauptwerke der Sammlung Essl und als jüngste Sammlungserweiterungen die Sammlung Jablonka sowie die Sammlung Chobot gemeinsam mit unseren bisherigen Beständen zum Ausgangspunkt von großen Ausstellungen gemacht werden, die es so bisher in Wien nicht zu sehen gab. Nicht zuletzt soll damit auch die Kunstgeschichte Österreichs nach 1945 einen völlig neuen Stellenwert erhalten.“

ALBERTINA modern | Mission Statement (de)



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Tuesday 26 February 2020 | 15 pm
Opening of JUSTMAD X EDITION to the general public.
Tuesday 26 February 2020 | 18 pm
Presentation of the Fundación
ENAIRE Young Photography Award.
Tuesday 26 February 2020 | 19.30 pm
Official inauguration of JUSTMAD X EDITION.
Preview VIP: Thursday, 27. February 27 | 11 – 15 pm
Proffesional invitation: 15 h. – 21 pm
General public:
Friday, February 28 | 11 – 21 pm
Saturday, February 29 | 11 – 21 pm
Sunday, March 1 | 11 – 19 pm
27 February – 1 March 2020
Palacio de Neptuno
Calle Cervantes 42, 28014 Madrid, Spain

Wednesday 27 February 2020 | 16.30 – 17.30 pm
Sala de presentaciones Palacio Neptuno: THEARTCHAT.
THEARTCHAT is a digital space for conversation with artists who demonstrate their creative processes. It intends to create an audio-visual platform that helps to understand the bases of new creation by living artists, bringing their work closer to collectors, enthusiasts and those simply curious about contemporary art.

Wednesday 27 February 2020 | 19 pm
Presentation of the Adquisición
Colección DKV Award– JUSTMAD.

Thursday 28 February 2020 | 12 h
Tour of the fair of the works of the JUSTRESIDENCE artists, together with those selected in this edition.

Thursday 28 February 2020 | 12.30 h.
Sala de presentaciones Palacio Neptuno: Presentation of the project “Redes vivas”.
Redes Vivas is a meeting point and joy of art from ecofeminist theory and care. It is a virtual space that allows visibility and collaborative work. “Redes Vivas” is being developed with different professionals, from art, culture and teaching, such as the artists Carmen Tomé, Gloria Oyarzabal, Florencia Rojas and Esther Merinero, the cultural director Irene Calvo, the artists and dramatic pedagogues Mariana González, Patricia Gracia, Jorge Ezquerra and Natalia Sanz, the educator Aída Lazuén and the design studio Noez.

Thursday 28 February 2020 | 16.30 h. – 17.30 h.
Sala de presentaciones Palacio Neptuno: THEARTCHAT.
THEARTCHAT is a digital space for conversation with artists who demonstrate their creative processes. It intends to create an audio-visual platform that helps to understand the bases of new creation by living artists, bringing their work closer to collectors, enthusiasts and those simply curious about contemporary art.

Thursday 28 February 2020 | 18.00 h. – 19.30 h.
Sala de presentaciones Palacio Neptuno: App “Thertify” de PAC Plataforma de Arte Contemporáneo.
Thertify is a project from PAC Plataforma de Arte Contemporáneo. Thertify connects artists, collectors, art galleries, institutions… through an online platform that allows collections of works of art to be arranged, certified and shared. A tool that simultaneously unites art lovers from all over the world. A network that allows the data belonging to the works that give shape to an art collection to be stored, classified and managed. Introducing the possibility to certify your work of art digitally. A new format of online authentication that certifies the authorship of the piece. Thertify connects, arranges, classifies, stores, certifies, revalues, spreads and promotes the most contemporary. A new concept in collecting, made for the digital era.

Friday 1 March 2020 | 13 pm
Sala de presentaciones Palacio Neptuno: Sublime magazine (red edition) presentation and performance: One o’clock mass, with Carlos Llavata, Eugenio Merino, José Luis Corazón Ardura and Avelino Sala.
Sublime is a contemporary art magazine published since ten years ago, and probably the only selfsustaining and independent magazine made for and by artists with humour, contemporary art and critical theory. We’ll be expecting you, come and take one!

Friday 1 March 2020 | 17.30 pm
Miss Beige performance. ¡SE NOTA, SE SIENTE,
Would you like to take part in a performance during Art Week? The 01 March a group performance will take hold of JUSTMAD in Madrid. The only requirement is to dare to be beige. So don’t forget your hammer and to dress in beige. Your own interpretation of the concept. Sign up at beige@justmad.es

Saturday 2 March 2020 | 13.30 pm
Presentation of the Most Valuable Young collector Pilar Citoler Foundation award
As it happened in other editions the Pilar Citoler Foundation will give an award to the ‘’Most Valuable Young collector’’ and a cash prize of 1.800 €.

General public:
Friday, February 28 | 11 – 21 pm
Saturday, February 29 | 11 – 21 pm
Sunday, March 1 | 11 – 19 pm
27 February – 1 March 2020
Palacio de Neptuno
Calle Cervantes 42, 28014 Madrid, Spain

Line 1 (Atocha Station / Antón Martín Station)
Line 2 (Banco de España)

Line 10, 14, 27, 34, 37, 45 (Paseo del Prado)
Line 3 and 51 (Carrera de San Jerónimo – Cedaceros)

Martes 26 de febrero

15.00 h. Apertura a público general de JUSTMAD X EDITION.

18.00 h. Entrega del Premio de Fotografía Joven Fundación ENAIRE.

19.30 h. Inauguración oficial JUSTMAD X EDITION.

Miércoles 27 de febrero

16.30 h. – 17.30 h. Sala de presentaciones Palacio Neptuno: THEARTCHAT.  
THEARTCHAT es un espacio digital de conversación con artistas que muestra los procesos creativos. Busca generar una plataforma de contenido audiovisual que ayude a entender las bases de la nueva creación de artistas vivos,  acercando así su obra a los coleccionistas, aficionados y curiosos del arte contemporáneo.

19.00 h. Entrega del Premio de Adquisición Colección DKV – JUSTMAD.

Jueves 28 de febrero

12.00 h. Recorrido por la feria a las obras de los artistas JUSTRESIDENCE junto a los seleccionados en esta edición.

12.30 h.  Sala de presentaciones Palacio Neptuno: Presentación del proyecto “Redes vivas”.
Redes Vivas es un espacio de encuentro y facilitación del arte desde los cuidados y la teoría ecofeminista. Se trata de un espacio virtual que permita la visibilización y el trabajo colaborativo. “Redes Vivas” se está desarrollando con distintas profesionales del arte, la cultura y la pedagogía, como las artistas Carmen Tomé, Gloria Oyarzabal, Florencia Rojas y Esther Merinero, la gestora cultural Irene Calvo, las artistas y pedagogas escénicas Mariana González, Patricia Gracia, Jorge Ezquerra y Natalia Sanz, la educadora Aída Lazuén o el estudio de diseño Noez.

16.30 h. – 17.30 h. Sala de presentaciones Palacio Neptuno: THEARTCHAT.  
THEARTCHAT es un espacio digital de conversación con artistas que muestra los procesos creativos. Busca generar una plataforma de contenido audiovisual que ayude a entender las bases de la nueva creación de artistas vivos,  acercando así su obra a los coleccionistas, aficionados y curiosos del arte contemporáneo.

18.00 h. – 19.30 h. Sala de presentaciones Palacio Neptuno: App “Thertify” de PAC Plataforma de Arte Contemporáneo.
Thertify es un proyecto de PAC Plataforma de Arte Contemporáneo. Thertify conecta artistas, coleccionistas, galerías de arte, instituciones… a través de una plataforma online que permite ordenar, certificar y compartir colecciones de obras de arte. Una herramienta que une amantes del arte de todo el mundo simultáneamente.  Una red que permite almacenar, clasificar y administrar los datos pertenecientes a las obras que dan forma a un colección de arte. Presentando la posibilidad de certificar de forma digital tu obra de arte. Un nuevo formato de autenticación online que certifica la autoría de la pieza. Conecta, ordena, clasifica, guarda, certifica, revaloriza, difunde y promociona el arte más actual a través de Thertify. Un nuevo concepto de coleccionismo creado para la era digital.

Viernes 1 de marzo

13.00 h. Sala de presentaciones Palacio Neptuno: Presentación periódico Sublime: Misa de una.
Con Avelino Sala, Eugenio Merino y Carlos Llavata. La revista Sublime. Arte + Cultura Contemporánea nació en el año 2002 gracias a la iniciativa del artista plástico Avelino Sala y el crítico de arte José Luis Corazón Ardura, quienes la co-dirigieron junto al equipo artístico PSJM en un principio. Sublime. Arte + Cultura Contemporánea edita un monográfico anual en papel y difunde contenidos diversos, todos ellos relacionados con la cultura contemporánea en sus diversas manifestaciones, a través de su versión digital.

17.30 h. Performance Miss Beige. ¡SE NOTA SE SIENTE EL BEIGE ES INCLUYENTE! 
¿Te gustaría formar parte de una performance en la semana del arte? El 1 de marzo una performance grupal tomará JUSTMAD en Madrid. El único requisito es atreverse a ser beige. Así que no olvides tu martillo y vestir de beige. Tu propia interpretación del concepto. Apúntate en beige@justmad.es


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