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(originally published in the IHT/New York Times on 9 July 2011)

BUDAPEST — It is a question that Attila Pocze has grown accustomed to being asked.“Why are our young artists not well known on the international scene? Why are we not there?” said Mr. Pocze, the founder and director of Vintage Galeria in Budapest.

Why contemporary art in Hungary does not have as strong an international reputation as neighbors like Poland, Romania, Serbia and Slovenia is something of a mystery — even to the Budapest artists, curators, art historians and gallery owners who are involved in the scene. But they also say that things are changing, that local contemporary art is becoming more visible both on the international scene and in Budapest, where galleries are working together to raise awareness. Read more

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(this piece was originally published in the IHT/New York Times on 11 June 2011)

Guram Tsibakhashvili stooped down to pick up one of the several small brown cardboard boxes scattered across the floor of his Tbilisi studio. “This,” said Mr. Tsibakhashvili as he held up a box containing a round white plastic ball splattered with red paint, “is the future Museum of Contemporary Art.” Read more

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(Originally published in IHT/New York Times 11 March, 2011)

by Ginanne Brownell

Unlike its counterparts in places like Berlin, Paris or London —where most influential galleries are set up in obvious commercial spaces with large windows displaying what’s on view inside — finding the Raster Gallery in Warsaw takes perseverance.

It’s not that locating 42 Hoza Street is so hard itself, but trying to figure out where the gallery could be within the run-down Communist apartment block is what proves elusive. Halfway through a darkened corridor leading to a courtyard there is a door with a buzzer for several apartments — and for Raster. Read more

(Originally published on 24 February 2011 in IHT/NY Times

BRATISLAVA, SLOVAKIA — The Bratislava art scene has always played second fiddle to Vienna — a 45-minute drive from the Slovak capital — and Prague, which for generations was where Slovak artists decamped for cultural enlightenment. But these days, small galleries are starting to have a big impact not only on the local scene but on the regional one as well. HIT Gallery is one of the most influential.
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(originally published by the New York Times/IHT –November 15 2010)

WARSAW — Unbeknownst to most residents of 64 Aleja Solidarnosci (Solidarity Boulevard) — a drab gray Communist block near Old Town in Warsaw — an apartment on the top floor is one of the most important places in Poland’s avant-garde art history.

It was in No. 118 that two of the country’s most influential 20th-century avant-garde artists — Henryk Stazewski (1894-1988) and Edward Krasinski (1925-2004) — lived and worked for more than two decades. It is now home to the Instytut Awangardy (Avant-Garde Institute), a museum, exhibition and archive space. Read more