Жюри / Экспертный Совет

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{zen-author}Myriam Feuilloley is a french artist living and working by the sea in Normandy.

The narraratives and characters portrayed in her work are easily recognised. Often bearing a hallmark, they are nacked, hairless, and the bodies shapes freed from the classic image what is «the norm». Common themes include people bathing, couples, family portraits, totems, crosses, the Tower of Babel, puppets, and meeting with angels. All captured in her unique style.

Myriam’s work has been exhibited at the Museum of Villa Carlotta by Como Lake, Montivilliers Abbey, the Museum of Terre Neuvas in Fécamp, Maison des Arts in Conches, as well at the Tristan Bernard theater gallery in Paris. In 2016, she was invited to exhibit her work as part of the World Day of Art at the United Nations Office in Geneva. Her work regularly features in exhibitions across France and internationally.
She has published two books on her work, the first a retrospective, « Feuilloley, 20 years of painting » (2006), the second « 20 fables La Fontaine illustrated by Feuilloley » (2012).

Theme after theme again Feuilloley prompts us to reimagine the human soul thought the nacked body.

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2010. Curator on the exhibition ”I Tråd med Tiden, væv 2011” in Kunstetagerne in Hobro. The print ”Hegnet” published by Nordjyske
2009. Member of the working committee with the group ”Dansk Gobelinkunst”
2008. A portrait broadcast on TV2-Nord

Commissions:
The Town Hall, Løgstør 1996, Frederikshavn Hospital, 1997, Vellingshøj Centret, Hjørring 2003, The Town Hall in Aabybro 2004, KMD, Aalborg 2006-07,
Made the gift from Aalborg Community to the crown prince and princess when they were married in 2004. A Tapestry ”Dreamland” 1,65 x 1,40 m.
Designed a carpet (2011-12) to Christiansborg, Copenhagen together with the Danish Queen. It was a gift from The Danish Parliament on the occasion of the 40th years of Jubilee as Queen of Denmark. The carpet is 6 x 6 m and was made by Ege Carpets.
Foundings:
Nationalbankens Jubilæumsfond, Statens Kunstfond, Textil- og Beklædningsindustrien,
Statens Kunstfond 1993, 1996, 1998, 1999 og 2000 and an award from Statens Kunstfond 1998
The 3 years working award from Statens Kunstfond 2001
Exhibitions from the last years:
2015 The State Herimitage Museum with Danish Tapestry
2013 Sophienholm and Trapholt, Kolding with Danish Tapestry
2012 Huset i Asnæs with Danish Tapestry
Frederikshavn Art Museum
2011. ”April-Udstillingen”, Vrå
”I tråd med tiden – VÆV 2011”
2010. Galleri Jakobsen, Lønstrup together with Mogens Nielsen
”Hommage á Textilia” Röhsska Museet, Göteborg, Sweden
”Blikket på Kunsten, Kunsthal Nord, Aalborg
”April-udstillingen”, Vrå
2009. ”Menneske NU”, BKF exhibition in Bies Gård, Hobro
”Dansk Gobelinkunst 2009” Johannes Larsens Museum, and Kronborg Slot
”Udstilling III”, Pakhuset, Nykøbing Sjælland
2007. Galleri Jakobsen, Lønstrup together with Mogens Nielsen
2006. ”Tid Til” Rundetårn
”Dansk Gobelinkunst” Rundetårn, and Vendsyssel Art Museum
2005. ”Efterklange” Tekstilforum, Herning together with Joan Baxter
2002. Galleri Textilia, Göteborg, Sweden
”Dansk Gobelinkunst 2002” Kunsthal Aarhus
2001. Vendsyssel Art Museum – retrospective exhibition
10th International Triennial of Tapestry, Lodz, Polen

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Elena Martém was born in Moscow. She settled near the foot of the Söderåsen hills in Skåne in southern Sweden. After completing a higher education in the field of Fine Arts, Architecture and Art Education she worked as painter for the Department of Commerce and Industry, as painter-architect for the movie studio “Mosfilm”.
“My paintings are created as symbiosis of my multifaceted internal feelings, impressions and ideas concerning Space and Reincarnation.My main task is to create paintings which are full of feelings about all topics and soul moods, to demonstrate power, happiness and harmony for all people in various environments.
I use different materials and techniques in order to create, through my paintings the desired feelings and experiences. In my projects I want to involve the spectator as a participant who also experiences the feelings I hope to convey ”
Exhibitions:
Personal-, competitive- and collective exhibitions:
Russia, Germany, Czech Republic, Austria, Denmark, Hungary, Spain and Sweden

Represented in the following private collections:
USA, Canada, Australia, Czech Republic, Germany, France, Russia, Denmark, Sweden and Pakistan.

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{zen-author}Art history, Visual Culture Studies
01/10/2003–15/07/2008 Lecturer Prof. Dr. Alajdin Abazi, South East Europen University Ilindenska nn, 1200 Tetovo (former Yugoslav Republic of Macedonia) http://www.seeu.edu.mk/ To teach, and supervise or assist with supervision of undergraduate students;
2010–12/03/2016 Art History (PhD) Ss. Cyril and Methodius, Skopje (former Yugoslav Republic of Macedonia)
24/02/2004–27/05/2009 Master of Arts Master Ss. Cyril and Methodius Blvd. Goce Delchev 9, 1000 Skopje (former Yugoslav Republic of Macedonia) Contemporary Art
Scientific and professional membership:
- since 2011, Head of "Center for Visual Culture Studies – Skopje"; Affiliation of "Center for Visual Culture Studies – Zagreb" (Croatia);
- since 2011, Member of the workgroup "Visual Culture in Europe – Network" Publications:
6. "Vasarely: Ninety Artworks from Osten's Collection", Vasarely: Drawings, Sculptures, Graphics", Skopje: Osten, 2013, pp 2-5.
5. "Pandilov: An Uniresable Trace in Macedonian Art", inOsten Biennial of Drawing: Art on Paper – 40th World Galleryof Drawing, Skopje 2012, Skopje: Osten, 2012.
4. "Picasso - Sixty-six Artworks from Osten's Collection", Picasso: Drawings, Ceramic and Graphics, Skopje: Osten, 2012, pp 2-5.
3. “Visual Culture of Public Monuments in Bitola", in Vladimir Velickovski (ed.), Monumental Art in Macedonia After 1945, Skopje: Center for Visual Arts, 2010.
2. “Safet Ahmeti, Interview with Dusan Dzamonja – In Memoriam", The Large Glass No. 23/24, 2008/9, Skopje:Museum of Contemporary Art, pp 4-7.
1. “Video Art – Macedonian perspectives: three approaches towards video as an art medium", New events in Macedonian art, Skopje: Center for Visual Arts, 2006, pp 116-120

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