Musical Timing by Miri Krymolowski

Baruch Elron“There is music in the air, it surrounds us, the world builds itself upon it, every one of us can get what one wants from it.” Edward Elgar

When we look at Baruch Elron’s paintings it feels like getting on a journey. A time travel to distant shores, and even, maybe, a journey toward the depths of the human soul.The present exhibition concentrates on two important subjects in Elron’s works: time and music. Two themes of rather important symbolic value in surrealist art, which most of Elron’s creations belong to. Why then does Elron belong to surrealism? In principle, because he paints, with refined realism and impressive craftsmanship, characters, objects and nature scenes which seem perfectly real, instead the connections and relationships he is setting create a new world, a fantastic, enigmatic one, a world that raises questions about our being here and now.

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More lively, More Fleshy, More Dynamic by Adi Cristi

Revista Niram Art Website

Baruch Elron existed so that he could live close to us. Life helped him to realize that the natural order of the things represents a challenge with a view to discovering the opposites, giving birth to the concept called „the natural disorder of the things”. According to Baruch Elron the color could be „read” as if it stood for a declaration of the onlookers’ rights.

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Marcella Madeira is a Brazilian artist born in Rio de Janeiro in 1981. She works and lives in Amsterdam since 2007. She graduated in Social Communication in 2004 and from 2003 to 2005 she studied painting in the School of Visual Arts Parque Lage, in the Rio de Janeiro.

Marcella Savaget Madeira

Marcella Savaget Madeira

While she reveals a bold mixture of influences, her canvases have an unquestionable Brazilian flavour, the vibrant use of colours with the organic shapes create works that are as much playful and free as they are geometric and rhythmic.

In earlier works, her paintings showed a result of her exploration of the various possibilities of line as the essential element of a painting. By accentuating fine paint over canvas, skin over skin, dermis over dermis, she has created her own work method without brushes and using physical movements to distribute paint across the canvas. The juxtaposed geometrical lines on my canvas are irregular, undefined and sometimes intricate. The stripes strive for a magical moment where they assume their own significance, clashing with one another, crossing barriers and escaping the limits of perception.

Recently, she has incorporated everyday objects such as stickers, wallpapers and hand made cuts into her painting process to create a dialogue between two languages and two worlds, between low and high art, as well as the organic and the geometrical.

In this new series, she likes to embrace the low art influences and balance them with the high-minded contemporary art. The floral motives and colorful decorative patterns refer to sources as diverse as fashion textiles, pop art, baroque, folk art and the exuberance of nature

Marcella Madeira about her painting; “In general I like to use flowers because they bring with them all of their history of symbolism, fragility, sensuality, beauty and a mysterious allure. Through this diversity of practice and multiplicity of sources, I want to explore the entire realm of visual art in all different means of expression.

My colourful multi-layered works use stickers, hand made cuts, wallpapers and flowers photographs into my painting process. The starting point of my work is the strategy that Cubist artists engendered from collage. The collages explores the possibilities of today’s painting practice, it is a process of constant appropriation and review of the visual imaginary and history of art itself to create a dialogue between two languages and two worlds, between low and high art, as well as the organic and the geometrical.

by Marcella Savaget Madeira

by Marcella Savaget Madeira

I am interested in chromatic organization with structure of geometric art but with freedom of the imagery taken from diverse worlds. The rhythmic patterning of mix painting and collages plays on ideas of beauty from different realities to produce ambivalences and ambiguities in a representational place assembled with conceptual rigor and constructivist discipline. Through this diversity of practice and multiplicity of sources, I want to explore the entire realm of visual art in all different means of expression.”

Painting and Tango: Argentinian artist Raquel Partnoy

Video by Argentinian artist Anibal Nazzaro

In her early 20s, Raquel Partnoy studied painting in Buenos Aires with Argentinean painter and muralist Demetrio Urruchúa. Inspired by his humanism, Partnoy developed a series of paintings that reflects both her heritage and life’s experiences.

In 1976, a military coup seized power in Argentina, bringing in its wake seven years of cruel dictatorship. During this era of horror, 30,000 Argentinean citizen “disappeared” most of them eventually were massacred by the government. Partnoy created Life Experiences. “Blindfolded” is part of this series of paintings.

After arriving in the United States, Partnoy visited the Holocaust Museum and recognized the similarities between the Argentinean devastations and the genocide of the Holocaust. Her exposure to testimonies of Holocaust and Argentina survivors compelled her to paint her series Surviving Genocide.

Raquel Partnoy has also created a gallery of portraits about those extraordinary women who silenced their own aspirations, spending their quiet, still lives giving moral and physical support to their male partners, famous artists. The name of this Series is: Women Still Lives.


In 1994, when Partnoy visited the Jewish Museum in New York for the first time, she became impressed by the images and the rich textures of the ancient religious objects. It was then that she thought that she would need a different material than oil painting to portrait the life of the Jewish people and the stories of the women of the Bible. She chose fabrics to create the collages, more specifically, discarded fabrics she found at some upholstery stores and at dressmakers shops, to tell those stories about dreams, exile, and hopes.



By portraying the landscape of terror of Argentina, Partnoy tells about the dramatic situation during the dictatorship in her country  between 1976 and 1983, when 30,000 people were killed by the military.


The painter and photographer Siegfried Stiller was born on the 29th of January 1950, in Welden, Bavaria, Germany. He started to study at the Augsburg School of Fine Arts in 1978 and in 1990 he began his art studies at the University of Fine Arts of Berlin. After graduation, he returned to Augsburg, where he began a very active painting activity. Between 1986 – 1994 he held over 50 exhibitions in Germany. From 1994 to 2006, he dedicates his time to art teaching, as a Professor.

Siegfried Stiller Bluttanz

Siegfried Stiller Bluttanz

2006 marks a return to painting and the birth of a new project: “Rahmenlos”, a group of young artists that work together under his close guidance, in a unique artistic project for young talents. Between 2006 and 2008 he had over 12 exhibitions in several cities in Germany.

In August 2008, upon invitation by the Art Gallery Ro-GE Art, from Augsburg, managed by Ioana Geier, he joins the project “Without Frontiers”. Along with other 3 German painters and a Swedish artist, he participates in 2 collective exhibitions in Romania, at Baia-Mara and Hunedoara. The artist donates one of his works to the Baia-Mara Art Museum. The artist is presently participating in other exhibitions in Germany and abroad.

As part of the project “Without frontiers”, undertaken by Ro-Ge Art Gallery, he will hold a personal exhibition in Madrid, at Nicole Blanco Art Gallery, in Espacio Niram, in October 2009.

“Siegfried Stiller exhibits on big almost terrifying surfaces, a graphic of symbols in suspended enclosures, a composition that bears some similitude to Dadaist – Surrealism from the point of view of the inner rebellion. The technique is complex, congested, with gematric elements where the human body is explored as a projection of figuration. The nudes are brought together by collages; the drawing is reductively shaped, the feminine characters being portrayed as in a photographic still, upside down. The drawing is full of signs, symbols, hieroglyphs, that speak of an esoteric approach. One can establish some links between his art and Max Ernst or Paul Klee, without any affectedness. The big surfaces exert some kind of tension on our perceiving capabilities in need of a symmetrical perspective. Stiller is a visionary, his art assimilating even elements belonging to sculpture.” (EUGEN EVU, writer)