A Challenge: Archetypal Expressionism Art Gallery

''Maiastra'' by Constantin Brancusi, Guggenheim Museum, NY

”Maiastra” by Constantin Brancusi, Guggenheim Museum, NY

Probably the best international visual artists who represent the new awarded art concept/movement, Archetypal Expressionism, are now together in a virtual art gallery:


I hope this conceptual art group will be a challenge for the international art market and for possible major art investors, who could transform the project into a cutting edge art gallery.

Worldwide art lovers, collectors, gallerists, art museums and curators can extend their research to other important international visual artists who shared the values of Archetypal Expressionism: Hussein Salim (Sudan/Canada), Carla Lensen (Netherlands), BIBI (Nigeria/Dubai), Susanne Iles (Ireland), Donald L. Conover (USA), Paola Gonzalez (Mexic), Kerryn Madsen-Pietsch (Australia), Tracey Tawhiao and Tepora Watene (New Zealand), etc.

A contemporary art museum dedicated to Archetypal Expressionism or a project for a future edition of the Venice Biennale could become outstanding achievements of the group.

The design of the site is signed by a young and gifted stage director, Victor Olăhuţ from Cluj Napoca, the city of the most successful wave of young Romanian visual artists, with Adrian Ghenie as a worldwide acclaimed leader.

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Hélène Cardona’s atemporal poetry

Aphrodite in the 21st century: Hélène Cardona. Photo by Paul Smith

Aphrodite in the 21st century: Hélène Cardona. Photo by Paul Smith

There are few visionnary poets in our time, who learned to contemplate the world with the ’’eyes of heart’’ and Hollywood star, award-winning poet and linguist Hélène Cardona is a brilliant representative of them. A follower of some giants of poetry and thinking, like Blake or Rilke, she seeks the patterns of the invisible world, the old archetypes situated beyond time. This is a vision close to my art concept of archetypal expressionism, the quest for common cultural roots beyond the tragic accidents of history.
Hélène Cardona’s atemporal poetry is rich in meanings, vivid and very expressive; every poem has the architecture of a secret temple and to build it in ’’a language older than time’’ you need rigor and mystery, arithmetic and lyricism, simplicity and paradox. Dream, light and music seem to be the primary laws to put together such a unique poetic universe, in which ’’all is light and legend’’, a true copy of our innner world. To explore the inner universe was also a major task for Blake and Rilke, in order to look for the secret geometry of our spirituality. Like her masters, Hélène Cardona is convinced that all creative process begins with a dream, a spiritual insight, a true big-bang of creation and ends in the mystery of time: ’’The dream opens forgotten realms of creation/I think that’s what time is.’’ Time as an essence of creation is also a key to Bergson’s philosophy and I’m sure that Hélène loves his work. I wonder if a contemporary American poet could write such visionary poetry. This could be a spiritual herritage of Old Europe and we know that Hélène Cardona has a Greek mother and a Spanish father. America and Europe have a specific relationship with time and space, maybe Old Europe is a civilization of temporal senses, marked by the impalpable, the immaterial, the unstable, by the inwardness of metaphysics and America belongs to a civilization of spatial senses, with the stress on wholeness, matter, equilibrium, outward and pragmatism. Time means succession, and space is characterized by simultaneity. One might say American people have the genius of space (virtual reality, without temporal dimension, which is apparent in the USA) and European people the genius of time.
’’….discover that in dreaming/lies the healing of earth,’’ writes the poet. She seems to say that “Dreaming will save the world” as once Fyodor Dostoyevsky asserted that “Beauty will save the world.” Hélène Cardona’s illuminating words longing for crystalline temples, fairy tales, ambrosia, mythological birds, lilac sonatas, sirens, figures from Greek mythology, magic flutes, myriad books, metamorphic frontiers, are in their essence a ’’fairy dance/poetic memory/alive’’.

Constantin SEVERIN

Hélène Cardona’s site:


 Dreaming My Animal Selves (Salmon Poetry) by Hélène Cardona

Dreaming My Animal Selves (Salmon Poetry) by Hélène Cardona

Hélène Cardona BIO

Hélène is a poet, actress, linguist, literary translator & producer, author of Dreaming My Animal Selves (Salmon Poetry, 2013), winner of the Pinnacle Book Award and 2014 Readers’ Favorite Award, The Astonished Universe (Red Hen Press, 2006), Life in Suspension (Salmon Poetry, 2016), Ce que nous portons (Éditions du Cygne, 2014), her translation of What We Carry by Dorianne Laux, and Beyond Elsewhere, her translation of Gabriel Arnou-Laujeac.
She co-wrote the screenplay Primate with John FitzGerald, based on his novel, holds a Master’s in American Literature from the Sorbonne, and taught at Hamilton College & LMU. Hélène received the Poiesis Award of Honor and fellowships from the Goethe-Institut and Universidad Internacional de Andalucía. She is Chief Executive Editor of Dublin Poetry Review and Levure Littéraire, and Managing Editor Fulcrum. Publications include Washington Square, World Literature Today, Poetry International, The Warwick Review, Irish Literary Times, & many more.
She played Françoise “Fuffi” in Lasse Hallström’s Chocolat, Candy in Lawrence Kasdan’s Mumford, the French Food Critic in The Hundred-Foot Journey, a BBC Reporter in Dawn of the Planet of the Apes and World War Z, the French Announcer in Jurassic World, roles in Law & Order, Chuck, Nikita, & more. Among her many voice credits are Happy Feet Two, The Muppets, Muppets Most Wanted etc. For Serendipity, she co-wrote with director Peter Chelsom & composer Alan Silvestri the song Lucienne, which she also sang.
Producing credits include the award-winning documentary Femme: Women Healing the World and Pablo Neruda: The Poet’s Calling.
She speaks six languages: French, Spanish, German, Italian, Greek & English, and has lived in Paris, Switzerland, England, Wales, Monaco, Germany, Spain, New York City and Santa Monica, and travels extensively.

Hélène Cardona at BAFTA LA, 2015, photo by Kerstin Alm

Hélène Cardona at BAFTA LA, 2015, photo by Kerstin Alm

Hélène Cardona at Sue Wong’s Fairies and Angels Fashion Show, 2015

Hélène Cardona at Sue Wong’s Fairies and Angels Fashion Show, 2014

Hélène Cardona at Oscars 2013

Hélène Cardona at Oscars 2013

Hélène Cardona - wearing Sue Wong - necklace by Vilaiwan, at Sue Wong's FAIRIES AND ANGELS Fashion Show. Photo: Glenn Francis

Hélène Cardona – wearing Sue Wong – necklace by Vilaiwan, at Sue Wong’s FAIRIES AND ANGELS Fashion Show.
Photo: Glenn Francis

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Severin’s Choice: Bruce Rimell

Dakini-Daemon (Daylight and UV views), 30cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Dakini-Daemon (Daylight and UV views), 30cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Artist’s statement:

Bruce Rimell is a visionary and archetypal artist based in Leeds-Bradford in the UK whose vibrant work springs from the alchemy of his own personal visions, sensations of archaeological or mythological prehistories, and migraine experiences since childhood. Rendered in a vivid style which as much recalls Aboriginal textures, Mayan codices and Minoan frescoes as it does graffiti art, psychedelic experience and surrealist forms, his art occupies a space somewhere between painting, drawing and illustration, and a time somewhere between the ancestral past and the shamanic future.

Fernal Earthly Garden,60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

Fernal Earthly Garden,60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013

The central focus of his practice is to bring those very ancient archetypes – whether Palaeolithic, Neolithic or sometimes the High Civilisations of the Bronze Age – into the modern field of experience, variously inviting or challenging the viewer to look underneath the contextual aspects of contemporary art and modern experience to view the universalities and disquieting visionary sensations common to all human cultures past and present, and which we have inherited from our ancestors.

Fernal Underworld Garden, 60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013-14

Fernal Underworld Garden, 60cm x 90cm, Acrylics, Inks, Markers and UV Lacquer on Canvas, 2013-14

He aims to speak to those aspects of us which operate without words – dreams, magic, psychedelic experiences, animistic songlines and other non-rational modes of experience feature strongly – whilst abstract commentaries and critical positions are abandoned in a quest to seek and express direct communion with the deepest essences of the living and sacred human being: Come and see, and look within. What will you find?

Hear Me I Speak (Daylight and UV views),30cm x 60cm,Acrylics, Inks, Markers and UV Lacquer on Canvas, 2011

Hear Me I Speak (Daylight and UV views),30cm x 60cm,Acrylics, Inks, Markers and UV Lacquer on Canvas, 2011

Hermes, 100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012

Hermes, 100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012


Persephone,100cm x 100cm in four 50cm square panels,Acrylics, Inks and Markers on Canvas, 2012


She Is In MY Blood She IS My Shining Blood,100cm x 100cm in four 50cm square panels, Acrylics, Inks and Markers on Canvas, 2012


The Dream Of Bellerophon, 75cm x 50cm, Acrylics, Inks and Markers on Canvas, 2014


Xochipilli,50cm x 50cm, Acrylics, Inks and Markers on Canvas, 2012


K’u Ikil Ta Yaxal Vinajel ~ What I Saw In The Blue Sky, 50cm x 75cm, Acrylics, Inks and Markers on Canvas, 2014


Bruce Rimell

Ammon Ra Gallery, Monterrey, Mexico
Bash Contemporary, San Francisco, USA

Ex-Convento de San Domingo, San Cristóbal de las Casas, Mexico
Marienplatz, Witten, Germany
Blue Door Gallery, Yonkers, NY, USA
Chiméria Festival, Sedan, France
ArtManila Art Fair, Manila, Philippines
Centro San Marcos, Toledo, Spain
Sala de Arte, Maracena, Granada, Spain
Globally and online Launch of my Voice Project
Atelier Porte-Soleil, Paris, France
Guerilla Zoo, Apiary Studios, London

Cartwright Hall, Bradford, UK
Phantasten Museum, Vienna, Austria
Skylight Gallery, New York City, USA
Cosmo Festival, Taunton, UK
Glade Festival, Norfolk, UK
Cupola Gallery, Sheffield

Design Innovation Centre, Leeds, UK
Union 105 Gallery, Leeds, UK
Marienplatz, Witten, Germany
University of Malta, Msida, Malta

Durban Art Gallery, Durban South Africa
The Bingley Gallery, Bingley, UK
The Art House, Wakefield
The Rainbow Experience, Cape Town, South Africa
Kahlshof, Rodenkirchen, Cologne, Germany
Murphy Hill Gallery, Chicago, USA

Mount Beacon Fine Art Gallery, Beacon NY, USA
Yorkshire Craft Centre, Bradford, UK
ArtMazia, Massy, France
Holy Trinity Church, Leeds, UK
Leeds College of Art, Leeds, UK
Throughout Derbyshire, UK

00130 Gallery, Helsinki, Finland
Cupola Gallery, Sheffield, UK
Yorkshire Craft Centre, Bradford, UK Co-winner of Merit Award for piece in Flesh Open Exhibition.
Mitzpe Ramon, Negev, Israel


Encyclopedia of Fernal Affairs, Paris Contributing artist & myth/language creator – launching May 2015
Eleusis Beautifully presented book of my 2011-12 series with essays
Divining The Dream, Paris, France Two Eleusis artworks in this International Visionary Art book
Galactic Trading Card Complex Inclusion of Janus Lux Mundi in 2013 Celestial Cycle
Shamanic Quest for the Spirit of Salvia Salvic artworks in forthcoming book by Ross Heaven

Ink & Marker Visions…
Retrospective book of Ink & Marker illustrative & visionary work
Invisible College Magazine, USA Feature-length article with images
COSM Journal, New York, USA Three images in vol #7: Cosmic Creativity

Dialogue Among Civilisations, Durban, South Africa Project publication from Art for Humanity
A&U Magazine, USA Red Ochre… artwork in support of Real Stories Gallery
Visionary Artists Podcast Interview on podcast VAP007 (2010)

Planet Earth Planet Art Mirca Art Group artists book – Contributing Artist and Editor
Logical Unsanity, Australia Inclusion of Visionary work in the Spring ’08 edition
Freedom & Art Mirca Art Group artists book – Contributing Artist


ArtsMix* Emerging Artists Award, Leeds, UK Winner of Fine Art 2D Practitioner Award
Private Collection, Cologne, Germany Multi-panel dual image (Light/UV) work Gaia
Tiger 11, Hillside, Leeds, UK Large scale commission for Entrance Hall
Durban Art Gallery & Municipal Collection, South Africa Artwork Blombos: We Are All South African
Flesh Open Exhibition, YCC, Bradford, UK Co-winner of Merit Award with …Flesh Alone
Negev Jeep Karkom Tours, Mitzpe Ramon, Israel Negev Rock Art series in permanent collection
Further work in private collections across Germany, Israel, the USA and the UK


Royal Society of Arts
Dreams & Divinities International visionary art initiative and artists network
Visionary Artists Group International network of artists working in the visionary and surreal
Society For Art Of Imagination International group aiming to publicise visionary and surreal art
Mirca Art Group Internet-based international art group pressing for global justice
The Art House Yorkshire-based national organisation supporting artists UK-wide

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Hierarchy of Light: New Monochrome Artworks

Text and Time 108, oil on canvas, 70x90 cm, 2015

”Text and Time 108”, oil on canvas, 70×90 cm, 2015, monochrome artwork belonging to the Archetypal Expressionism Series, inspired by old Aztec archetypes (Coatlicue, the Mother of Gods). This is a radical monochrome artwork, using the same colour and tone, a kind of ”sculpture in light”.

Text and Time 105, oil on canvas, 70x100 cm, 2014

”Text and Time 105”, oil on canvas, 70×100 cm, 2014, monochrome artwork belonging to the Archetypal Expressionism Series, inspired by old archetypes from Tassili culture, Northern Africa.

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Întoarcerea personajului

Norman Manea şi George Bălăiţă

Norman Manea şi George Bălăiţă

Eu nu sunt decât un personaj episodic din ”Întoarcerea huliganului”, cea mai cunoscută carte a scriitorului sucevean Norman Manea. Gloria mea anonimă şi efemeră pe plan universal nu a durat decât în momentele în care cei câteva sute de mii de cititori din întreaga lume au parcurs, probabil mai relaxaţi şi mai puţin atenţi, paragrafele din capitolul ”Ziua cea mai lungă: miercuri, 30 aprilie 1997” ce-mi sunt dedicate, în ultima parte a romanului autobiografic. Unii dintre ei chiar au încercat să mă cunoască, în special tineri din România interesaţi să dedice o lucrare de licenţă sau de doctorat celui care m-a transformat în personaj … Dar cea mai spectaculoasă întâlnire din viaţa mea de personaj episodic s-a produs în urmă cu vreo 7-8 ani, când m-am trezit, într-o vară, în Suceava, cu o echipă de filmare de la o importantă televiziune germană, sosită să facă un reportaj despre locurile copilăriei cunoscutului scriitor, echipă care aflase de existenţa mea din cartea amintită. Jurnaliştii germani aveau atunci informaţii că Norman Manea se afla printre candidaţii cu şanse reale la câştigarea Premiului Nobel pentru literatură şi nu vroiau să rateze momentul, fremătau la gândul că vor da lovitura cu un reportaj inedit, imediat după anunţarea posibilului câştigător. Imaginaţi-vă ce ar însemna pentru Suceava şi Bucovina întruparea acestui vis, am cunoscut deja intelectuali din Occident care i-au citit cărţile şi au venit într-un fel de pelerinaj cultural, pe cont propriu, să cunoască locurile copilăriei sale, de pildă Rossella Giovannini din Milano, care îmi spunea că doreşte să înveţe limba română pentru a citi şi alţi scriitori români contemporani (îmi amintesc că i-am recomandat şi o scriitoare pe care o apreciez mult, pe Doina Ruşti; personajele au şi ele autori favoriţi).
După 1990 începusem să aflu tot mai des veşti incitante despre cel mai important scriitor în viaţă al Sucevei şi Bucovinei, spaţiul atât de drag pe care l-am denumit într-o carte, Imperiul Sacru, şi în care mi-am petrecut aproape întreaga viaţă. Începuse să fie publicat de câteva din cele mai importante edituri din lume, iar cărţile îi apăreau în numeroase limbi şi câştigau premii prestigioase. Iată de ce, în 1996, ca membru al juriului Fundaţiei Culturale a Bucovinei din Suceava, întemeiată de un bancher sucevean, Dumitru Cucu, mi s-a părut normal şi benefic pentru prestigiul acelei asociaţii culturale să-l propun pe Norman Manea pentru Premiul de Excelenţă; ceilalţi colegi au avut încredere în opţiunea mea, deşi nu ştiau aproape nimic despre opera sa. În oraşul său natal autorul era complet necunoscut, atât de autorităţi cât şi de majoritatea intelectualilor. Aşa am ajuns să comunic cu Norman Manea, anunţându-l în toamna anului 1996 că a câştigat un premiu literar în oraşul în care s-a născut. Mi-a răspuns că va trece prin Suceava în primul trimestru al anului următor, 1997, când îşi va ridica premiul (o diplomă şi un plic cu 1 milion de lei) şi atunci vom avea ocazia să ne cunoaştem.
A venit însoţit de un vechi prieten, cunoscutul scriitor George Bălăiţă (transformat de asemenea în personaj, Cap de Aur, dar unul mai consistent) şi am vizitat împreună oraşul, sinagoga Gah din Suceava şi cimitirul evreiesc, unde am păstrat un moment de reculegere la mormântul mamei sale, Janeta, iar Norman Manea a donat modesta sumă, care însoţise premiul, administratorului cimitirului pentru a repara gardul. Cititorii revistei ”Vatra” pot admira şi o fotografie inedită, realizată de mine în ziua întâlnirii, 30 aprilie 1997, unde scriitorul bucovinean este alături de George Bălăiţă ”Cap de Aur” şi de secretarul Comunităţii Evreieşti din Suceava, în faţa unicei sinagogi din oraş, înălţată în 1870. Dar iată cum sună intrarea mea în text: ”La ieşirea din aeroport, suntem acostaţi de un necunoscut, înalt şi blond, cu un aparat fotografic pe umăr. Se prezintă ca poet şi ziarist local, trimis de directorul Cucu să ne ducă la sediul Băncii Comerciale, unde mi se va înmâna premiul Fundaţiei Bucovina. Mai întâi vreau să ajung, însă, la cimitir”. Eu nu-l voi descrie pe Norman Manea, cred ca fotografia care însoţeşte această mărturie de tip proces verbal e suficientă, aceasta nu este menirea unui personaj episodic, în plus sunt sătul de personajele care visează să devină scriitori, nu doresc deloc să sar peste cal. S-ar spune că un proces verbal semnat de un personaj e ficţiune pură, dar nu este aşa întotdeauna, în relaţia ficţiune-realitate totul este posibil. Am cunoscut în Suceava o fată care, timp de 18 ani, între 6 şi 24 de ani, a fost îndrăgostită de personajul unui roman de Radu Tudoran. Dragostea lor a fost atât de provocatoare şi reală încât au devenit amândoi personajele unui alt roman. Fata aceea, devenită între timp scriitoare şi doctor în filosofie, nu ar fi putut trăi acele momente unice şi intense ale unei poveşti de dragoste devoratoare, dacă nu ar fi devenit ea însăşi o ficţiune.
Eram jurnalist la ”Monitorul de Suceava” şi am reuşit să obţin de la laureat şi un interviu, publicat în 2 mai 1997, cu titlul ”Am iniţiat un proiect de salvare, de restaurare şi conservare a fondului Enescu”. Din acel interviu aflam şi eu că premiatul nostru venise în România însoţit de preşedintele Colegiului Bard, Leon Botstein, un faimos dirijor american, pentru a iniţia împreună un proiect de salvare, restaurare şi conservare a fondului Enescu şi de deblocare a drepturilor de autor pentru o mai bună pătrundere în lume a muzicii sale, dar şi pentru o colaborare între Colegiul Bard şi Universitatea Babeş-Bolyai din Cluj Napoca. Cât despre premiul Fundaţiei Culturale a Bucovinei, noul meu amic îmi declara: ”Premiul de la Suceava m-a bucurat, deşi nu este un premiu literar, ci sentimental, un premiu al apartenenţei la această zonă. L-am primit cu bucurie când am aflat că mi s-a dat. N-am venit la Suceava pentru acest lucru, însă. Am venit pentru cu totul alte scopuri. Am profitat de această vizită ca să revăd prieteni, străzi, morminte”. În introducerea la acel interviu am făcut şi o mică profeţie, infirmată însă de succesul neaşteptat al scriitoarei Herta Müller, în 2009 : ”Aceste succese internaţionale ne determină să afirmăm că, dintre scriitorii români contemporani, suceveanul Norman Manea are poziţia cea mai avansată în competiţia pentru Premiul Nobel”. Au trecut 16 ani de atunci, iar scriitorul sucevean şi-a mai adăugat la consistentul palmares internaţional premii literare de mare anvergură, precum Médicis Étranger (2006) sau Nelly Sachs (2011) şi probabil de acum încolo profeţia mea are şanse de a se împlini, deşi probabil va fi cu mult mai greu ca un alt scriitor născut în România să primească în următorii 30-40 de ani o astfel de recunoaştere în plan universal. Competiţia este acerbă, există mari puteri ale literaturii mondiale care nu au primit decât o dată sau de două ori acest premiu, iar comunitatea noastră literară este prea dezbinată şi dezinformată ca să mizeze doar pe candidatul cu şanse reale. Extrem de naivi şi prost informaţi sau sfătuiţi mi se par scriitorii români care visează să câştige Premiul Nobel pentru literatură, deşi nu au publicat la cele mai importante edituri ale lumii, nu au câştigat cele mai importante premii literare internaţionale, nu sunt reprezentaţi de unul dintre cei mai influenţi agenţi literari (Norman Manea este promovat de unul din primii 5 agenţi literari ai momentului, Wylie Agency, am descoperit lucrul acesta după o căutare pe net, încercând să caut emailul scriitorului britanic Martin Amis, cu care doream să fac un interviu pentru revista Levure littéraire ) şi nu investesc (ei, editura lor sau statul român) milioane de euro pentru un astfel de vis …
În 2002, după ce am publicat în presa locală ştirea despre câştigarea Premiului Internaţional Nonino, în Italia, de către Norman Manea, am propus Consiliului local Suceava ca marele scriitor să primească titlul de cetăţean de onoare al municipiului Suceava, fapt realizat câteva luni mai târziu. Nu ne-am mai revăzut din 1997, dar comunicăm uneori online, atunci când avem ceva important de spus. Anul trecut a scris un scurt text (”blurb”) pentru coperta unei posibile ediţii în limba spaniolă a primului meu roman, ”Iubita lui Esto”, apărut în 2010 la editura Curtea Veche. Invitaţia făcută de scriitorul Iulian Boldea, de la revista ALPHA, de a contribui cu un text la Dosarul Norman Manea, este un bun prilej pentru o întoarcere a personajului …
(revista ALPHA, nr. 1-3/2014)

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Severin’s Choice: Fefe Talavera


Artist statement:

Fefe Talavera’s monster paintings are metaphors for strong and subconscious human emotions like anger, fear, dreams or desire.
The colourful fantastic beasts which she connects with the “dark side” of her inner self stand for the artist’s cultural roots as well as the primary and powerful energy of her work in the streets all over the world.Born in 1979, Fefe was brought up as a native half Mexican, half Brazilian in São Paulo where she lives until today. Interested in all kind of “underground” movements, the typical and unique stylistic freedom of the internationally renowned Street Art and Graffiti scene of her hometown made an important impression on the artist. Her raw creative energy thus found much more correspondence in the angled, tribal-like style she developed while working in the streets, than in her studies in fine arts which she finished with a Bachelor at the FAAP in São Paulo. She is a member of Archetypal Expressionism Group.


Showing at galleries and accepting certain rules, limits and intolerances of the art market system represent a contradiction for Fefe who is mainly interested in finding public ways to express herself and a common way of communication. As for other artists from her generation she perceives São Paulo as a contemporary megalopolis shattered by social, economical and ecological problems which had a harmful impact on the urban landscape. The public walls thereby remain one possibility of showing what is beautiful “inside” the strong personalities of the people living there. Street Art and Graffiti in South and Central America can as well be understand in the tradition of political mural art reflecting contemporary urban life.


MURALES of Fefe, who is inspired by Mayan or Aztec mythologies and her Mexican heritage, is most well known for her monsters made of cut out letters from concert-announcement posters found all around the streets. The glued collage-like figures are related to the artist’s admiration for typography, books and prints, but also to her will to somehow “free” the letters from their fixed meaning as words, sentences or texts, by showing their formal qualities as well as by reminding us that all kind of language is rooted in the direct expression of human affects, not in the function to command them. Whereas the “letter-monsters” became very popular soon because of their originality, Fefe finally felt swamped by having to spend more time on cutting out than on creating something. She thus returned mostly to her extensive vocabulary in painting and drawing in the last years. Having exhibited and participated in group projects all over the world – p. e. in Moscow, New York, Seville, Berlin, Los Angeles, Vienna or recently in Madrid and Amsterdam, to mention only a few – the artist is also travelling a lot in relation to her second artistic career as a singer and dancer. Named “Lil Monsta” for Fefe music has become the language to speak about political problems of her country or for criticising the capitalist system. Being more explicit in words, painting and visual arts rather seem to remain the artist’s



Fefe Talavera

Fefe Talavera

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”Gauguin’s Child”, selected for a new Lavacow auction event

Gauguin's Child, oil on cardboard, 50x70cm, 2012

One of my favourite artworks, ”Gauguin’s Child”, was selected for the future Lavacow auction event, to be held on January 26, at 9 pm, EET,


This work was exhibited in Elite Art Gallery, Bucharest, as part of my solo show, ”Gauguin’s Children”, in May 2012,



My art lovers and collectors may have the chance to purchase an artwork dedicated to one of the artists I love, Paul Gauguin, but in the same time with a cultural allusion to a contemporary artist, Georg Baselitz.

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