On June 20, 1998, THE HR GIGER MUSEUM opened its doors in the medieval Château St. Germain in the 400 year old historic, walled city of Gruyères, Switzerland. As the permanent home to many of Giger’s key works, the museum houses the largest and most impressive collection of the artist’s paintings and sculptures, furniture and film designs, dating from the early 1960’s till the present day.



The museum’s top floor houses a permanent display of Giger’s own private art collection and the Museum Gallery where Giger curates one-man exhibitions on the work of other artists.



The museum is a work in progress and a Giger Bar, adjoining the museum, is completed.


Tel Aviv, the first modern Hebrew city, was founded on April 11, 1909. On that day, several dozen families gathered on the sand dunes on the beach outside Yafo to allocate plots of land for a new neighborhood they called Ahuzat Bayit, later known as Tel Aviv. The city expanded rapidly with massive waves of immigration in the 1920s and 30s, also bringing about a boon in Bauhaus-style architecture.

Tel Aviv’s status as the region’s most creative, liberal and tolerant city received was furthered when Yafo joined the municipality in 1949.

Throughout the decades, the city has flourished to become Israel’s business and cultural center and has developed a unique atmosphere fusing Mediterranean and urban elements.

“One hundred years later, the vision of our city’s founders – who looked at the sand dunes and saw the potential for a vibrant city – has been realized,” says Mayor Ron Huldai. “Tel Aviv-Yafo is a thriving global city that 400,000 resi-
dents are proud to call home.”


In July, 2003, UNESCO, the United Nations Educational, Scientific and Cultural Organization, proclaimed ” The Whi- te City”, the unique urban and historical fabric of Tel Aviv- Jaffa, a World Cultural Heritage site. By this proclamation, the world recognized the special architectural qualities of the buildings, streets, squares and avenues of Tel Aviv.

Tel Aviv

"Bruno House, Tel Aviv © Yigal Gawze" Fragments of a Style – International style Architecture in Tel Aviv

Tel Aviv, the first Hebrew city in modern times, was foun- ded in 1909 and was built on the sand dunes north of the ancient port city of Jaffa. Its style was innovative, tailored to the needs of its residents, to their life styles and the climatic conditions of the region. “The White City”, the world’s largest grouping of buildings in the International Style, also known as Bauhaus, was planned by the famous Scot, Sir Patrick Geddes. About 4,000 buildings were constructed in this area, beginning in the 1930’s until the establishment of the State of The “White City” is located between Allenby Street in the south, Begin Road and Ibn Gvirol Street in the east, the Yarkon River in the north, and the Mediterranean Sea in the west.

The buildings of “The White City” were designed by Jewish architects, who had studied in Europe before their immigration to Palestine, which later became the State of Israel. This group created a new architectural language, which is rich and diverse, characterized by its asymmetry, functionality and simplicity. The balconies, building pillars, flat roofs and “thermometer” windows became the trade marks of the city.

“The White City” is the story of Tel Aviv, from its beginning to today and is a wonderful opportunity to savor the experience of life in Tel Aviv, in the past and the present.

The Herta and Paul Amir Building


The Herta and Paul Amir Building, a six-level building was designed by American architect PRESTON SCOTT COHEN known for his inventive use of light and geometric forms. This new 195,000 sq. feet building will double the exhibition space of the Tel Aviv Art Museum. The Herta and Paul Amir Building is slated for completion in 2009 in conjunction with the 100th anniversary of Tel Aviv’s founding.

Established in 1932, the Tel Aviv Museum of Art has grown to become an international cultural center with an extensive series of exhibitions yearly of Israeli and international art, architecture, and design as well as permanent and loan collections spanning the major movements in international Modern art, Israeli art from the 1920s on, and a selection of 16th through 19th century art.


A Cultural Institution Dedicated to Promoting Contemporary Art in Portugal and Beyond

Lisbon, Portugal – 14 Years’ Ago

A University Mathematics Professor with a taste for Fine Arts had the dream of creating a unique institution of artistic and cultural exchange: an art gallery, a movement, a place of gathering for artists, a school for the younger ones, a house of Portuguese Culture, a vibrant institution based on passion and action, meant to shake off the nostalgic drowsiness that still reigns over the land of the Fado. The name was chosen: The Movement for Contemporary Art. Like his fellow Portuguese conquistadors of the golden times of the Portuguese Discoveries, Álvaro Manuel Lobato de Faria Gomes (born on Nov. 30, 1943 in Castelo Branco, Portugal), set on the quest of discovering new artistic horizons and on raising higher than the blue skies of Lisbon the red and green of the Lusitanian flag.

Alvaro Lobato de Faria, MAC

Alvaro Lobato de Faria, MAC

Lisbon, Portugal – Nowadays

Spain, Finland, France, Brazil, Colombia, Germany, Belgium, United States, Italy, Argentina, Cape Green, Guinea-Bissau… far-away countries, different cultures united in so many artistic events, cultural activities, exchanges…a dynamic force that is today, after 14 years, MAC.

On the day that the Movement for Contemporary Art celebrated 14 years of
activity, Niram Art Magazine talked to the founder, Mr. Álvaro Lobato de Faria about MAC’s spreading out beyond Portuguese soil and to the 2 newest members of his team, Mrs. Joana Paiva Gomes and the sculptress Andreia Pereira.

Mr. Álvaro Lobato de Faria, MAC has become known in Portugal as a cultural institution dedicated to promoting Portuguese arts in Portugal and in Portuguese-speaking countries. What are MAC’s main objectives outside Portugal?

Mr. Álvaro Lobato de Faria: I say many times that painters are like writers, they paint written images. Therefore, as a Portuguese I believe it is my duty to give support to Portuguese artists and to expand our art and our culture in the Portuguese–speaking countries. In partnership with The Society of the Portuguese Language we have undertaken many activities uniting the speaking word to the painted image, writers and artists, in all those countries where they speak Portuguese or where Portuguese is taught in the Universities. Outside this Portuguese- speaking territory, we collaborate with cultural institutions in Denmark, Finland, Belgium, France, New Zeeland, United States, where I have been often invited to give lectures in universities and cultural institutions. Of course, our main preference are the Portuguese-speaking countries, we have had many events and collaborations with all of them, especially Brazil.

As a dynamic artistic space MAC is also dedicating to discovering and promot- ing young talents and is involved in many pedagogical activities.

Mr. Álvaro Lobato de Faria: Yes, we are, but unfortunately I find that there is great lack of interest in the young students of Fine Arts in Portugal. I am always on the look for new talents and I speak to the people of the Faculty of Fine Arts often on this subject but the answer is the same: there is no enthusiasm, no interest. For instance, the sculptor Joao Duarte, a man of great initiatives, has tried to put together several activities within the Faculty but the students are not interested in anything. The Portuguese society is in a very negative phase right now.

This year, MAC counts with the help of two new members, Mrs. Joana Paiva Gomes has been appointed vice-president, following in her father’s footsteps with pride.

What are the projects that you are involved in within Mac and what does MAC mean for you?

Mrs. Joana Paiva Gomes: I have practically grown up within MAC, I have been involved in its activities since my teenage years but I have become an actual part of the team last year. I am not specialized in Fine Arts but the close contact with my father’s activities has sprouted within me the taste for arts and an artistic awareness. As I have pedagogical studies, the main objective of my work here is to turn more dynamic the pedagogical area of MAC, in order to develop the artistic sensibility in young people, to elaborate new strategies and to establish new contacts with cultural institutions in order to collaborate on the divulgation of arts and culture.

A young sculptress, Andreia Pereira, is MAC´s newest collaborator, bringing in all her flair and enthusiasm.

Mrs. Andreia Pereira, what is it that has drawn you to MAC?

Mrs. Andreia Pereira: As a student at the Faculty of Fine Arts in Lisbon, I started working at MAC as part of the academic curriculum and my initial duties were attending the public, helping to organize some events. However, Mr. Alvaro de Faria has gradually given me more autonomy and now I am engaged in all sorts of activities, mainly organization of events.

I was talking to Mr. Álvaro Lobato de Faria about MAC’s objective of expanding within the Portuguese-speaking countries…

Mrs. Andreia Pereira: Yes, indeed, this is the main objective of MAC. You see, MAC is much more than a commercial space, it is a cultural space determined to promote Portuguese well- established artists and to continuously search and offer support to new talents, to help promoting their art in the Portuguese-speaking countries and also to promote artists from the Portuguese-speaking countries in Portugal. Also, it constantly fights for the internationalization of arts.

You mean by collaborations and divulgation of artists in other countries?

Mrs. Andreia Pereira: Yes, of course, as I said, internationaliza- tion is one of the main objectives of MAC. We have ongoing projects in United States, New Zeeland and we are developing relations with European partners as well. Let’s say the world is our limit.

What can we expect from MAC next year?

Mrs. Andreia Pereira: Well, we have some surprises in store for you but it is too early to reveal them. Basically, we are planning a more diverse agenda. As we have 2 locations we have decided to dedicate one of them to more traditional artistic activities and to make the second one more dynamic, to make room for “alternative” artistic ways of expression.

Madrid, August 2008

“The world is our limit” said Mrs. Andreia Pereira and I
can`t seem to get her words out of my head.

Somehow I feel that in the city of the seven hills, looking down on the flowing of the blue river Tagus into the Ocean, in Europe’s most Western point, gazing in the strong light of the endless Portuguese sky, these words have probably been said before. And in times gone by, there must have been these words that gave the strength to the sailors of the caravels when they departed in search of the unknown.

Heroes of the sea, adventurers of the impossible, dreamers of the undreamable…

I have found out that your immortal heart still beats in Lisbon…


Marcel Janco, a renown painter and founder of the Dadaist movement (anti-artists), is seen as one of the most important artists of Jewish-Romanian origin, and he currently belongs to the cultural and artistic heritage of both Romania and Israel.

Marcel Janco´s studio, Israel

Marcel Janco´s studio, Israel

Marcel Janco, born in Bucharest in 1895, had joined a group of artists at the Café Vol- taire in Zurich, Switzerland in 1916, and was among the principal founders of the Dada Movement. Dada was a unique artistic movement which had a major impact on 20th century art. It was established in Cabaret Voltaire, in Zurich, Switzerland, by a group of exiled poets, painters and philosophers who were opposed to war, aggression and the changing world culture. Among the founders were Marcel Janco, Hugo Ball, Emmy Hennings, Hans Arp, Richard Huelsenbeck, and, another compatriot of Jewish origin, Tristan Tzara.

Dada soirées featured spontaneous poetry, avant-garde music, and mask wearing dancers in elaborate shows. The Dadaists teased and enraged the audience through their bold defiance of Western culture and art, which they considered obsolete in view of the destruction and carnage of World War I. The Dadaists objected to the aesthetics of Western contemporary painting, sculpture, language, literature and music. The group published articles and periodicals, and mounted exhibi- tions. The seeds sown in Zurich spread throughout the world, resulting in new Dada organizations in Paris, New York, Berlin, Hannover, and more. Janco designed masks and costumes for the famous Dada balls, and created abstract relieves in cardboard and plaster. He had an eclectic style in which he brilliantly combined abstract and figurative elements, expressionistic in nature.

In 1922, Marcel Janco returned to his native Romania, where he made his mark as a painter, theore- tician and architect. In 1941, he moved to the land, which was to become the nation of Israel in 1948. It was here that Janco was founded the New Horizons Group. In Israel, Janco painted idyllic watercolor and oil depictions of Safed and Tiberias and was captivated by the exotic sights of the Orient.

In 1953, on the ruins of an abandoned Arab village, Marcel Janco established the artists’ village known as Ein Hod, which now boasts the The Janco Dada Museum. Ein Hod is a picturesque artists’ village, the only one of its kind in Israel and one of the few such villages in the world. Nestled in natural vegetation and bordered by an ancient olive grove, it lies on the western slopes of Mt. Carmel, in a breathtaking landscape looking out toward the sea and the Crusader fortress of Atlit. Nowadays, Ein Hod is a unique and romantic retreat where painters, sculptors, ceramists, actors and many other artists form every artistic fields, live and create. Throughout the years, ten of Ein Hod’s artists have won the Israel Prize.

In 1967, Marcel Janco was awarded the Israel Prize for Painting. In the last years of his life he worked together with his friends to erect the Janco Dada Museum. Janco died ten months after the inauguration of the museum in 1984.

The Janco Dada Museum is situated in the center of the Ein Hod Artists’s Village, twenty km South of Haifa. The mu- seum contains several display galleries. The permanent display is dedicated to Marcel Janco’s seventy years of artistic creation, the entrance gallery is available for young artists and special projects, and the lower gallery exhibits contemporary art.

The museum also features a youth wing and a DADALAB, a unique art laboratory.

Presentation compiled by LORA HARANACIU


The Brukenthal Museum is one of the oldest in Romania. It was founded by the Baron Samuel von Brukenthal in the town of Sibiu, in the heart of the Romanian region Transylvania. Samuel von Brukenthal (1721 -1803) originated in the German lesser nobility from Transylvania. He studied law, political administration and philosophy at the universities of Halle and Jena being trained up in the spirit of the European Enlightenment.

An appreciated scholar and a qualified diplomat, Brukenthal worked his way up at the Viennese Imperial Court and finally he became “aulic” chancellor of Transyl- vania. That was the time he made up his painting collection. In 1773 it was mentioned in Almanach von Wien and considered as one of the most valuable private collections to be found in Vienna at that time. Sharing the inter- est in sciences of his time, Brukenthal collected rare books, numismatics, archaeological and mineral items as well.

Brukenthal got back to Sibiu as he was appointed governor of Transylvania and built up a palace in a late Baroque style on the model of the Viennese ones. The luxurious rooms of the palace, the art galleries and the printroom, the library, the musical evenings and literary soirée organized by Baron Samuel von Brukenthal represented a spiritual nucleus for Transylva- nia. Returning to Sibiu as Governor of the Great Principality of Transylvania, the baron brought here his collections, too. Martin Hochmeister’s calendar of the year 1790 (Hermannstadt im Jahre 1790) mentions among the attractions of the town the painting collection, which included 800 paintings and was exhibited 13 rooms of the Brukenthal Palace.

The European painting collection of the Baron Samuel von Brukenthal includes a number of about 1,200 works belonging to the main European painting schools of the 15th up to the 18th century: Flemish-Dutch, German and Austrian, Italian, Spanish and French. The present exhibit offers visitors the possibility to compare the main artistic movements and styles from the Renaissance to the Rococo.

The Flemish and Dutch School is represented both by great and less important masters, formed in the renowned painting centres in Anvers, Brussels, Gant, Bruges, Amsterdam, Leida, Utrecht. Being characterised by a great diversity, it facilitates the encounter with the religious or mythological themes within Marinus van Reymerswaele’s and Frans Floris Van Vriendt’s creation, with Peter Paul Rubens’ or Anton van Dyck’s luxurious aristocratic painting, with Frans Snyders’, Jan Fyt’s or Hendrik ter Brugghen’s embellishment of still-lifes, or with Adriaen van der Venne’s and Jan Gerritsz van Bronkhorst’s intimacy of bourgeois scenes.

The German and Austrian School, including over 430 paintings, displays beside illustrious names of the Late German Renaissance like Lucas Cranach the Elder or Schwab von Wertinger, various works belonging to painters from the 17th and the 18th century: portraitists like Christoph Pauditz, famous student of Rembrandt and Jan Kupetzky or Martin Meytens, praised landscape painters like Anton Faistenberger, painters of religious and mythological themes like Hans von Aachen, Peter Strudel, Franz C. Sambach or Johann H. Schönfeld, but also still-life masters like Georg Hinz, Franz W. Tamm or Maximilian Pfeiler.

The Italian School, although illustrated by a relative small number of works in comparison to the other schools (about 200 canvases), has a great importance through the works of well-known artists: Alessandro Botticelli, Tullio Lombardo, Tiziano Vecellio, Paris Bordone, Sebas- tiano Ricci, Alessandro Magnasco. Representative remain the schools from Venice, Geneva and Naples.

The origins of the National Art Collection lie in the works purchased by the curators of the Brukenthal Museum in the 19th century, who showed their interest also in the local artistic accomplishments, too. It includes paintings, graphics, sculptures, furniture, silverware, porcelain, glassware etc. from the 15th century up to the modern period.

The Transylvanian Painting Collection, one of the most significant of its kind in the country, includes a great number of portraits from the 16th to the 18th century, which are important especially from a historical and documentary point of view, being a true gallery of the illustrious figures belonging to the Saxon patriciate. From among these works we mention “The Portrait of Lucas Hirscher”, which is considered to be the first lay portrait in the history of national painting being made by the painter Gregorius from Barsov, “The Portrait of the Equerry Mathias Semriger” by Jeremias Stranovius, a painter of Slovakian origin, who worked in Transylvania, “The Portrait of Anna Maria Huttern” and “The Portrait of Johann Gottlieb Fabritius” by Johann Martin Stock, the most appreciated painter of the century coming from Sibiu, “Portrait of the Historian Hans Eder”, belonging to Franz Neuhauser, an artist of Vien- nese origin who settled in Sibiu, etc. From among the portraitists and landscape artists of the 19th century and the beginning of the 20th century we mention Theodor Benedikt Sockl, Theodor Glatz, Heinrich Trenk, Misu Popp, Carl Dörschlag, Arthur Coulin, Robert Wellmann, Fritz Schullerus, Octavian Smigelschi, Emerich Tamás, Friedrich Miess.

The Collection of Modern and Contemporary Art focuses on the main moments in the evolution of Romanian painting with the help of great names: Nicolae Grigorescu, the initiator of modern Romanian painting, Theodor Pallady, considered to be the most important painter from between the two World Wars, Hans Mattis Teutsch, the first abstract painter, Corneliu Baba and Alexandru Ciucurencu, the initiators of the Romanian contemporary school of painting.

Presentation by Lora Haranaciu