Artist Statement -

For me, making art is a way of communication with all human being and with the future.
Through my work I try to express my relation with the political and social contemporary context worldwide. My work is also a reflection about the specific reality of my country. One of the main subjects on my work is the relationship between personal freedom and political power. Thus trough my work I try to make a daily recovery of and individual and social memory tied to everyday overcoming of economical and social uncertainties. My work is highly relating whit the lost utopian feelings and frustration of the socialism-emancipating ideal, which are states of minds very characteristics of the actual Cuban society.
I use diversity medias, according to the variety of significance of each work. I have made a lot of etchings prints, using my self-portrait and a XIX century print trying to create a character similar to Alice in Wonderland. This girl has the function of commenting the resent history of my country through popular stories pointed out by texts. In this series I also incorporate classical characters taken from the popular political Cuban caricature, which are symbols of Cuban people during the Neo-colonial period.
I am also working a lot with installations. From 1994 to 1997 I developed a series of painted suitcases. They were a compilation of the experiences, dreams, deceptions and illusions of Cuban people that emigrate from their country.
Others sculptures and installations in which I had been working, deal with the imaginary representation of and aquatic world. In them, I use materials like glass, mirrors, aquariums, water, life fishes, snails, sand, etc. to create a kind of artificial Water World defined by the impossibility of change human destiny.
In a recent series of installations, I star to use the video, describing a marginated world of poverty and evasion. I walked on Havana streets recording these daily live images to incorporated in gallery installations, triying to bring the awkward outside world to the banal and fashionable environment of the art gallery. I placed my videos inside Rubbish tanks or Alcohol dispensers. I also liked to create a set as a Church or a Hospital Room to emplaced my videos etc. They all show a wide range of problematic that Cuban people have to solve every day.

On my 2008-09 Installation series I try to articulate a visual dialogue that expresses the arbitrariness of thoughts, images, perceptions, contrasts and uncertainties that we find in our daily life in the contemporary world.
The actual development of the communication media propitiates a more and more progressive speed of the physical (meter, train, airplane) and virtual (internet, tv, cell) displacements infusing to a contemporary man's life a dynamics that transcends the perception of the time and space settled down during the previous centuries, enlarging and litheness also the relationships among these two concepts. Those communication channels are also affected by an aleatory order where the entropy (quantity of "noise" or "disorder" that it contains or it liberates a system of information) points out us that a theoretical limit exists for the compression and assimilation of data.
To express these ideas in a visual work, I use my personal and social memory documented through video and photographs, taking advantage of the kaleidoscopic deformation of the images and their instantaneous speed of perception (Entropidoscopios. Video Installation.2009), exalting the opposition among materials, images and concepts like that of wealth and poverty, development, underdevelopment, abundance, scarcity (The dream of the reason. Video Installation.2009) and by playing with perceptions as time-space, near and far, here and there, past and present (Parallel Roads. Installation.2009)
My work, settles a dialogue among private and public, personal and collective. The viewer that invades the intimate space of my mind also participate of many of these experiences and memoirs that match to shared environment.

Artist Exhibitions

Solo Exhibitions
The Utopia Ruins. Villa Manuela Gallery. Havana.
Interior Sea. Fragments of Sandra Ramos. Matanzas City regional Gallery. Matanzas. Cuba.
Sandra Ramos. The Fraser Gallery. Washington.
Sandra Ramos + Erica Kaminishi. Promo Arte Gallery. Tokyo.
Sandra Ramos -Carlos Estévez. Promo Arte Gallery. Tokyo.
Escape. Gallery C5 Collection. Santiago de Compostela. Spain.
From the Twilight to the Dawn. Promo Arte Gallery. Tokyo.
Fast-Forward II - Sandra Ramos. Cultural Center ICAIC. Havana.
Sandra Ramos. Island creature. La Barbera. Contemporary Art. Center. La Vila Joiosa. Alicante. Spain.
Dark Lessons. Gallery Havana. Havana.
See of sorrows. The Fraser Gallery. Washington.
Elsa Mora & Sandra Ramos. PanAmerican Art Gallery. Dallas.
Shipwrecks II. Gallery 23 y 12. Havana.
Shipwrecks. Sandra Ramos. Paintings and Installations. Citizen Gallery. Fuchu Art Museum. Tokyo.
Insomnias & Premonitions. Promo Arte Gallery. Tokyo.
Alicia Candiani and Sandra Ramos. Casa de Las Americas. Havana.
Testament of the fish. Casas Reignier Gallery. Miami.
Promises. Installation and videos of Sandra Ramos. Casa de Las Americas. Havana.
Promises. Intervention in Wall of the AIDS Hospital. Villa Los Cocos. Havana.
Illusions. Promo Arte Gallery. Tokyo.
Immersions and burials. Gallery Havana. Havana. Cuba.
Immersions and burials. Nina Menocal Gallery. Mexico DF.
Two Cubans dreamer Gallery Space 21. Tokyo. Japan.
Sandra Ramos. INAX Corporation Show Room. Sapporo. Japan.
Autoreconocimiento of the fish. Gallery Nina Menocal. Mexico DF.
Sandra Ramos. Gallery 420 x 20. Arhem. Holland.
To cross the waters. Ludwing Foundation of Cuba. Saint Claire Convent. Havana. Cuba.
Stadtische Burggalerie. Burg Stolberg. Aachen. Germany.
Island Creatures. Gallery Nina Menocal. Mexico DF.
With my cross on the back. Gallery Nina Menocal. Mexico DF.
Way to kill the solitudes. CDAV- Nacional Center for Development of Visual Arts. Havana.

Collective Exhibitions
Creative Dialogues: Latin American Prints & Printmakers. The Center for Contemporary Printmaking (CCP). Norwalk, CT
Ajiaco: Stirrings of the Cuban Soul. Lyman Allyn Art Museum, New London, CT
Cuban Artists' Books & Prints / Books and Cuban Artists' Engravings 1985-2008. The Grolier Club (Ground Floor Gallery). New York. USA
HB 4. Pabexpo. Biennial X of Havana.
Glamour de Occidente. House of Mexico. Havana.

MONUMENTAL PROPORTIONS. Arizona State University Art Museum
"Common Waters: From Havana to Norfolk." Mayer Dies Art, Norfolk, Virginia.
-Cartographies of an overseas Island / The art and the sea. National Museum of Fine Arts. Havana.
-Art of Insular Caribbean. Museum of Aquitaine. Bordeaux. France.
-Works from the Goldberg Collection at the Nassau County Museum of Art in Roslyn, NY / Museum of the Bank of the Republic, in Bogotá Colombia.
-Cuba! Art and History from 1868 to Today. The Montreal Museum of Fine Arts Canada.
-Tropics: A Contemporary View of Brazil, Cuba and Haiti, MUNICIPAL ART GALLERY. BARNSDALL ART PARK EXHIBITIONS. Hollywood Blvd., Los Angeles.
-Surrounded by Water. Expressions of Freedom and Isolation in Contemporary Cuban Art. Boston University Art Gallery.

Homing Devices. Contemporary Art Museum (CAM). University of the South of Florida (USF), Tampa.
Through the mirror: Art Cuban Today. Gallery Allegro. Panama.
Cuba Avant Garde, Contemporary Art of the Collection Farber, Museum Ringling. Tampa, Florida. / HARN Museum of Art. University of Florida. Gainsville. Florida
Art Fair. LIST Colony. Stand Gallery C5 Collection. Germany.
Biennial International of the Engraving and the Print. Cáceres. Spain.
Expression-Expressions. Caribbean and Latin-American Art from The Benjamin Ortiz collection. Lyman Allyn Museum. New London. Connecticut. USA.

Unbroken Ties: Dialogues in Cuban Art. MOLAA. Museum of Latin American Art. Long Beach. Florida.
La vida en Pelotas. Homage to Antonia Eiriz. Servando Cabrera Art Gallery. Havana.
Havana Factory. La Chocolateria, Contemporary Art Center. Santiago de Compostela. Spain
Currency: Art as Money, Money as Art. The Mary Brogan Museum of Art and Science. Tallahassee , Florida.
International Kids Fund. Jackson Memorial Foundation. Latin American Art Auction 2006. Miami Central Art. MAC. Miami.
The Multiple Print. San Francisco Convent. IX Havana Biennial
Art & Resau (x). Gallery d'art. University of Québec in Trois-Riviéres. Québec.

Deseos Fluidos. Thyssen-Bornemisza Art Contemporary.TBA21.Vienna
Cuban Prints. Sidney Mishkin Gallery. Baruch College. NY. President's Gallery. Massachusetts College of Art. Boston / Provincetown Fine Arts Work Center. Massachusetts.
Art America. Miami Art Fair. Gallery Nina Menocal. Coconut Grove Convention Center.
Creative Graphica '05. 11th International Print Triennial. 30 Years Anniversary. Exhibition After all this Years. Jyväskylä Art Museum . Finland.
International Kids Fund. Jackson Memorial Foundation. Latin American Art Auction 2005. Miami Central Art. MAC. Miami. Florida
One Hundred Years of Solitude: Chronicles of a Homely Labyrinths. The Sam Francis Gallery. Crossroads School. Santa Mónica.
Cuban Connections. Center for Contemporary Art. Maine
My Body My Country: Cuban Art Today. Museum of Art of the University of Virginia Charlottesville, Virginia.

New Installations, Artist in residence: Cuba. Mattress Factory. Pittsburg.
Art Basel Miami Beach. Gallery Nina Menocal. Miami
Polygraphist Latin America and Caribbean Print Triennial of San Juan. Puerto Rico.
The future is now. Contemporary Cuban Artist - Part Two. The Durst Organization - Show Walls. NY
Young Contemporary artist from Cuba. St. John's University Chung-Cheng Art Gallery. NY
ARCO. Contemporary Art Fair . Gallery Havana. Madrid
Cuban Art from the Permanent Collection, Arizona State University Museum. Phoenix
The Impact of War. online exhibition:. curated by NY Times Curator D. Dominick Lombardi:
Passaporto. Hotel Him Meridien Lingotto. Art + Tech in Turin. Torino

Utopia - Post Utopia. Video and photo exhibition. State University of New York New at Paltz.
Art Basel Miami Beach. Miami. Gallery Nina Menocal.
Ways to invented a smile. Center of Development of the Visual Arts. Havana
Fourtell. Casas Riegner Gallery. Miami.
Corporal. Contemporary Women Artist from Latin America. Schmidt Center Gallery, Florida Atlantic University, Boca de Raton.
The Multiple Print. Surviving. La Casona gallery. Havana.
F E I R. Royal College of Art. London.
Women Contemporary Artists. Photo Zeit-Salon. Tokyo.
Batíscafo. -273.15 C. Molecular Immobility. Wifredo Lam Center. Havana.
Cuatro Miradas. Diana Lowenstein Fine Arts. Miami.
Cuban Contemporary Art. Deslizamientos de Identidad y de Genero. Foundation Telefónica. Madrid.
Art Basel Miami Beach. Miami. Gallery Nina Menocal. Miami
Reconciliation in the 40. National Museum of Fine Arts. Havana.
ARCO.Galería Havana. Madrid Spain.
Hello Cuba. Breaking Barriers. Contemporary Cuban Art. MOAS. The Mary Brogan Museum of Art and Science. Tallahassee, Florida. USA
The Multiple Print. Gallery 106. Flatbet Galleries. Austin. USA
Permanent collection. National Museum of Fine Arts. Havana. Cuba.
Parallel Lives. Colateral exhibition at VII o'clock Biennial of Havana. Havana. Cuba.
To remain. Agglutinative Space. Havana. Cuba.
Lehigh University Art Galleries. Bethlehem, Pennsylvania.
People at home. 7ma Havana Biennial. National Museum of Fine Arts. Havana.
Cuban Contemporary Art Auction. Casa de Las America, VII Biennial of Havana.
MOCA Art Auction. Museum of Contemporary Art, Los Angeles
Latin American and Caribbean Contemporary Art Today. Miura Museum of Art. Matsuyama. Japan.
Art World of African-American-Cuba. Fair of Cuba. ARTIUM Art Gallery. Tokyo. Japan
Trabajando Pa'l inglé. Concourse Gallery. Barbican Center.London.England.
The Multiple Print. Center of Development of the Visual Arts. Havana.
Metaphors. Comments. San Francisco University. San Francisco. USA.
Contemporary Art of Cuba. Urasoe Museum, Okinawa. Hillside Forum Daikanyama, Tokyo. Iwaki Cultural City Hall. Japan
Discretas Autorias. Cuba and Venezuela. Nuevas Poeticas. Museum of Contemporary Art Mario Abreu. Maracay. Venezuela.
Art of Caribbean. Museum Extremeño e Ibero-American of Contemporary Art MEIAC. Clappers. Spain.
Coconut with mortadella. ISA. Havana. Cuba.
The Island that floats. Der Brucke Gallery. Buenos Aires. Argentina.
Comment peut on etre cubain?. Maison of Amerique Latine. Paris.
Zona Vedada. Havana Biennial Alternative Show. Havana.
Utopian Territories. New art From Cuba. Belkin Art Gallery. British Colombian University. Vancouver.
Creative Graphics 97.' The 8th International Print Triennial. Alvar Aalto Museum. Finland.
Mieles del silencio . Latin American Gallery. Casa de Las America. Havana.
Mundo sonado. Young Cuban Art. Casa America. Madrid. Spain.
ARCO Art Fair Gallery Acacia. Madrid. Spain.
Collection Ludwig. Ludwig Forum. Aachen. Germany.
The Multiple Print. Center of Development of the Visual Arts. Havana.
Right now.Contemporary Cuban Art. Gainsville. Florida University.
New Art from Cuba. Whitechapel Art Gallery. London.
V Biennial International of Art Group. Cargo Center of International Art. Marseilles. France.
National Arts Exhibition. Fine Arts Museum. Havana.
XI Engraving Exhibition. America Shows. Curitiba. Brazil.
Contemporary Latin American Art from Havana to Sao Paolo. Haus of Culturen of Welt. Berlin. Germany.
Kuba Kunst Heute. Grafiksammlung Schreiner. Grafikmuseum Stiftung Schreiner. Bad Steben. Germany
V Havana Biennial. The other shore. Morro Castle. Havana.
Environments and circumstances. Ludwig Forum. Aachen. Germany.
Vindication of the Prints. Gallery Acacia. Havana. Cuba.
La Joven Estampa. Latin American Print Contest. Casa de Las America. Havana. Cuba.
I International Print Biennial . Maastricht. Holland.
National Print Exhibition. Luz y Oficios Art Center. Havana. Cuba.
Creative Graphics 93. 7ma International Triennial of Engraving. Alvar Aalto Museum, Finland.
30 years of the Experimental HavanaPrint Workshop. National Museum of Fine Arts. Havana.


Artist Publications

Framed by Politics
In the Art of Max Beckmann and Sandra Ramos, Context Is Everything
By Jessica Dawson
Special to The Washington Post
Thursday, June 10, 2004; Page C05
On the surface of things, there's but a slim chance that a fellow born 120 years ago in Leipzig, Germany, would have much in common with a 35-year-old woman living in Havana today. But read on.

Content-wise, the artists in question -- German expressionist Max Beckmann, whose prints are on view at Robert Brown Gallery, and Cuban artist Sandra Ramos, who exhibits prints and paintings on paper at Fraser -- hardly merit comparison. In the shadow of two world wars, Beckmann made works peopled with the stark, architectural faces of Weimar-era Europeans. Ramos's pictures star a young girl often drifting in the ocean like her troubled island home.
Yet the products of both artists were, and are, fundamentally shaped by the politics of their day. A fact that holds true for plenty of other artists, it seems particularly clear in the works of these two. Both gained significant, even essential, creative power by channeling their own experiences. They'd be lesser talents without the political framework surrounding them.
Let's start with Beckmann. Trained in romantic and impressionist styles, he spent the first decade of the 20th century dutifully turning out canvases depicting the Gilded Age elite in a derivative, if sure, style. A few early prints on view at Brown, most from 1911, betray that academic past. "Open-Air Bath in Tegel" exhibits the kind of classical flourishes that academically trained artists wield with ease.
Then came the First World War. At its outset, Beckmann signed on to the medical corps as an orderly. A year later, in 1915, the artist suffered a nervous breakdown and was discharged. When he resumed artmaking, his work changed radically. Figures were angled, scenes claustrophobic. Faces and bodies were stuffed into drawing rooms and cabarets. An increasing paranoia permeated the pictures, as if every scene contained a suspect -- guilty of what, we can't be sure. Casting his net wide, Beckmann portrayed the lives of everyday people as well as the daily lives of the privileged -- whom, from the look of his angled lines, he despised.
The horrors of war transformed Beckmann into an accidental activist. Life never looked the same.
Beckmann disavowed any political agenda. In a 1938 lecture, he denied any such leanings: "I have never been politically active in any way," he said. He may not have schemed or protested, but his art certainly did. If the scrawny, undernourished family saying grace in "The Hunger" isn't a comment on the dire straits of the German state, I don't know what is. Piously saying grace before a meager meal, the family embodies the absurdity of such rituals in the face of utter want.
What's beautiful about Beckmann isn't that he's got a single agenda. He seems borderline contemptuous of just about everyone, including himself. His pictures support multiple interpretations, though each in its way manifests something of the era's grim climate. Which may be why, when the artist depicts insane asylum inmates, they don't look so different from the cads and stuffed shirts ogling strippers at a nightclub. All this sharp commentary, I'd wager, derives from Beckmann's experiences among the bodies in 1914. Everything he drew or painted after that horror was seen through a dark lens.
Ramos may not have a pivotal experience to point to, yet she's been immersed, since childhood, in the struggles of Castro's Cuba. Though many contemporary Cuban artists similarly tackle their nation's strife, Ramos's work feels a little different: Her country's pain is exposed through a very personal iconography. Though making work that's nearly autobiographical -- almost all her pieces star an Alice in Wonderland-type girl who is modeled partly on the artist -- she draws a generalized critique of her country.
Again and again, Ramos presents the image of the young girl. With her long straight hair and wispy bangs, she seems the classic innocent, a fairy-tale child untouched by life's burdens. Yet this guiltless face is pasted, every time, onto a woman's body, complete with all the curves.
Such splicing of maturity and virtue sets up a profound disconnect, one that Ramos uses to underscore her country's dichotomies and limitations. When Ramos places the girl inside a floating bottle, like an SOS from a castaway, we get a sense of how hopeless Ramos and many of her countrymen might feel. Drifting idly, the girl embodies Cuba's listlessness.
Yet all is not grim on the Caribbean isle. Though its title sounds bleak, Ramos's "The Damned Circumstance of Having Water All Around" doesn't look quite so bad. Here, the girl-woman's body is shaped like the Cuban isle and floating languorously on the water.
The pose hints at the pleasures of separateness, of being removed from the global system. That isolation has its upsides only feeds Ramos's conflicts. Ramos remained in Cuba even as she watched her former husband emigrate. Though vexed by her country's problems, she's clearly wedded to them. She once said that leaving Cuba would change her art. She's probably right.
Certainly, Beckmann's disturbed reaction to the politics of his day gave the world some extraordinary pictures. Ramos is too young an artist for us to draw such grand conclusions. But her imagery has a way of sticking in the mind. And she, for better or worse, finds herself in a remarkable place at a remarkable time.
Max Beckmann at Robert Brown Gallery, 2030 R St. NW, Tuesday-Saturday noon-6 p.m., 202-483-4383, to June 26.
Sandra Ramos at Fraser Gallery, 1054 31st St. NW, Tuesday-Friday noon-3 p.m., Saturday noon- 6 p.m., 202-298-6450, to June 16.
© 2004 The Washington Post Company

Sandra Ramos. Casas Riegner Miami.
By Elisa Turner
Artnews / November 2003. (Page 166).
Water was the primary medium in a series of installations and the prints in Heritage of the Fish and intriguing solo show by Cuban artist Sandra Ramos. Two of the installations in particular suggested an existence saturated by marine heritage that proved to be both waterlogged and buoyant.
For those who live on an island as Ramos does (Cuba), water is a substance that nurtures as well as confines and kills. The show’s title underscored this double-edged phenomenon with its reference to the poem Fish’s Last Will and Testament an ode to Havana filled with melancholy, desire, and regret, by Gaston Baquero (1918-97), who lived in exile in Madrid after Fidel Castro came to power in 1959.
Ramos’s Self-Recognition of the Fish (1997) is a life-size mirror cut in the shape of the artist’s figure. The work incorporates a black-and-white photograph of Ramos’s face, while attached to her head, hands, and feet are small, mirrored aquariums fitted with dollhouse furniture and fish. Images f the artist and the viewer merged in this shimmering, watery construction, suggesting that the potential for self-realization is insubstantial and mercurial
Why does rain look like a flood of tears? (1999) was the most visually stunning. It offered a barely penetrable forest of hand blown glass vessels swollen at the base like drops of water, placed on the floor and suspended from the ceiling. Reflected within these vessels was the flickering realm of the gallery’s surroundings. The installation gently merged metaphors for personal loss, suggested by the rain of tears, with shiny facets of an external ephemeral environment that would always remain integral to the brittle membrane of sorrow.
Ramos’s newest work. Airmall: Mirages (2002-03) dealt with similar themes. Consisting of a hallway decked with ligthboxes on each side and video at the end, it resembled the inside of an airplane. Meant to represent windows, the ligthboxes each displayed a different object-a cordless phone, an engagement ring, and a house, among other things. Coveted yet inaccessible, the objects in their boxes parodied the American Dream.

Mexico City. Sandra Ramos. Nina Menocal.
Mary Schneider Enriquez.
Artnews The Cutting Edge. 1996
By transforming suitcases into powerful allegories, Sandra Ramos unpacks the plight and dreams of Cubans. A Havana resident, Ramos takes a valise and arranges radiant pigments, sand, spangles, and painted dolls inside it. The outcome is not only unusual and clever but also serious.
This artist has often relied upon the self-portrait to make emotionally charged statements. That idiom was very much present in her 1995 exhibition here, consisting of a series of works entitled “Creatures of the Island”.
Ramos used her own image as the medium of a playful and profound meditation on the fate of being Cuban. Valises, jewel boxes, and trunks held private possessions that were made to resonate with ideas. The series’ most powerful work, Creatures of the Island I, Mermaid, occupied a large trunk. Inside was a self-portrait of the artist as a mermaid underwater holding up Cuba, signified by green beads outlined with pearls. Filling the trunk was the mermaid’s pale blue chest, revealing a red heart and branching veins, and her beaded blue-and-white tail fin. Around this intriguing creature’s torso Ramos painted fish with human faces, darting about in an underwater cityscape of high rises framed by soaring waves. This was a treasure chest whose value resided in the way the artist bore the tragic, yet multifaceted, destiny of her nation.
The ocean and the struggle of some Cubans to cross it into freedom repeatedly figured here, in works laced with ambiguity. Two small pieces, Arms Swinging and Without Illusions, poignantly portrayed this choice. In the first, a small chest lay open to reveal wooden dolls as swimmers: one, attached to the inside of the lid, was a male encircled by sharks; the other, fastened to the bottom of the chest, was a female surrounded on three sides by hills fashioned out of green beads suggesting a distant shore. Both swimmers appeared as a slice of body between blue waves, each cutting through the water with a wooden arm. Written above the two figures – like the words used in an ex-voto painting – is the bitter phrase “to live deceived”, as if the two were either swimming an ill-fated journey or escaping from an ill-fated existence, or perhaps both.
Without illusions made the futility of escape even more explicit. Inside a worn blue valise sprawled a small wooden doll painted in the colours of the Cuban flag, its eyes obviously sightless and its mouth agape. The figure has expired on the sandy ocean floor amid trailing seaweed and fish also painted in the Cuban national colours. The work is a painful expression of sunken hopes.
Ramos’s art reverberates because it is neither all political nor all personal. It is at the same time seductive and deeply unsettling. Her talent lies in her ability to create original images while arresting the viewer with a fusion of private and public dramas.

Artist Collections

Work in Collections.
Arizona State University Museum. USA
Canvas Art World. Amsterdam.
Casa de Las Americas. Havana.
Civitella Ranieri Foundation. Italy
Fuchu Art Museum. Tokyo.
Fort Lauderdale Museum of Art.
Fuji Country Ltd. Tokyo.
Grafik Museum Stiftung Scharainer. Bad Steben. Germany.
Herber F. Johnson Museum of Art. Cornell University. NY
Lehigh University Museum. Philadelphia.
Leslie and Jo Garfield Print Collection.NY
Ludwig Forum fur Kunst. Aachen. Germany.
Marco Noire Contemporary Art. Italy
MFA. The Museum of Fine Arts. Boston.
MOMA. The Museum of Modern Art. New York.
MOLAA. Museum of Latin American Art. Long Beach. Florida.
National Museum of Fine Arts. Havana.
Press Kit LTD. Tokyo. Japan.
The Farber Cuban Avant-Garde Collection.NY
University of Virginia Art Museum
Thyssen-Bornemisza Art Contemporary.TBA21.Vienna

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