1-15^th July 2010
Opening reception: 1st July 6-8pm
Watch our VIDEO of the Opening:

Underground on BROADWAY is a London built exhibition of young, emerging British talent showing at Broadway Gallery, New York this summer. Made up of nine artists’ work, the show is eclectic in both medium and specific subject, a collection of early inspiration, showing how these initial pieces play off one another in terms of style and raw imagination.

The opening will be an innovative interactive experience, with live web streaming back to England for those who couldn’t be in New York, and the opportunity to text and email the artists participating creating a trans-Atlantic perspective between two countries miles apart. Encouraged by Underground’s sister show Pop-Up NY, this is will be a unique opportunity to see two cities in visual dialogue, as the works, ranging widely in medium, will hang adjacent from one another. Documented constantly online, Underground on BROADWAY aims to manipulate all that modern communication can offer, and the climatic opening will be one not to be missed.

Often reliant on place and surrounding, Underground’s works are reactions to the world their artists find themselves in, visual expressions of situation and its currents of influence. What many of the artists were particularly taken with was the idea of their art traveling from its place of origin to be deliberately displayed in another environment, and the effect that this would have on both the art and viewers’ reactions to it. Adam Higman’s piece is a tampered counting ‘clicker’ encased in a perspex box. The counter holds the amount of clicks it took for the box, and the show itself, to travel from London to New York; it is a three dimensional illustration of traveled time enclosed in space. Leanne Elliott (RART) captures the dark, wet shining pavement between a Londoner’s legs; her photography, 120 Nights of Sodom, tells the tales of a city’s nightly underbelly. Sam Hodge takes its estates in broad daylight, framing for us a view across the street in Queens Road Peckham, South London. Sophie Duckworth’s Habliments are a conception of place. Coloured threads dripping with the purity of white wax and the decadence of gold, these are hanging memories of a heritage imagined, a past visualised in an ecclesiastical vision casting shadows on the wall.

Origin, of place, person and reaction, feature throughout the Underground on BROADWAY show. Only encouraged by one another’s varied approach, the show demonstates how each individual artist pushes the boundaries of their visual exploration, through their mediums of installation, painting, drawing and photography.

ARTISTS

Ing Chua-Lee, Sophie Duckworth, Katie Elder, Leanne Elliott (RART), Adam Higman, Sam Hodge, Ita Maude Wooller (RART), Caitlin Montie Greer (RART), Tim Sargent

Alongside the exhibition, Underground on BROADWAY will be a show documented online, allowing both the artists, as well as viewers out of New York, to keep track of the show:

http://undergroundonbroadway.wordpress.com

Aiming to be as interactive as possible, check the website for information on all our artists, updates on the show’s progress, as well as for individuals’ reactions & feedback once we open.

16-30 June, opening reception Thursday June 17th 6-8pm

Spanish artist, Carlos Aquilino’s exhibition at the Broadway gallery will feature his latest works, in a variety of mediums—paintings, drawings and sculptures.

A devoted painter and an artist by instinct, Carlos Aquilino is always against the tide of easy fashion. An absolute master of drawing and color in all ranges, his perfect control of the compositional possibilities of spatial perspective, expressiveness, and clear-sighted message based on his imaginative figurative creativity are Carlos Aquilino’s key to communicating with the rest of humanity.

Carlos Aquilino was born in 1947 in Madrid. As a self-taught painter, he started his career with his first solo exhibition in 1975 in Las Palmas de Gran Canaria (Spain), at which time he also participated in several public art competitions and group exhibitions. In the same year he illustrated the book of poems Máscaras (masks). In 1977, he was given the Painting Prize of the City of Madrid followed by the Grand Medal of Sculpture at the Anzio’77 International Art Competition in Rome.

Aquilino has created a body of complex Surreal and geometric compositions that combine the influences of Cubism and Futurism. In his work, Aquilino deals with life’s subjects, events, moods and day-to-day trivialities; informed by an interest in the place of the individual within society. Aquilino exhibits a personality and aesthetic that is diagrammatic, invented, historical, and nonsensical all at once. Typically using a limited number of striking colors, his works are immediately recognizable by their daring yet subtle narratives and message.

Observing and documenting their domain, Aquilino seeks to reflect the city in which he lives while infusing them with his own fantastical imagination and unique visions. His work is the story of their experiences: the representation of spaces, senses, their history and knowledge traveled. He captured their emotions, their dreams remembered and invoked memories. He transposes his own sensibility into colors and forms, in order to achieve a raw aesthetic that evokes the kind of honesty that is found deep within the human spirit. The result is a series of works with a timeless, magical quality.

A Celebration of Two Imaginative Lives!

Photograph by Martin Fishman and copyrighted © by Phillip Ward. All Rights Reserved. Used by Permission. Courtesy of Crisperanto: Quentin Crisp Archives (crisperanto.org).

16-30 June, opening reception Thursday June 17th 6-8pm

“I photograph every possible aspect of human life. A famous movie director said an artist never looks away. I never look away.”

~ Martin Fishman

Presented as a celebration of the artistry and lives of both men, QUENTIN CRISP IN BLACK AND WHITE: Photographs by Martin Fishman, offers no rainbow flags. No welcome mats of glory and fame. No bright celebratory moments of excess and inebriation. Just pure, black-and-white photographic honesty. Simple as that. Each image captures a solid fact harshly spoken, but that is what Martin Fishman’s photographs often show, the harsh truth of being. And that is what his photographs of Quentin Crisp offer to us.   This rare personal glimpse into the life of Quentin Crisp and his “profession of being” offers us a black-and-white honesty of a familiar icon seen as a human being. Each print is unique in that it captures an intimate and personal moment, often in Quentin’s home, and with glances suggesting mini invasions. Thus, we are provided Mr. Fishman’s slight wink of paparazzi-like moments with Mr. Crisp doing ordinary things. And many of these images have never been seen before!   Marty’s friendship with Quentin Crisp resulted in hundreds of beautiful and informal portraits of Mr. Crisp at his home and around New York City, which are now housed with Crisperanto: The Quentin Crisp Archives (crisperanto.org). Curator Phillip Ward, with Paula Fishman and Abraham Lubelski, presents QUENTIN CRISP IN BLACK AND WHITE: Photographs by Martin Fishman at Broadway Gallery NYC from June 17–30, 2010. All images were selected for printing by Fishman and printed by friend and fellow photographer, Y.Nagasaki.   Martin Fishman’s photography speaks loudly and often with a gentle nod of respect, yet with an acknowledgement of what the harsh truth of a camera’s lens can make of a subtle moment in time. Born in 1937 and raised on Pitt Street and then Brighton Beach, Fishman saw in youth how life would shape his eye’s focus in years to come. Marty developed a passion for photography in high school and that passion remained with him for the rest of his life. He remained an active and productive photographer until his death on February 3, 2010.   A native New Yorker, photographer Martin Fishman’s work has appeared in an array of newspapers, magazines, periodicals, books, and Internet. His photographs appeared in the New York Times, Time Out New York, and The Sun. And his images depicting New York City’s nightlife was published in Japan’s Blonde and Friday News magazines. His photographs appear in the books: Cross, Deviant Desires, Miss Vera’s Finishing School For Boys Who Want To Be Girls, and in the memorial tribute book, An Evening for Quentin Crisp (March 2000).

Mr. Fishman exhibited at Ariel Meyerowitz Gallery, Art@Large, East Fourth Street Photo Gallery, The Emerging Collector, Focus II Photography (also was the director), The Leslie-Lohman Gallery, Limelight Gallery, Synchronicity Art Gallery, and Rafaella on Ninth, and Caffe Rafaella. His photographs are in several museum and private collections. His photographs have appeared in exhibits presented by Phillip Ward and Crisperanto: The Quentin Crisp Archives: Quentin Crisp: London & New York (2000); Quentin Crisp: Portraits of a Legend (2001); Quentin Crisp: The Naked Bon Vivant (2002); Of Quentin Crisp: Photographs from the Quentin Crisp Archives (2002); Martin Fishman: Faces of Wigstock (2003); and Martin Fishman: Pride On Christopher Street (2005).

QUENTIN CRISP (1908–1999) is the author of the classic—and flamboyantly eccentric—coming-of-age memoir The Naked Civil Servant. The award-winning film version of The Naked Civil Servant, starring John Hurt, made him an instant international celebrity. Crisp also wrote numerous books and articles about his life and his opinions on style, fashion, and the movies. Often hailed as the 20th-century Oscar Wilde, Quentin Crisp was famous for his aphoristic witticisms. He performed his one-man show, An Evening with Quentin Crisp, to acclaim in theaters around the world, all the while spreading his unique philosophy: “Never keep up with the Joneses; drag them down to your level. It’s cheaper.” During the second part of his one-man show, Crisp answered questions from the audience and gave advice to audience members about how to find their individual style and live a happy life. He was always in the “profession of being”.   Quentin Crisp was Oscar Wilde’s perfect descendant. With his calculated caustic words, open homosexuality and wittily provocative attitude toward any kind of conventionality, Crisp caused a bit of a stir in conservative England during the 1950s and 1960s, and even on through the 1970s. In 1981, Quentin Crisp moved to New York City, bringing along his familiar and witty remarks and his eccentricity. Quentin Crisp charmed everyone and became “the face of a modern rebel”. Throughout his near twenty-year tenure on Manhattan, Mr. Crisp wrote a variety of books, reviews, appeared in several movies (most notably playing Elizabeth I in Sally Ann Potter’s Orlando) and otherwise delighted us publicly and privately with his inimitable grace, wit and genius. Quentin Crisp died on the eve of touring his one-man show in Manchester, England, on November 21, 1999.   To learn more about “all things Quentin Crisp”, visit his official web site at Crisperanto: The Quentin Crisp Archives at crisperanto.org.

PHILLIP WARD was Quentin Crisp’s personal assistant, dresser, typist, escort, and travel companion during the 1980s and until Mr. Crisp’s death in 1999. As literary and estate executor for Quentin Crisp, he organized and produced the memorial “An Evening for Quentin Crisp” at Cooper Union’s Great Hall on March 3, 2000 and co-edited Quentin Crisp 1908-1999, the memorial tribute book. He is archivist and curator of Crisperanto: The Quentin Crisp Archives (crisperanto.org and quentincrisp.com), and editor of Quentin Crisp’s final book, The Dusty Answers (unpublished). Mr. Ward is a consultant and researcher, curator, multimedia artist, photographer, poet, and writer. His writings and photographs have appeared in an array of magazines, journals, books, and Internet, including group exhibitions in New York and Japan. And is co-editor of Van Gogh’s Ear, a literary journal and joint publication of Allen Ginsberg’s New York’s Committee on Poetry and French Connection Press.   Mr. Ward was consultant and contributor to “Hats: An Anthology by Stephen Jones” at Victoria and Albert Museum (London, 2009) and An Englishman in New York (2008/2009, Quentin Crisp biopic with John Hurt). Also consultant, researcher, and contributor to Richard Connolly’s book Quentin Crisp: I’m An Englishman In New York (2003) and for the Serbian translation of Quentin Crisp’s The Naked Civil Servant. He is a contributing photographer to The London Philharmonic Orchestra’s “Schools Concert” series at the Royal Festival Hall, London, November 2009, Teachers Resource Pack; Berlinale’s 2009 Teddy Awards Programme; and Christopher Pullen’s Gay Identity, New Storytelling and The Media (2009). Mr. Ward curated “Quentin Crisp: The Naked Bon Vivant! A 100th Birthday Celebration!” (2009); “Of Quentin Crisp: Photographs From The Quentin Crisp Archives” (2002, co-curated with Pet Silvia); “Quentin Crisp: The Naked Bon Vivant” (2002); “Quentin Crisp: Portraits of a Legend” (2001); and “Quentin Crisp: London and New York” (2000). He conceived and produced the multimedia event “Imitation of Crisp: A Happening in the Profession of Being!” at Envoy Enterprises in February 2010.

June 1-15th 2010
Preview June 3rd 6-8pm

The Artists at Home and Abroad exhibition is a representation of both emerging and established artists on an international scale. Exploring everything from the intersection of abstraction and figuration to the significance of high and low art, each participant creates an entirely different perspective within the cultural sphere of the art world.

Global Arts Projects “Artists at Home and Abroad” is a group exhibition which spotlights a selection of artists from around the globe who each create new global perspectives with their art. The salon-style exhibition will feature artists from all over the world, in a unique and dynamic visual dialogue.

The exhibition will be on display at Broadway Gallery, in conjunction with several Internet projects, and a print catalog. The exhibit will offer writers and viewers the chance to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists. Featuring many artists working with both new and old mediums, The Artists at Home and Abroad exhibition offers a platform for artists, curators, gallerists as well as writers to voice their ideas on the contemporary art world.

Featuring Sabine Helgesson, Nina Gamsachurdia, Lilo Scheuer-Hagenmüller, Elisa Schaar, Carla Elena, Beatrix Pirchner, Aghzout Abdelkhalek, Timothy Hutchings, Kim Jung Woon, Isabel Klotz and Wolfgang Ryan

Jennifer Watson, Cyborg Cindy, oil on canvas, 68" x 39"

June 1-15th 2010
Preview June 3rd 6-8pm

Baby Doll: A Female artists view of Contemporary Women was originally on display at The Arts Guild NJ.

It features work from Linda Rae Coughlin, Traci Fracasso, Bonnie Gloris, Jill Baker Gower, Lisa Ficarelli-Halpern, Claudia Hart, Frances Heinrich, Margaret Murphy, Mary Ellen Scherl, Kelly Vetter, Jennifer Watson, Amy Wilson, Jane Zweibel

]]> http://www.broadwaygallerynyc.com/2010/04/baby-doll/feed/ 2 http://www.broadwaygallerynyc.com/2010/03/carmen-einfinger-2/ http://www.broadwaygallerynyc.com/2010/03/carmen-einfinger-2/#comments Tue, 30 Mar 2010 19:52:04 +0000 admin http://www.broadwaygallerynyc.com/?p=1166 Continue reading →]]> The Broadway Gallery NYC is please to present Carmen Einfinger

1-15 April
Opening Reception
Thursday April 1 2010, 6-8pm
Carmen Einfinger’s works are often a collaborative effort between herself and the audience, which she creates using florescent paints and a variety of other media. Lively, winding shapes contort around each other, cramming and crunching into smaller sizes in one area, then spreading out with great growth and volume in others. The forms in Einfinger’s paintings possess a hectic, frenzied circus-like feel. Ecstatic, neon colors rise above the others in many pieces, such as Inner Machine, where the livid orange pulsates with a visual punch and breaks away from the rest of the piece. However, in some pieces the color palette consists of a much more even saturation, having the viewer focus on the twisting shapes and lines, following them in and out and around each other. In some pieces like Looking In, one can spot areas of a maze-like pattern that seems to dizzy the viewer even more. It is as if this area is a smaller example of the feeling the piece as a whole translates. In such works, Einfinger recreates both her studio, and imagination in a free-for-all, anything-goes space where anyone and everyone can experience inspiration by observing her drawings, paintings, and interact and themselves as he or she sees fit. Scent Of Color, the artist’s recent project won an international competition to transform Dolna Square in Gdansk, Poland is one such work. Transforming the park into a vibrant outdoor gallery Einfinger was the only U.S. based artist selected to participate in the competition. The Broadway Gallery Exhibition will feature a model of the Dolna Square in Gdansk which was a collaborative piece with  architect Alex Diez.

Following from the long list of previous artists engaging with relational or participatory practices, from Allan Kaprow’s happenings, to Fluxus’ performances, as well as the contemporary practices of artists associated with “relational” practices, such as Rikrit Tiravanija, Thomas Hirschorn, and Liam Gillick, Einfinger carries these artists’ legacies infusing her work with her own unique voice. Such artists all have one thing in common–activating the spectator. Einfinger is indeed an artist whose works embody the creative act as a social one, one of healing and companionship in which people come together to construct something larger than themselves. This is a spiritual and moral act that implies the betterment of humanity. Within her work, Einfinger sticks to a description that is mostly concerned with her own unique brand of figurative expressionism, sprinkled with some moments and suggestions of anthropomorphism. Again in her piece, Looking In, there are parts that appear to be looking at its audience. In other instances there are forms that have a striking resemblance to hands and fingers, stretching out in exaggerated motions. These hands and eyes convey something human, but with the excited, bright colors and strong forthright gestures they appear almost threatening at times too.

Though at first glance Einfinger’s pieces are a lot for the eyes to take in, seemingly so chaotic. However, upon further inspection one cannot help but take notice of the carefully constructed composition. Transitions in color and the shapes’ volume occur so suddenly, so abruptly there at first doesn’t seem to be logic to it. In stepping back and seeing the piece in its entirety, the viewer finally becomes aware of the delicate balance in everything present. Where one shape is pronounced another recedes, where one color pops another falls flat.  It’s as if the artist goes along creating a kind of harmony and sing-song with color and shape through a kind of binary play.

1-15 April

Opening Reception
Thursday April 1 2010, 6-8pm

Putting Renaissance sculptures at the forefront of her paintings, Mainardi’s work turns these ancient characters into the paintings’ primary subject-matter, making them the focal points in piece. Painted in such an attentive, detailed way these painted statues possess a vitality that makes them appear closer to life. Finding those warm tones in the ordinarily cold marble sometimes gives the viewer a way to find a slight flush in that silent stone and maybe even imagine a pulse underneath that still surface. In other pieces where the facial features and the entire head are not there, just the central part of the body, there seems to be the opposite effect; a reinforcement of the fact that this is a statue being viewed. The proud, staged poise of the figures reiterates the its theatrical intent and unreal presence. Regardless of the varying characters vivacity, there is something in the broader picture that ties all of the artist’s pieces under her own aesthetic.

The juxtaposition of the human figure with geometric or architectural elements is a theme that remains constant throughout all of her works. In some there is only some flatly spread paint cleanly contained within geometric shapes, somewhat referential to Mondrian’s work. In others, there is the same flat application of paint, but with some subtle gradation and movement to and from different shades. There also is some general construction of an architectural setting in the background. In a few it even seems to allude to a similar time and place (as the statues). Set against Roman arcs, pillars, and columns these statues appear right at home, with the exception of the flattened description, distancing itself from the figures, existing in a much more contemporary time. This visual: the divergence of subject-matter and background, the aesthetic gap between object and environment is the main weight behind Mainardi’s paintings.

"SLURP" Courtesy of the artist Simone di Bagno

A Group Show curated by Laura Jean Zito
1 - 15th March 2010

With an opening reception Thursday, March 4th, 6-8pm

Featuring Simone di Bagno, Ronald Berlin,

Linus Coraggio, Phillip de Loach ,

Annelies van Dommelen, Kelly Irwin, Barbara Keogh,

Stephanie Magdziak, Susanne Pitak Davis,

Stacie Speer Scott, Miguel Osorio, and Laura Jean Zito

The secret garden of abstraction that is the artists’ province, the gulf linking the shores of reality and fantasy, can be seen as a space of relief… from the cares of diurnal demands as well as from an abandonment to escapism. It is the realm that dreams are made of, where artists rearrange objects from mundane concerns into whimsical reinterpretations of their perceptions. Life always provides a layer of abstraction whether we notice it or not, and artists always remind us of its presence. Reality is not always the thing which it appears to be, and dreams are not always so fantastical as they might seem at first. It’s all how you see it…. which filter of understanding you bring to it…a process of dissecting and rebuilding.

The word RELIEF itself has so many meanings: a raised surface, extra breathing space, cares lifted away, sheaths removed to make way for a purer form, new growth, spiritual help, added layers of matter and meaning…”

Susanne Pitak Davis’s “Angel in a Flight of Fancy” leads the way on a journey into these artists’ imaginative meanderings. Annelies van Dommelen’s  “All is Well At Noon” is a calming assemblage of everyday objects elevated from the mundane by a bit of embossing. Stacie Speer Scott looking out an Italian window abstracts the lovely landscape, then sums up her Italian experience in a delightful cornucopia of memories. Barbara Keogh’s “Gourdian Knot” reflects on the nature of relationships, while her “Pineapple Friends” suggests her crusty characters have one. Their rough exteriors render Ron Berlin’s “Swimmer” all the more naked as do the gnarly barks of Stephanie Magdziak’s “Copper Beech” and “Pine Tree.” The wood of found objects is deemed holy by Phillip de Loach’s “Prayer Box,” and accentuated by Scott’s  “The Rose.” Kelly Irwin’s “High Class Beach,” a photo of a luxury tire buried in the sand, examines found objects with irony. Simone di  Bagno’s “Suck It Up” playfully conceptualizes relief literally and  figuratively. Miguel Osorio juxtaposes marine elements in an elegantly-hued collage to create “The Reef.” Laura Jean Zito suggests abstraction using reality itself, in ”The Red Sea.” Linus Coraggio shows the  ever-changing nature of reality in “West Side Highway Before the George  Washington Bridge.” “In his metal sculpture made from found objects, such as “Double-Afro Piston Head,” reality is turned on its head to be viewed as something entirely unexpected. His motorcycles made from food blenders and other work can be viewed on his website, www.linuscoraggio.com.

The other artists’ websites are as follows: www.vandommelenart.com, www.stephaniemagdziak.com, www.bakeogh.com, www.staciespeerscott.com, www.miguelosorio.com Laura jean Zito has images on www.photoworkshop.com.

“Relief” Copyright 2010 Laura Jean Zito

"The Red Sea" Laura Jean Zito

"The Pilgrim Soul In You" Laura Jean Zito

"Guardian Angel" Miguel Osorio

"Feather In My Cap" Annelies van Dommelen

"Italian Tryptich" Stacie Speer Scott

"Italian Holiday" Stacie Speer Scott

"Gourdian Knot" Barbara Keogh

"Pineapple Friends" Barbara Keogh

"Swimmer" Ron Berlin

"Pine Tree" Stephanie Magdziak

"Double Piston Afro Head" Linus Coraggio

"Wishes To Be A Spring Goddess" Susanne Pitak-Davis

"The Rose" Stacie Speer Scott

"Angel In A Flight Of Fancy" Susanne Pitak-Davis

"West Side Highway After the George Washington Bridge" Linus Coraggio

]]> http://www.broadwaygallerynyc.com/2010/03/relief-2/feed/ 0 http://www.broadwaygallerynyc.com/2010/03/works-on-paper-a-celebration-of-international-artists-in-nyc/ http://www.broadwaygallerynyc.com/2010/03/works-on-paper-a-celebration-of-international-artists-in-nyc/#comments Mon, 08 Mar 2010 20:01:18 +0000 admin http://www.broadwaygallerynyc.com/?p=1013 Continue reading →]]> The Broadway Gallery celebrates New York Art Fairs Month with an International Artists Works on Paper Show

NY Arts Magazine and World Art Media are pleased to announce a continuation of the international traveling exhibition Global Perspectives which will be shown in three different continents; Europe, North America and Asia.

From March 3 to 30, 2010 the next exhibition Global Art Perspectives: Art 2010 Annual Preview will be on display at Broadway Gallery. In conjunction with several Internet projects, the exhibit will continue to offer writers and viewers the chance to submit essays and comments on the nature and significance of biennials, fairs and public exposure for new and emerging artists. Featuring over 200 artists with on-site commissions, new and old works of many different mediums, dynamically executed on paper. The curators include Basak Malone and Tchera Niyego from New York, Agustina O’Farrell and Santiago Bunge from Buenos Aires, L.Brandon Krall from New York, Cosimo Di Leo Ricatto from Amsterdam, and Stefano Pasquini from Italy. In celebration of NY Art Fairs week, where the city of NY turns to a sea of art fairs (including the Armory Show, Pulse, Scope, Fountain, Pool and Volta) the Broadway gallery will exhibit this dynamic paper show until the end of the month.

Featuring International Artists:

Jennifer Reeves, Yue Kyoeng sub, Emma Braslavsky, May Stevens, Bailey Doogan, Edamon Namusiv, Carl E, Hazlewood, Kilian Kerner, Rudolf Baranik, Carol Flax, Hearne Pardee, Lauren O Neal, Victoria Hanks, Tony Zaza, Robert Sievert, Michael Wilson, Paul Parcelllin, Graeme Sullivan, David Berger, Frances Devuono, D.Dominick Lombardi, Claire Wolf Krantz, Ana Tiscornia, Markus Winkler, Charles Giuliano, Richard Huntington, Claudia Ruth Schomig, Nancy Dohn, Raul Zamodio, Mark Van Proyen, John Perreault, John Antoine Labaie, Abraham Lubelski, Leigh Trifari, Phong Bui, Jamey Hecht, Deborah Garwood, Jeanne C.Fryer-Kohles, Victoria Korb, Kay Miler, Janet Culbertson, Jeffrey Carr, Jemes Rosenthal, Lori Don Levan, Patricia Miranda, Maureen Mullarkey, James Little, Diane Calder, Elisabeth Kley, Betty Collings, Leon Golub, Mario Naves, Nelleke Nix, Alison Knowles, Roger Boyce, Christopher Chambers, Matt Freedman, Joel Silverstein, Robert C.Morgan, Howardena Pindell, Daniel A.Heyman, Loren Munk, Jan Estep, Gary Duehr, Robert Taplin, J.D.Javis, Patritia Pac, Siri Berg, Alejandro Montaldo, Juan Pavlovsky, Julieta Barderi, Peter Leonard, Santiago LLorente, Andres Ghiorzo, Adriana Torregrossa, Dario Solman, Fabrizio Rivola, Federika Ponnetti, Grace Rim, Jennifer Schmidt, Kaz, Laura Serri, Marco Fantini, Marina Gasparini, Mili Romano, Natalija Ribovic, Oreste Baccolini, Roberta Piccioni, Sabrina Muzi, Saeri Kiritani, Stefano Cagol, Stefano Pasquini, Frans Goddijn, Hans Franz, Joanneke Meester, Josien Vogelaar, Kurt Nahar, Maartje Folkeringa, Patricia Kaersenhout, Saskia De Brauw, Ana Bonamico, Jean James, Marco Antonio Abbagnara, Masaki Asakawa, Matthew Lauretti, Maz Jackson, Michel Beaucage, Sisko Ruskokivi-Runeberg, Sophie Hedderwick, Whitney Mcveigh, Andrea Amelung, Anna VanMatre, Ayse Kucuk, Dilek Ozmen, Francois Geffray, Hanna Scheriau, Heidemarie Kull, Juergen Buhre, Keith Morant, Andres Giles, Claudia Lucini, Leonardo Pellegrini, Marcelo Linares, Santiago Bunge, Santiago Deramo, Tomas Ghiorzo, Valentina Cambiaso, Carla Gannis, Carter Hodgkin, Jerelyn Hanrahan, Karni Dorrell, Dirk, Janjager, Georgeta Stefanescu, Heleen Wiemer, Maaike van der Linden, Richtje Reinsma, Roosmarijn Schoonewelle, L. Brandon Krall, Nura Petrov, Patrice Lerochereuil, Seth Carnes, Teri Hackett, Gunilla Oldenburg, Vernita Nemec, William S. Stone, Ari Liimatainen, Beatrice Englert, Destroy Be, Hansen Thiam Sun, Ioanna Voskou, Carlos Aquilino, Theodor Barr, Iuri Izrastzoff, Patrick Fenech, Helmut Zwerger, Dorin Baba, Jennifer Contini Enderby, Alison Slon, Alice Warshow, Karen Bannister, Eugenie Barron, Neville Ward and many more.

Gaudiserbe

Bedürfnis Fenster

Ein Tisch zum essen, ein Bett zum schlafen,
ein Haus zum wohnen, ein Herd zum kochen,
ein Fenster zum hinaus sehen mehr brauch ich nicht.

Ein Brot zum essen, eine Decke zum schlafen,
ein Dach zum wohnen, ein Topf zum kochen,
ein Fenster zum hinaus sehen mehr will ich nicht.

Ich bin alt und brauche nicht viel,
ich bin alt und will nicht viel,
alles was ich wirklich will und brauche ist
ein Fenster zum hinaus sehen.

By Arno Van Wunder

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