RPLCMNTLan HunghDarri Lorenzen

RPLCMNTLan Hungh + Darri Lorenzen

CURATOR PAULINE DOUTRELUINGNE

SAVVY CONTEMPORARY + RICHARDSTRASSE 43/44 + BERLIN NEUKÖLLN

www.savvy contemporary.com

VERNISSAGE 13.08.10 + 8.30 PMEXHIBITION 14.08.10 11.09.10

OPENING HOURS THURSDAY SUNDAY + 4 8 PM

IMAGES3D RENDERINGS OF HANGERS 1-11PAGES: COVER, 2, 9, 10, 18, 19, 30, 40

RPLCMNT An object is an object is an object…

But is an object in the sense of a physical body, notwithstanding its abstract and epistemological connotations, really an object in the sense in which it is generally objectively perceived i.e. having a specific form and function? Suppose a RPLCMNT of the term ‘object’ was done with the term ‘hanger’. Yes, a hanger! This noun defined by the Oxford Advanced Learners Dictionary as a curved piece of wood, plastic or wire, with a hook at the top, that you use to hang clothes up on. This piece of design so much a perfect example of Louis Sullivan’s postulation about form follows function threatens to be once again the protagonist. With its very particular form, this object which is trimmed and destined to fulfil a definite functionality i.e. carry clothes, forces us to reconsider our perception about form and functionality, reality and imaginary, truth and lies, as well as an almost evangelistic notion of belief and disbelief as described by Carson Chan (See page 41). In fact, the aforementioned hanger instigates us to reflect on the subjectivity of objects and their content.

+ PREFACE

3

True Lies

The finding, combining, transforming and presenting of sometimes trivial objects and materials as art works built some of the milestones of art history in the last century; be it Objet Trouvé, Ready Mades or Appropriation Art. All these have in common the fact that these art works are stuck between two sides of the same coin; on the one hand the lie of being an authentic and original art work, as they are based on found objects, which in their form have already attained the utmost functionality and on the other hand, the truth of being in a particular context and concept, thereby gaining a new authenticity, originality and innovativeness. Thus is the case with the famous hangers found by Lan Hungh (1976, Taipei) and Darri Lorenzen (1978, Reykjavik) on the way to SAVVY Contemporary for the first real meeting on their exhibition project, which will later be entitled RPLCMNT. This twist of fate thus became a trigger for both artists to playfully research on the truth, the hyper-real and their opposites. Their apprehension of reality can thus be likened to Paul Watzlawick’s theory on the perception of reality:

“It is rather important for us… to be content with the much simpler perception of reality, namely as a product of two elementary principles: chance and necessity.” 1

+

1 Paul Watzlawick; How real is real? : Confusion, disinformation, communication; Page 91. New York: Random House, ©1976.

5

RPLCMNT – the concept of replacement involves the putting or usage of something in the place of another, which in the case of this exhibition might imply the replacement of truth with lies, belief with disbelief, reality with unreality and vice versa. But the idea of replacement which has been reduced to the abstract terminology and consonant-entity RPLCMNT is actually literally dissected by Hungh and Lorenzen into its syllabic bits and pieces. With the patience in repetition, time and the quest for understanding by repeating, they attend to the prefix Re-. By doing a parallel exhibition in the SAVVY Contemporary art space and on the internet, www.rplcmnt.tumblr.com, the artists seem to question the concept of space and physicality, as well as the gallery as a geographical Place where art is exposed. They seem to attend to the suffix –ment by their drill towards the action and the process as result.

This ideology also shared by the Nobel Laureate Jacque Monod in his epic on the philosophy of Biology 2 goes as far as postulating that the interaction between chance and necessity is the point of origin of life. If this is the case, then Hungh’s and Lorenzen’s ‘necessity’ to do art/ an exhibition and their ‘chance’ of finding a carton of hangers is the initial point of a new reality. Their playful research process, which they coined experience of experimentation, in the new-found studio at the SAVVY Contemporary space entailed creating very geometric hanger-sculptures or chance-sculptures by throwing around the hangers like in a game of dart. The research and development process i.e. the formation became the art, just as much as the form which will be realized as drawings, photography, videos, sculptures and performances… with replacement at the focus.

++

2 Jacques Monod; Chance and Necessity: An Essay on the Natural Philosophy of Modern Biology; translated from the French by Austryn Wainhouse; Vintage 1971

7

Trialogue – by inviting the curator Pauline Doutreluingne (1982, Belgium) to build up a trialogue with the artists Lan Hungh and Darri Lorenzen, SAVVY Contemporary pursues its aim of establishing a platform for art irrespective of the “western” or “non-western” background of the artists, but with more emphasis on the qualitative depth and scope of their artistic production. With the challenge of working together despite the nuances in the artistic languages (related maybe to culture, education, personal affections, media, etc.) both artists achieve a rapprochement of visions and cultures which is hardly achieved in other fields of life. With this approach and the brilliant cooperation in this exhibition they already do a RPLCMNT of the current way art from the “west” or “non-west” is discoursed, with a more objective, and less geography-oriented perception of art.

Dr. Bonaventure Soh Bejeng Ndikung, Art Director and Initiator SAVVY Contemporary

+

Darri Lorenzen and Lan Hungh have never met before. I, Pauline Doutreluingne, put them together on a summer day in July 2010 to collaborate on an art show at Savvy Contemporary. They drove by bike from Prenzlauerberg down to Neukölln and found this mysterious box of hangers on their way. We all met at the space with the Art Director, Bonaventure Soh Bejeng Ndikung, who came by for a short while and started to talk. Ideas, thoughts, actions, hanging, producing, shooting, recording, blogging, transcribing, more thoughts, more producing, reflection…

„The most powerful instinct of man is to be in conflict with truth, and with the real.“

No matter what, our consciousness is never the echo of our own reality, of an existence set in „real time.“ But rather it is its echo in „delayed time,“ the screen of the dispersion of the subject and of its identity. It is more difficult for us to imagine the real, History, the depth of time, or three-dimensional space, just as before it was difficult from our real world perspective to imagine a virtual universe or the fourth-dimension. The simulacra will be ahead of us everywhere. The simulacrum is never that which conceals the truth — it is the truth, which conceals that there is none. Since the world is on a delusional course, we must adopt a delusional standpoint towards the world.Jean Baudrillard, Radical Thought

+

11

DL: It makes me think about the senses: seeing, hearing, feeling…So if you change this into what you hear is what you get, if you don’t see anything, what would be the difference then? Then you create pictures in your head, visual pictures.Hearing is much more subtle then seeing, it goes straight into the back. You can close your ears but you always here something, even if the sounds come from inside your body. You can never hear really ‘nothing’.

LH: You can feel the heat of something, even there is light that you can not see.

LH: Do you believe we have more senses than we assume we have?

DL: Yes sure. I think also the connection between the senses is interesting. Like as the area between the eyes and the ears. This is kind of a metaphor area.

LH: Even on the skin. I feel temperature or something else if someone is near me. You feel this especially if you point your finger to the area between your eyes. The eyes are closed but you can still feel there is something there, a certain kind of pressure.

++

What follows is the transcription of a dialogue between Darri Lorenzen and Lan Hungh, directed by Pauline Doutreluingne at Savvy Contemporary, Berlin- Neukölln, 23.07.2010 - 24.07.2010:

What you see is what you get

DL: I don’t think that is true in reality. What you see is not necessarily what you get. It depends what you take out of it. You can also take nothing out of it and ignore it because you see so much. If I look out of the window, there are so many things in there, I may not all drag out of it; millions of things, millions of thoughts.

LH: Do you really get it? Or do you just see it?

DL: This is irrelevant, because it should be: What you see is what you can get.

How about: what you see is what you think.

BSBN: What you see is what you think you see.

13

BSBN: It would be interesting on an experimental level to do this work also in Germany, here in this context and see if people would react in the same way. To see if this is culturally related. In Iceland, where the impact of light is so extreme, with the complete brightness in summer and obsolete darkness in winter, people might feel this more intensely.

DL: This has for sure something to do with it. But I don’t think of my work as typical Icelandic, while others often see it exactly that way. I think that is what they call subconscious. Like for example the fact that there are no trees in Iceland. Two people said to me before: I can totally see that you come from a place where there are no trees. I work a lot with light because for me it is this notion of presence, where you are standing and where you are and it brings focus on the place. It is such a strong element. I use sound in the exact same way. In what I am working with, what you hear is more present than what you see.

LH: I got very interested in the sounds of ordinary life. I used to be a professional musician, a percussionist, but now I almost never listen to music anymore.

++

DL: I use this often in my work. For example in the cinematographic work I made recently 90 minutes from where you are now, I work with sounds that you cannot hear with your ears but you feel them. There are two layers of sounds in the work, one which you hear, which is kind of high and coming from the front, and there is another layer of sound which is very low and you don’t register with your ears, but you feel them in the air.

LH: Some Neuroscientist hypothesized in the 1960s that „we see with our brains, not our eyes.“ Now, a new device trades on that thinking is created and aims to partially restore the experience of vision for the blind by relying on the nerves on the tongue‘s surface to send light signals to the brain. So it’s like using another organ for the same function. It is in the beginning stage of the research, but it exists. Human beings have the capacity to transform the senses in something different, to recreate the senses image in the brain. So maybe one day, if we see something, we can hear music. What you feel is what you get.

DL: I am also interested what triggers you, like the memory part. I made a work in Iceland with just one light bulb, a neon light in a completely darkened space. People went in the room and the light would kind of fade in and out like the light on a Mac laptop. The people who went in the room where afterwards completely lost. It had a big impact and some even told me that they felt like being in their mothers belly again. It is crazy what a simple thing, totally basic to the bottom, can create. What you see is what you get.

15

DL: Me too, and a lot of the music I listen to is based on this, and in my own recordings as well. Today when I woke up, the balcony was open and it was just like a concert of noises, the sounds from some building, from the street and from the backyard. Just to record this and play it loud would be amazing; I record empty spaces a lot and try nothing to interfere in it; just the space itself and play it back into the space just a little higher than usual. It is like amplified silence.

LH: I like silence, but this is an abstract idea. It never completely exists. I always feel a lot of sounds.

DL: Like you say, there are always a lot of different layers or degrees of silence. Same thing happens with darkness.LH: Why do you always put sound? If without sound; will the idea still be there? What is the role of the sound in your work?

DL: To bring focus on the space, to trigger an aural experience with the space.

LH: Do you think that without the sound people don’t focus?For me sound could be a part of the story, to bring some kind of feelings in there. Or maybe it is connected to the space. Cinema is totally flat, and with sound it becomes something else.

DL: I play with the perception of the space.

LH: Like in your work with the tunnels, you experiment with that and you make a space feel bigger or smaller.

DL: Yes it is acting through that. I recorded the sound from in the tunnels and played that sound outside the tunnels. It is a sort of dramaturgy.

+

17

HELP! I have to do a performance!

DL: Really? (Laughs) and how can I help you?

LH: I don’t want to just focus on doing only performance. Although recently I do a lot of them. I think that is because there are certain „needs“ for performance in the Berlin art scene. It is quite easy to organize it. The practical side of it makes me do a lot of performances as an artist. I would love to make more installations and videos for example. Maybe it is a bit about laziness (laughs).

DL: I think to do a performance is not easy. It takes a lot to do a good performance.

LH: True, nothing is easy in that sense. But what I mean is that in this city there is a big demand for performances on openings of festivals, art exhibitions etc. As such, they use the space twice and performance art is much more asked than other media arts because you don’t need a lot more; often just the artist and his ideas.

+ +

I came up with this title of my work HELP! I have to do a performance! because I wanted to create a non-action for this performance. So my idea was to pretend I was being kidnapped by the gallery; I was attached to the chair and waiting for the audience to rescue me. I had a reason to do nothing. Every time someone from the public released me, like almost every 5 minutes, the performance was finished. So in the end, I redid “the performance” a couple of times.

DL: I want to do more performances. And recently I started to do more performances. Maybe for the same reason as you were saying. I don’t really document my performances in fact. To prepare them I make scores, similar to music scores. Some are more ‘actions’, others are really performances; sound performances. In every work there are 3 basic elements for me. There is the action of creating, making something. There is the interaction and then the afterlife.

LH: I am interested in your definition of performance. Often when I am not so sure if my work is actually a performance, I still call it a performance due to communication issues. I cannot clearly define my work as performance. Sometimes there is not even an action involved. The action might be before or after, but not during the performance.

DL: In the process of making a performance, I always make a score, about the dynamics in the performance. Really like a music score. In the action itself there is often smoke, light and sound involved.

21

They are more linked to music performances and are usually site-specific in some way. I make recordings in some space and stuff like that. It is also fun. I don’t take my performances as seriously as my other works. For me it is more a relief.

Site-specific

LH: What is the meaning of site-specific for you?

DL: I use this term less and less. I am a bit sick of it to be honest. The meaning of it is basically that it could not or could be different in any other place. A work made for a specific space can still function in another space, but then it becomes something totally different. This is the afterlife.

LH: I always try to work site-specific. Some works of mine really cannot happen or function in any other space. Maybe they could happen on another site but not in another time. They are time-specific. Specific according to the moment and people involved. I like to do interactive performances as well, mainly because Berlin is such a happy city; if there is not a saturate action, the audience don’t notice you enough.

DL: I don’t think so much about whether or not my work is site-specific but I guess it is in the end. I usually do some research on the space or the surrounding of where I am showing my work. For example also here, we are staying here for a while in the space; it is how the whole project is constructed. I am not so interested in the building or the space per se; it is more about the area. It becomes site-specific in a way. But there are different kinds of site-specific works, some can only exist in one space and there are other works, which can travel to other sites and still function.

+ +

LH: I like to work in a site-specific way because it enables me to create unique entities for each single space and it is a challenge. I like to be challenged. It is like a game.

Language

DL: I have this weird relation with text and work. Work exists as a sound or something visual. But then sometimes text becomes so important that it becomes part of the work. Like just text onto something. There is a difference between the language of words and the language of a visual thing. An image can be language as well.

LH: Does an image sometimes need translation?

DL: No, images don’t need translation. Well, maybe in some cases.

LH: I use languages in a very practical way. I see it as a tool. I don’t have a good sense if a language sounds beautiful or not. I didn’t read since long time. Maybe by reading I could find the beauty of language. Due to my travels I can speak several languages, but none of them I speak perfectly. Sometimes I even wish I would be dumb. When I use my mouth to express my thoughts, I regret often that I speak before thinking it over. In my case it would be better to write my thoughts down for people to better understand what I want to express.

23

Hanger

DL: We found these hangers.

LH: A hanger is like a metaphor for something we need but forget about. Like a chair, we use chairs all the time but we never say thank you. That is why I did this chair performance Organic white Chair because people forget about chairs. I saw this inspiring film Tokyo by Michel Gondry where the main actress became a chair in the end. She totally represents the thought that a chair is such a useful object but nobody thinks of it. If we need a chair we try to find one. But if we have chairs then it is just natural to be there. I have a peculiar feeling about the objects we use daily.

DL: When we were on our way here the first time, we found this box with hangers on the street. We both immediately just liked it. It was a spark of starting to work on something together. Maybe we won’t use them in the end. I don’t know.

LH: Maybe we will use it for a performance.

DL: Or we can make clothes for them. (Laughs)

+ +

LH: Or we can ask the audience to take off their clothes for the hangers?

DL: I like the fact that a hanger has such a simple form. If you would photograph them in a super nice setting, you would not know if they were real or 3D, because it is such a simple object. We should photograph all of them. And we could make one of them in a 3D rendering. People wouldn’t see the difference. It is interesting how 3D renderings become so real. The technique for it develops so fast, so that in 3 years I could photograph you and say that it is a 3D rendering. I am very interested in these things when you don’t know if it is real or not.

90 minutes from where you are now

DL: This is a piece I made recently for a movie theatre. It is also about what is real and what is not real. A lot of it is made in 3D. 90 minutes refer to the standard length of a movie. The piece is in loop and is 20 minutes actually. So for me this a thought about you in a certain situation, this piece or whatever situation, and then if you think about 90 minutes from the here and now, we could be anywhere somehow. But it is linked to this point in time here and to this space here. The piece is very much about the specific space you are in, but with the title it reaches out. It reaches out into whatever you will do within 90 minutes. So you could be in an airplane and then somehow that becomes part of the piece. For me it is a nice thought of thinking about all the people that go into the space to watch the piece and then all the different things that are linked to the piece, or even just the thoughts of the people who read the title, become part of it and that makes it rich.

25

The other

DL: It makes me think of ghosts, or another dimension.

LH: Maybe we can put it together with another word? Collaboration

LH: Usually I don’t have good experiences with collaboration.

DL: Me neither (laughs)

LH: This is a good beginning.

DL: No, it depends. The perfect collaboration is between creative and practical. I think neither of us is really practical, we are both more creative and that can be a problem. But I am not worried in collaborating with you somehow.

LH: I have this experience of working together with another friend of mine and in the beginning we never agreed. We were to do performances together. She was into using projections, dancing and costumes. And I said that is not really what I want to do. I wanted to do an action with blowing balloons. We solved it by using two different rooms but connecting ourselves through the story. You don’t have to physically do something together to have a collaborative work. For me that is a good way of collaboration. Separated, but still somehow connected.

+ +

DL: We were also talking about doing things with each other’s techniques. You have your techniques for different works and I have my techniques. So you would use my techniques and do a new work and the other way around. That would be refreshing and exciting. I can go into your work and do my own your work. And you do your own my work.

LH: Yes this is interesting. Maybe you can also dress like me (laughs).

Art versus nationality

LH: Do you see something Asian in my work?

DL: Yes.

LH: Like what? Handcraft?

DL: Yes, and the use of the body.

27

LH: I don’t think they make use a lot of the body in Asian art. Not traditionally in any case. That is not the culture. They might use the body in China as a way to turn against tradition, to revolt. Being naked is totally against the tradition.

DL: Nationality, the word is like nationalism, and I am not so interested in that. I am more interested in places. And that is stronger. It could be art versus surroundings.

LH: I don’t really think about nationality since a long time. I am more interested in people and my surroundings as well.

DL: Yes, the place that is constructed of the whole environment, the nature, architecture and society. And I guess that makes a nation. (Laughs) Nationality makes you think of flags and politics and that doesn’t trigger me.

LH: I don’t know what my national identity is and where I belong. That has to do with the political problems in Taiwan. When I went to school, we were always told that we were Chinese. And after I graduated they changed the books. They said: Now, we are Taiwanese. I have an ID in which was written Republic of China, and they changed it later to Taiwan and then when the president changed, it was Republic of China again. It is very confusing. I just got lost and the best way is not to think about it. But the fact is that the culture exists. Taiwanese culture is so transparent. It is a mixture of different cultures: Chinese culture, Japanese culture and also the original Taiwanese culture.

+ +

DL: Iceland is so new. People have only been living there for 1000 years. Before, there were no humans there. Afterwards there were only sailors and fishermen, but now that is changing so fast. Now it is more science, energy and genetic research. Every single Icelandic person can link themselves to another person, so in the end they come all from the same person. And that is why it becomes really interesting for scientists to research on genetic stuff. We are all linked and it is just on this island.

Are some things unrepresentable?

LH: I believe so, but I don‘t know what.

DL: Maybe there are some feelings that are unrepresentable. Also the future, it is impossible to represent what will happen in 10 seconds for example. It makes me think also about something that is inhumane. I am more interested in something that is not reachable, impossible to grasp.

LH: Like some abstract ideas?

DL: Such as feelings, or things related to time.

29

Here and there

DL: I made this piece called You are here. It was in Istanbul in a beautiful building that used to be a prison. It was an amazing place and I had a show there. What I did was that I made a blueprint of the place where I marked two crosses. One where you were at that moment and then the other cross is referring to the place where I was sitting in. So wherever you were in that building, you would always have this reference to this one place. And then this place would have links to these other places.

PD: This is very site-specific.

DL: Yes, but still it could be done in any building

LH: Here becomes there and there becomes here. It is related to time.

DL: Yes but what is interesting is that here could be this place, but also this building, Neukölln, Berlin, Germany, Europe, this planet, the universe... It has indeed also time in it. This here won‘t be the same in ten minutes.

LH: Recently I thought a lot about the fact that I am here but I am not here. My mind is not really following my body. Sometimes my mind stays in another world. It is as if somebody would shoot a movie in very slow shutter speed, you have a long trace. It is the same as with my mind, which wants to keep up with my body. Sometimes I can’t understand any words of what they are talking to me although I am there.

+

31

+

Lies

DL: We were talking about lies yesterday. You told me it is all a lie.

LH: Yes, yesterday I was looking at the announcement of a festival I am in and then they put as a subtitle to my name virtuality creator. So that means I am a liar. It is a beautiful description of a liar.

PD: Do you think of yourself as a liar?

LH: On a personal level not, but I lie in art. You could see it as a method to do art.

DL: Me not, I am super honest. It got me already into a lot of trouble. According to the dictionary a lie is an intentional false statement. And if I look at this description, yes I have to admit I use that sometimes in my art. Virtuality creators, ha, that is what we are.

DL: DARRI LORENZENLH: LAN HUNGHBSBN: BONAVENTURE SOH BEJENG NDIKUNGPD: PAULINE DOUTRELUINGNE

+

33

+

In John 20:24-9, we’re told that Thomas the Apostle refused to believe that Jesus has come back to life. For one of the most miraculous events in Christianity, the story of the resurrection— an event that both tests and requires the strength of faith over the world of perceptible truth— has built into it a moment of faithlessness. “Except I shall see in his hands the print of the nails,” said the incredulous Thomas, “and put my finger into the place of the nails, and put my hand into his side, I will not believe.” To preserve a faith stronger than logic, we have in him a surrogate for our doubting. In Thomas, the gospel presents a figure that ratifies our own uncertainties of things normally impossible. More interesting than Thomas’ gall in doubting Jesus’ transcendence of the material world is his need to confirm the claim through experience. In other words, we only ever know something if we experience it— otherwise it remains in the realm of faith.

If knowledge is information acquired through experience, then for artists Lan Hungh (1976, Taipei) and Darri Lorenzen (1978, Reykjavik), the aesthetic experience, the physical apprehension of art, is a key consideration that spans their practices. What appears, at face value, to be two artists operating within different traditions, aesthetics and intentions, becomes blended at moments when the dominant role the viewer’s body is recognized in many of their pieces. Lorenzen’s Fiskur (2004), first presented at Klink & Bank in Reykjavik, seems to be an early example of how the viewer’s body in experiencing artwork ultimately becomes the work itself. As someone crouches down to see a series of Polaroids affixed to the base of a wall, themselves depicting people crouching by the same wall, a photographer takes a Polaroid photo of the crouching viewer, whose image is then placed with the others. Here, the viewing, the viewer, and the pieces are inextricable from each other, and one thinks of Hungh’s Please Wait Until Your Number is Called, a piece in which paying viewers go through different doors to enter a theatre. Some end up in the audience, some end up on stage, some others still, are led backstage, their inability to view the ‘action’ in the theatre reveals viewing and presence as the real subject of the work. 41

+

Often, where Lorenzen is keen to extract the directed forces of narration from his work, Hungh imposes himself as a locus of meaning. In Lorenzen’s Converge (2008), spectators find themselves, temporarily, in a heightened state of self-awareness. Locked in a room for five minutes, a glowing light bulb dims during this time until the room is completely dark. Simultaneously, a faint sound in the room crescendos, gradually throwing the visitors’ grasp of their surroundings into urgent questioning. How long will we be locked in here for? What will happen next? Likewise, Hungh’s Demolished Sofa (2009) challenges exhibition visitors in a physically felt way. Disguised as an old armchair in a gallery space, visitors sit upon it, knowingly or not, to discover the artist beneath the surface of the upholstery, his naked body at times visible through strategically placed openings in the upholstery. The artist’s flesh and our direct surprising interaction with its warmth and movement implicate our own bodies as generators of meaning and consequence. The artist-as-armchair and the room that darkens itself are voiceless devices; their power lies not in their being, but in their potential to activate meaning, experience and ultimately knowledge within their audiences. Where for Thomas, experience made him a believer, Hungh and Lorenzen transforms us from passive viewers into witnesses and participants of artistic becoming.

Carson Chan

RPLCMNT Lan Hungh + Darri Lorenzen

CURATORPauline Doutreluingne

PUBLISHERBonaventure Soh Bejeng NdikungArt Director and InitiatorSAVVY CONTEMPORARY, The laboratory of form ideas

PICTURESBy Lan Hungh and Darri Lorenzen

TEXTSBonaventure Soh Bejeng NdikungPauline DoutreluingneCarson Chan

DESIGNLeila El-Kayemwww.thefalconproject.com

CONTACTSAVVY CONTEMPORARY, Richard Str. 43/44, Berlin-Neuköllnwww.savvy-contemporary.com

ACKNOWLEDGMENTSClaudia Lamas Cornejo, Alexandra Hesse

© 2010 the authors© 2010 of reproduced images: the artists

Printed in Germany