Formulas in Liminal Space/Fórmulas en el Espacio Liminal, Art by René Fernando Ortega Villarroel

The self is the unconscious and conscious that allows you to enter these imaginary worlds of creation, that is why it is important

Bueno el yo es el inconsciente y consiente que te permite entrar a estos mundos imaginarios de creación por eso es importante

I knew when I entered the experimental artist school and I liked all the artistic disciplines such as sculpture, engraving, drawing, forge, in short, I wanted to learn all the arts and be good at it with a lot of discipline and read the theoretical and aesthetic knowledge, and I realized that I could do it.

Bueno supe cuando entre a la escuela experimental artista y me gustaron todas las disciplinas artísticas como escultura grabado dibujo forja en fin todas las artes quería aprender y ser bueno en ello con mucha disciplina y leer el conocimiento estético lo teórico y me di cuenta que podía hacerlo

The environment has a strong influence on my paintings sketches sculptures from the observation and reflection of nature as something as small as a seed or as big as a tree and as infinite as a hill and from an insect to a bird in flight

El entorno tiene una fuerte influencia sobre mis pinturas bocetos esculturas desde la observación y la reflexión de la naturaleza como algo tan pequeño como una semilla o tan grande como árbol y tan infinito como un cerro y de un insecto a un pájaro en vuelo

It inspires me when I get up every morning and breathe the pure air of my mountains and feel that I am alive again to create with my hands and my eyes and feel the smells of my trees

Me inspira cuando me levanto todas las mañanas y respirar aire puro de mis montañas y sentirme que estoy viví otra ves para crear con mis manos y mis ojos y sentir los olores de mis árboles

Looking at nature influences my work and the action of carefully observing the plants and everything that surrounds me is part of my daily work.

En mi trabajo influye el mirar la naturaleza y tener la acción de observar detenidamente las plantas y todo lo que me rodea es parte de mi trabajo diario

I read many authors and artists bibliographies, as many as ancient and contemporary books on aesthetics, books on theorists and mathematicians, I like it a lot, and I am investigating fractal logarithms, why life was created that way, matter multiplies thousands of times and infinitely. that what I want in my work

Bueno leo muchos autores y bibliografías de artista tantos como antiguos y contemporánea libros de estéticas libros de los teóricos y matemáticos me gusta mucho y estoy investigando los logaritmos fractales por qué la vida se creo de esa manera se multiplica Miles de veces y infinitamente la materia y eso lo que quiero en mi obra

Rene has exhibited work in Chile and Argentina. He is involved in many cultural art programs that have related to hospitals, children and teaching art professionally.

René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural relacionados con hospitales, niños y la enseñanza del arte profesionalmente.

“My concern is the human figure as a feeling of primitive and irrational states, whose main point is the heads, universal thought of the creation of man and center of the universe. All this led to a mutation of the plastic and pictorial language”.

“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo esto llevado a un mutamiento del lenguaje plástico y pictórico”.

Rene Ortega Villarroel


Formulas in Liminal Space by René Fernando Ortega Villarroel

The self is the unconscious and conscious that allows you to enter these imaginary worlds of creation, that is why it is important

Bueno el yo es el inconsciente y consiente que te permite entrar a estos mundos imaginarios de creación por eso es importante

I knew when I entered the experimental artist school and I liked all the artistic disciplines such as sculpture, engraving, drawing, forge, in short, I wanted to learn all the arts and be good at it with a lot of discipline and read the theoretical and aesthetic knowledge, and I realized that I could do it.

Bueno supe cuando entre a la escuela experimental artista y me gustaron todas las disciplinas artísticas como escultura grabado dibujo forja en fin todas las artes quería aprender y ser bueno en ello con mucha disciplina y leer el conocimiento estético lo teórico y me di cuenta que podía hacerlo

The environment has a strong influence on my paintings sketches sculptures from the observation and reflection of nature as something as small as a seed or as big as a tree and as infinite as a hill and from an insect to a bird in flight

El entorno tiene una fuerte influencia sobre mis pinturas bocetos esculturas desde la observación y la reflexión de la naturaleza como algo tan pequeño como una semilla o tan grande como árbol y tan infinito como un cerro y de un insecto a un pájaro en vuelo

It inspires me when I get up every morning and breathe the pure air of my mountains and feel that I am alive again to create with my hands and my eyes and feel the smells of my trees

Me inspira cuando me levanto todas las mañanas y respirar aire puro de mis montañas y sentirme que estoy viví otra ves para crear con mis manos y mis ojos y sentir los olores de mis árboles

Looking at nature influences my work and the action of carefully observing the plants and everything that surrounds me is part of my daily work.

En mi trabajo influye el mirar la naturaleza y tener la acción de observar detenidamente las plantas y todo lo que me rodea es parte de mi trabajo diario

I read many authors and artists bibliographies, as many as ancient and contemporary books on aesthetics, books on theorists and mathematicians, I like it a lot, and I am investigating fractal logarithms, why life was created that way, matter multiplies thousands of times and infinitely. that what I want in my work

Bueno leo muchos autores y bibliografías de artista tantos como antiguos y contemporánea libros de estéticas libros de los teóricos y matemáticos me gusta mucho y estoy investigando los logaritmos fractales por qué la vida se creo de esa manera se multiplica Miles de veces y infinitamente la materia y eso lo que quiero en mi obra

Rene has exhibited work in Chile and Argentina. He is involved in many cultural art programs that have related to hospitals, children and teaching art professionally.

René ha expuesto obra en Chile y Argentina. Está involucrado en muchos programas de arte cultural relacionados con hospitales, niños y la enseñanza del arte profesionalmente.

“My concern is the human figure as a feeling of primitive and irrational states, whose main point is the heads, universal thought of the creation of man and center of the universe. All this led to a mutation of the plastic and pictorial language”.

“Mi preocupación es la figura humana como sentimiento de estados primitivos e irracionales, cuyo punto principal son las cabezas, pensamiento universal de la creación del hombre y centro del universo. Todo esto llevado a un mutamiento del lenguaje plástico y pictórico”.

Rene Ortega Villarroel


Six Nations, Niagara Falls Artist Jay Carrier

I’ve been making art my entire life, I actually remember my 1st studio was a closet in my bedroom, I probably was about 6 or 7 years old

There are many different kinds of artists in my family from lacrosse stick makers, stone carvers, beadwork artist, leather workers and of course painters


I paint my life, my thoughts, the philosophies that I’ve studied, the culture and society that I was born into.

December 18, 2012 Painting. Jay Carrier

I was born on the six nations rez near Brantford Ontario, moved to Niagara Falls NY when I was 4

Adapted painting April 2020

Skull ship, acrylic on paper, 22inx30in, July 2022

The things that influence me were not necessarily art movements. The people of the six nations used what we call traditional art in contemporary society are made for different reasons. There was no term for art in our societies

Night painting, acrylic on canvas, 14inx 11in, July 2022

I paint intuitively so spirit can travel unimpeded

written by Jay Carrier

“The places that we dwell and live, the relationships that we form with the natural environment, the people that we surround ourselves with, and the many things that influence our thoughts are reflected in the paintings chosen for this show. I was born and briefly grew up on the Six Nations Reservation but predominately was raised in the Southend downtown Niagara Falls. I was constantly amazed by the city’s surroundings, the river, and, the Niagara gorge. Many memories were made that have a direct reference in these paintings; there were exciting times, there were hard times, there were happy times, and tragic times. These experiences in some regard formed the thoughts and ideas reflected in these paintings.”

There is a poetically tragic, glamorous, and beautiful reality about Niagara Falls. The beauty and seduction of the water as it travels, the brutal stark reality of living in a repressed small city, the fallen industry, the curio identity that was what the world would see…. these are the catalysts for exploring my art in relationship to the city.” -Jay Carrier

Jay Carrier at Hallwalls Contemporary Arts Center in Buffalo, New York on September 18, 2021 photo by Dawn Carrier

JAY CARRIER
2115 Lockport Road
Niagara Falls, New York 14304
Phone: (716) 534-0489
Studio: 20, NACC, 1201 Pine Avenue, Niagara Falls, New York 14301
e-mail: carrierj@roadrunner.com
carrierjay@yahoo.com

EDUCATION
1993-94 The University of Illinois at Urbana/Champaign, attended 1 year Masters Program
1993-95 The University of Illinois at Urbana/Champaign, Bachelors of Fine Arts
1986-87, 92 The College of Santa Fe, New Mexico, attended, Major, Fine Arts: Painting, Sculpture
1984 Buffalo State College, Attended
1984 Niagara County Community College, Associates in Fine Arts

SELECTED SOLO EXHIBITIONS

2021 Free To Roam Hallwalls Contemporary Art Center, Buffalo New York
2020 We Took Things With Us, Buffalo Arts Studio Gallery, Buffalo New York
2019 Places of Transformation/ City Indian, the NACC Gallery Niagara Falls New York
2016 The City is Clean, Recent works, Gallery Eleneneleven, Buffalo, New York
2016 Recent work by: Jay Carrier, Garden Gallery Niagara Arts and Cultural Center, Niagara Falls, New York
2014 Recent Drawings, The Garden Gallery, Niagara Arts and Cultural Center Niagara Falls New York
2006 Risen from the Ashes of 2 Fires, American Indian Community House Gallery, New York New York
2004 Chautauqua Center for Visual Arts, Chautauqua Institution Gallery, Chautauqua New York
2002 Polar Visions, Niagara Art and Cultural Center, Niagara Falls, New York
1995 Nothing is Sacred, Institute of American Indian Arts, Santa Fe New Mexico
1993 The Blind Pig Gallery, Champaign, Illinois
1993 The Union Gallery, The University of Illinois at Champaign/Urbana
1993 The South Garage Gallery, The University of Illinois at Champaign/Urban

SELECTED GROUP EXHIBITIONS
2020-2021 Native American and First Nations Contemporary Art, K Art Gallery, Buffalo New York
2018 At This Time, Burchfield Art Center, Buffalo New York
2017 Beyond the Barrel, Annual Exhibition Niagara Arts and Cultural Center Niagara Falls New York
2016 Amid/In WNY – Part 6, Hallwalls Contemporary Arts Center, Buffalo, New York
2016 Featured Artist, 24 Below Gallery, Niagara Falls, New York, 2015-2016
2015 Stick, Stone & Steel, Niagara Art and Cultural Center, Niagara Falls, New York
2015 Diversity Works: Selections from the Gerald Mead Collection, El Museo, Buffalo, New York
2011 4 from 6: Four Artists from Six Nations curated by Shelley Niro, Hamilton Artists Inc., Hamilton, Ontario, Canada
2011 Haudenosaunee: Elements: Works by Artists from the Six Nations of the Iroquois, Everson Museum, Syracuse, New York
2008 Burgeoning: Artists Invite Artists, You Me Gallery, Hamilton, Ontario, Canada
2006 First Nations Art 2006, Woodland Cultural Center, Brantford, Ontario, Canada
2005 From Deep in the Forest: An Exhibition of Fine Woodworking, Niagara Falls, New York
2004 First Nations Art 2004, Woodland Cultural Center, Brantford, Ontario, Canada
2004 Collects Buffalo State, Burchfield Penney Art Center, Buffalo, New York
2003 First Nations Art 2003, Woodland Culture Center, Brantford, Ontario, Canada
2002 1st Annual Exhibition, Niagara Art and Cultural Center Niagara Falls, New York,
2002 The Pan American Exposition Centennial: Images of the American Indian, Burchfield Penney Art Center, Buffalo, New York
1997 Where We Stand, Fenimore House Museum, Cooperstown, New York
1995 Expressions of the Spirit, The Wheelwright Museum of the American Indian, Santa Fe, New Mexico
1994 In the Shadow of the Eagle, The Castellani Art Museum, Niagara Falls, New York
1993 The Second Floor Gallery, St. Louis, Missouri
1988 The Galleries, Buffalo, New York
1988 American Indian Institute, Iroquois Art, Connecticut, Washington

Biennials

2012 The Other New York 2012 XL Projects Syracuse NY

2007 Beyond/ In WNY Biennial, Castellani Museum, Niagara Falls NY

FELLOWSHIPS/RESIDENCIES

Art Matters Inc., New York, New York, 1994-1995
Artist In Residence, Native American Center for the Living Arts, “The Turtle”, Niagara Falls, NY 1987

Baetylus and our birthright to know our brain

our birthright is to know our brain and to become aware of the impact of meteorites on our language.

but first

guard the self that believes in you. the best hallucination is a healthy belief. a belief in self without vanity is sincere and free magic. magic without title, property or theft.

which older you are we anyway?

everything about the overactive amygdala is the source of insular cortex phantoms, wrathful deities averting ourselves from sapience. it keeps us from enjoying our temporal lobes, ruled by self-rejection in the temple of the body.

autoscopy, is the real spirituality with particles and waves. this tide will lead to a more balanced clonal pluralization of selves. to be one with everything, one is everything.

written by  ©Mitchell Pluto July 29, 2022

Full moon in Capricorn, Erotic Drawings by Richard Gessner

Limulus, is my favorite arthropod, it’s the oldest species on the planet.

I’m thinking about sex 24/7. Raging hormonal beach Paradises stretch on infinitely into horny horizons. The sight of beautiful fertility Goddesses is always more pleasant to behold than old men covered with craters of acne scars, or Syphlytic doomsday warthogs with copper sulfate tusks!!

Naked ladies have a storied history in the history of art. From Boucher, Bouguereau, Anders Zorn, Mel Ramos, Eric Fischl, pin up art of Elvgren and Driben….Like Brooke Burke and 10 thousand other Brunettes. Hans Bellmer is a favorite. Independent from art, the naked lady in public viewed by the salivating Voyeur since time immemorial is inspirational.

Hans Bellmer appeals to me because it’s Life itself. What beauties can be viewed spontaneously in the street. It is bizarre and an otherworldly ethereal quality that I like.

written by Richard Gessner

Richard Gessner at Studio Montclair, Leach Gallery 641 Bloomfield Avenue
Montclair, NJ

Artist and Short Story Writer Richard Gessner

more art and info on Richard Gessner can be found at

The Hamilton Street Gallery

It is better to be an oracle than a king by P.D. Newman

It is better to be an oracle than a king

To play the lyre, and the aulos, and sing

Leading maenads ‘round in a ring

Yes, ‘tis better to be an oracle than a king

written by ©P.D. Newman

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of Freemasonry, Angels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023

cultivation phases of the basal ganglia and paleomammalian soul

the psychic robot, how our animal selves passed through the portions of different brain territories. the snakes, the monkey scribe, and now the circuit board advisory city-state. clay tablets as a big golem, ideas as ghosts informing the brain

The Gnosis of the Mirage and other Poems Enrique de Santiago

THE GNOSIS OF THE MIRAGE

“Relativity makes distance meaningless, but the situation is even worse when quantum mechanics intervenes, since it questions the idea of place.”
Paul Davis.

Of the clouds contained for centuries
of the air that winds the violet knot of meaning
And of every dark shape that embraces the sound of the world
the lit line of the labyrinth emerges
contemplating ourselves immersed in this myriad of fluids
that embrace us from the beginning
and from before in its reverse reality
to end up drowned in the crack of fate
and never know what the essential source of the moon holds
nor the celestial song of the plumage found in the boreal bosom
this is how the air is thrown into being
Without measure
no understanding
while diligently it oxidizes and hastens its decline.


WINGED PHOTOTROPISM

nothing ends,
just a keep going around in a spiral,
at the command of vector dreams,
that rest on the moon that raises the stamens,
Like the names I’ve forgotten
my own,
and the name of my destiny,
while I move hugging the clouds
with my numbers on the side of my brain
and my breath laughing again.

The astral root, acrylic on canvas 118 x 85cm

MANDRAGORA, ASTRAL ROOT

telluric resonance
with its harsh echo that stuns reason
magmatic word that arises from the refusal of the verb
black poetry on its sharp path
the one that hurts the one who goes into its mystery
with the blessed dagger of the fallen angels
that are arranged on the sidewalk of dawn
illuminated by the forgotten star
between rivers of multitude of bones
council opening submerging volcanic fire
where the salamander dances
at the right time and hour
when the word that unleashes the lightning is released
with its fractal memory
that renews the solanaceous plant
what is the mandrake of the damned
and of the saved.

Under the Luciferian influence, acrylic and ink on Conqueror 300 gm paper

PERPETUAL FLORA

From foliage ancient and forgotten,
when time was captive in the womb of time
even before the language of birds appeared,
that lost and extinct star arose,
loved from her nebula
and awaited by the early cicadas,
it was so that she sang her scrolls
and she danced the mystery of the nymphs,
hidden in the mystery of her and in the first number of her name
because this is found in the sum of the rings of a forest,
and her dress is the transmutation of the nymph
something like that, like a thousand and eighty times the face of the moon.

Winged Past, acrylic on 300 gm Canson paper, 30 x 39 cm

THE PAST OF THE FOREST

I love your origin from the unknown
with that particular elliptical aroma
like an elk that descended from a learned galaxy
there between the sources of light and condensed matter
close sister of the unchanging logos
the one you robbed by surprise
On the oblique ship that was hidden
with their inverted masts on the sleepwalking skins
begin to awaken from amazement
of so many days of your destiny
without knowing why ??
away from the inanimate pavement
that carries with your long steps
in the certain uncertainty
in the sacred place
that goes off
and it bares to oblivion.

Astral Watcher, acrylic on Canson 300 gm paper. 40x30cm

THE RELENTLESS OUROBOROS


beyond the wind
in a northern region of the universe
an uncertain number of names
dissolved by the golden flame of oblivion
They descend from the crevice of a nebula
while the bird as watchman of the secret
sing their celestial nomenclatures
to revive them in their new sap.

Altered distance, acrylic and ink on 200 gm Canson paper. 21x28cm

DISTANCE


The lightness of your poetry taught me to look beyond
in that place where we don’t understand each other
a room of emptiness and fullness
where there is enough space to brush your hair.

The implacable oracle, acrylic on canvas, 70 x 70 cm

NGC 6753


When a star collapses, does part of your destiny end?
Do you know the emptiness that will come in the litany of the dream of the demiurge?
Each sphere engraves its own ellipse so as not to perpetuate it
because the grass kisses the constellations
until it loses sight of its splendor
and the turn announces its sunset
like love dissolved in nothing
where the word is not perpetuated
And these verses will disappear when the screens turn off
so too the leaves yellow following the dust
Of expired stars in forgotten hells
parked in some empty universe
waiting to speak from the past
and the future.

Prehistory of the present. acrylic on canvas, 70 x 70 cm

CYCLES IN COSMIC WETLANDS

rising winds
without becoming storms
They spring from the soul until they inhabit the shadow
that takes the lonely measure
of the one who forgets the kiss
when long ago life rocked its cocoon
unaware of his hypocrisy
looking for the fierce copper mascada
while we smell that inexorable time
that snatches the lights rapidly in the twilight
where every month is the same for everyone
and between the mist and the pit
the same efforts start
the same young people with their ideals
who see their elders leave
clinging to clothes like the smell of tobacco
and the humidity of the asphalt
every year is the same for those who do not see the clouds
but in the long run it’s the same music
fashions are fashions and your makeup is the same
and when you cry a black line tears your face
similar to the one that tears your soul
love that sucks life and releases it
leaving us exhausted for months
Until I return for another rest of life
like a pleasant and hostile embrace
and there is no way to draw life
to know how to color it
it only comes around every corner
sneaky and silent
distinguishing itself in a fissure of time
when it’s too late to decide or repent
Well, it installs, without further ado…
with his elastic suit that loses his memory
in that last station
when everyone wants to change their habit
nothing more like life
that first puff of cigarette
strange, pleasant and bitter
slight time that will end in ashes
hopelessly.

The bodies remained weightless
next to each other
faced with the cosmic dilemma
and to the protocol of the farewell,
he perceived the aroma of the bones
while she expired her step at night
with a certain harshness
the one that evaporates with the days
slow and silent
like that subordinate hatefulness of truncated desire

The music of the spheres, acrylic on Canson paper, 250 gms. 25 x 32.5 cm

GRAVITATIONAL CONDITION


On the edge of my lithic archetypes
sweet new grass grows
that with its solemn verticality
wants to hug the moon
in serene times
like your memories
before forging the tides
and unleash the liquid of his beloved
burning oblivion
and shadow
permian knots
skeletons
going down the river of oblivion
everlastingly
in its exact ritual.

Early Invisible, acrylic on canvas, 65 x 81 cms

ANIMA WORLD


Mother Earth exhaled the perfume of redemption
while the useless man and dismembered course
listened to the night without name or shadow,
in order to gain oxidizable objects,
at the midpoint of his fecal abyss,
with the emptiness left by fear
and so he names himself among the speechless faces
that day when chemical weddings were prepared
without finding for your optic cells
when the leaves of the forest fall slowly
and to my ears comes the roar of the terrestrial kiss
which is a sound to be ocher dust in solar memory
in the end of time
With its circular principle in the appointed mystery,
while third world children are murdered
to make toys that were not for them.
Before knowing the sky and the gods
she appears from the beginning taming the chords of silence
she, well, she knows the key to love in a sleeping place
and she licks the perpendicular voices of the waters
like rivers that arise from the carboniferous
she well she knows how to offer the womb
to spawn the world.

Astral fissure, oil on prepared cardboard, 60 x 45 cm

blank slate


“My soul is from another place, I am sure of it, and I intend to end up there.”
Rumi


Reset the inconsequential
To restart with the fruitful

Enrique de Santiago

All poems and art ©Enrique de Santiago

A call in the language of stars by Felipe López Osses

Two distant skies cover hopes united by noble commitment. The attractive conviction settles in the memory and encourages the shared future. To be one in this chaotic transit and capture the inevitable reunion, there is the powerful meaning

the gift of time
oil on canvas
70x50cm
2022

In the unknown, we met
In hope, we agree
In conviction, we unite and dream
In determination, we project
We have been laughing and crying,
breath and fatigue,
shared flavors
and we share sounds.
I saw you dance and I met
my longest smile.
I heard you sing and I knew
I already have a new motto.
And now I’m going up
to new heights,
where the brushstrokes stand out,
and claim their chimera.
The time will be long
enough to plant
that immersed ideal
what we have to go through

Kaslarin Karasina: For the Darkness of your Eyelashes
oil on canvas
60 x 50 cm.
2021

This work is inspired by the song of the same name by the Turkish musician Beynelmilân. In this painting I wanted to reflect the energy of the person portrayed, her gaze reflects a mystery that allows various interpretations

REsIgnifiKance (detail)
oil on canvas

140 x 125 cm.
2022

A call in the language of stars
a blind search paid off.
reviving convictions
reincarnated in songs.
Five phases of illusions
and another five of dilemmas.
fears are not noticed
when promises bloom…

Chena trails
Pens on canvas
60x100cm.
2016

This drawing is the first one I made with the “Chromatic Story” technique. It is inspired by the experiences and omens that I experienced during the almost 8 years that I lived near Chena Hill, a place full of inspiration and history.

Felipe López Osses is a self-taught cartoonist and painter born in Linares, Chile. His foray into art began in his childhood, when he began to develop his creativity and work with many details. In his works he mainly uses ballpoint pens and oils. His inspiration comes from nature and music. In 2015 he began to work with his own technique: pens on canvas, a technique to which he gave the name “Chromatic Story”, since it is “an invitation to the viewer to take a detailed tour of the details and symbolism, encouraging their own interpretation of the work

Echoes of Contemporary Surrealism in the Institut Français d’Egypte à Alexandrie

The certainty about our origin is in the bones. 21st-century Surrealism seeks universality while understanding the mind. We aspire to explore inner space together. From caves, dream temples, and pyramids of antiquity to the temporal lobes in our brain, our movement is a collage that devotes serious effort to be sympathetically aware of connections between ourselves and the collective unconscious.

Mitchell Pluto

𝗝𝘂𝗻𝗲 𝟮𝟲 𝘁𝗼 𝗝𝘂𝗹𝘆 𝟮𝟬, 𝟮𝟬𝟮𝟮
Over the past forty years, in the Middle East and various places in the world, Surrealism was considered as a past artistic movement and confined to limited artistic icons. And yet, in the meantime, Surrealism was constantly evolving and developing its tools and philosophy to free human imagination, where the mental play of imagination through art and literature remains the most fundamental activity.

In the continuation of the contemporary surrealist wave in Egypt and the Middle East, and after the International Exhibition of Surrealism held in Cairo from 15 to 19 February 2022 as the start of a round trip / Cairo – Saint Cirq Lapopie. Based on the wonderful energy achieved with its success, the idea of ​​continuing the adventure in Alexandria was born from the collective work of surrealists from Egypt, France and all over the world.

Echoes of Contemporary Surrealism – Maze of Dreams and Games which includes displaying a wide range of artworks, music, surrealist films, visual arts, and practicing surrealist collective games during the exhibition with workshops on collective surrealist creative techniques and games created from 1924 until today. In conjunction with the Echoes of Contemporary Surrealism Exhibition in Alexandria, on June 15, the same events of the exhibition and workshops will be organized, as well as other events that will be hosted by art space and square simple garden In Budapest, the opening will coincide with the opening of the exhibition in Alexandria on June 8.

Mohsen L Belasy

“Drink wine and look at the moon
and think of all the civilizations
the moon has seen passing by.”

― Omar Khayyám

The essential for a Zen painter means a manner of being in the deepest sense and not, as for us, a manner of doing. For them it means fusion in the life of the cosmos…

Andre Masson

The 3 Echoes: Ghadah Kamal Ahed, Fairouz Eltaweela and Mohsen L Belasy

“I believe in the future resolution of these two states, dream and reality, which are seemingly so contradictory, into a kind of absolute reality, a surreality, if one may so speak.”
― André Breton, Manifestoes of Surrealism

“I was interested in other spaces to do with forms drawn from non-Euclidean geometry and the idea of entering these spaces. These structures do not rely on the sense of space, as we know it. It is a space without limits and which transforms itself in time – a mutant space.”

– Roberto Matta, in conversation with Hans Ulrich Obrist, April 2001

“the principle which controls magic, and the technique of the animistic method of thought, is “Omnipotence of Thought.”
― Sigmund Freud, Totem and Taboo

“A human being is a part of the whole called by us universe, a part limited in time and space. He experiences himself, his thoughts and feeling as something separated from the rest, a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole of nature in its beauty.”

― Albert Einstein

A brief sample of visual artist participants of Echoes of Contemporary Surrealism Alexandria /Exhibition

Daniel O’Reilly Soundtrack Echoes of Contemporary Surrealism /Alexandria 2022


‘Masks of the City’ La Sirena‘s contribution to the 15 minute smartphone film challenge for Echoes of Contemporary Surrealism Exhibition. Shown in Budapest and Alexandria. Darren Thomas, Doug Campbell Tara King, Elliott H. King, Janice Hathaway, Irene Plazewska, Patrick Hourihan, LaDonna Smith, Christine Haller, Clém Gslr, Daina Almario-Kopp

Echoes of Contemporary Surrealism
Freudian Slip: Interpretation of Dreams and a Labyrinth of Surrealist Expression
videographer by Maria Gyarmati
music by / LaDonna Smith and Daniel O’Reilly
editing by / Mohsen L Belasy
Echoes of Contemporary Surrealism—Freudian Slip: Interpretation of Dreams & Labyrinth of Surrealism
Budapest Surrealist Society
Echos du surréalisme contemporains افتتاح معرض جماعى عن الاعمال السريالية وعروض افلام

Echoes of Contemporary Surrealism Posters by Ghadah Kamal Ahmed