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Joan Marti (1922-2002)

Joan Marti was a Spanish-Belgian artist born in Reus (Spain) in 1922 and died in Sint-Gillis/Brussels in 2002. He was also a painter and graphic artist. His parents fled Spain because of the civil war and settled in Belgium with his then 13-year-old son around 1936. During her four years she attended evening courses at the Academy in Sint Gillis, Brussels. A mechanic and tailor by trade, his work often includes elements of mechanics. His references to machines show a very poignant sense of humor, but also a certain pity for those who are unknowingly at the mercy of industrial technology. His work exudes fantasy and symbolism, but is often poetic. First exhibited around 1950, from 1970 he exhibited regularly at the Galerie Isy Brachot. Was a member of the circle Jecta in Brussels. Signed by the Belgian artist of BAS II and Two Centuries. has now the ISY BARCHOT /1987 catalog available.

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Kurt Ryslavy (1961)

For the 3rd blog on (almost) forgotten artists, here is a blog on Kurt Ryslavy. Born in Graz Austria, Ryslavy has made some great works, but realized that art could not support him financially by itself. So he had to rethink his installations and make a more practical and financially more sound approach to his art. He wanted to make a living from his art and combined this into importing Austrian wines and combining them with critical texts and making installations out of them in museums and galleries.

This resulted in some highly peculiar works of art, but as an importer of Austrian Wines in Belgium he now is financially independent and can make his art the way he likes. The MAK in Vienna devoted some years ago an exhibition to him.


A Conceptual-Sculptural Intervention

WED, 06.04.2011–SUN, 01.05.2011

In this project, selected objects from the MAK collection are to be arranged by Kurt Ryslavy. He will do so as collector, as a wine dealer and as an artist, thus giving rise to a complex sort of intentionality and, what’s more, making space for a wine bar which once served as an installation in an exhibition by Harald Szeemann. Since art itself has become nothing more than a market, it will also suffer the market’s fate. By exorcizing and/or banalizing mystifi cation, Ryslavy prevents the capitalist control of societal creativity—a control which purpose is, of course, to mystify. The value of Ryslavy’s art lies not in its aesthetic standards of quality, but rather in its complex refl ection on the division of labor, subjectivity and immaterial work. (Peter Weibel) It is conceivable that the artist, who refers to himself as a “Sunday painter,” will mount a performance with the participation of winemakers. has 2 titles on Ryslavy available.