Cronología

(Contenidos en español próximamente disponibles)

Every cultural act is also political.

 

1935. Eva is born in Vienna to a middle-class family. Her father, Richard Fux, born in 1897, is an engineer with a high level position at the municipal gas company. Her mother, Ida Fux, born in 1907, is devoted to caring for the family. Eva has an older sister, Ilse Fux Haindl, born in 1931, and a younger brother, Heinz Fux, born in 1939. Eva’s father not only excels in technical matters, but is also a gifted pianist and designer.

1938. Hitler invades Austria.

1940-43. Through the International Socialist Organization, Richard Fux helps people to secretly escape to England. At weekends, Eva sees coats with the Star of David on the lapels in the family home. Her father does not hide the truth from her.

1943. A bomb partially destroys the Fux house. Richard Fux relocates the family to a small farm about two hundred kilometres from Vienna.

1945. Austria is liberated and the Russian army frees the area in which the Fux family lives. However, Ida Fux falls victim to the barbarism of the liberating soldiers, which inflicts lasting damage on her.

1946. The family returns to Vienna, which is occupied by the four liberating armies – the US, British, French and Russian. Eva starts secondary school. Her intellectual development begins during these post-war years, partly due to the languages (mostly British or American English) that she hears on the radio.  She shows interest in Catholic mysticism and the books on philosophy she found in her father’s library.

1948. Ida Fux is admitted to hospital. She will require treatment again and again for several years.

1950. In compliance with her father’s wishes, but contrary to her own, she enrols at the Chemische Lehr– und Versuchsanstalt. She reads Hölderlin, Rilke, Goethe, Lao Tse, existentialist literature and takes deep interest in monotheistic religions. Eva is the only girl in her class, but she successfully defends herself against the boys’ rude attacks by drawing skilful caricatures of them as well as cartoons. She draws her first serious nature studies at the zoo.

1952. She gradually decides to abandon her technical studies.

1953. Eva passes the entrance exam and enrols at the Academy of Applied Arts. Her father disapproves of her studying art and refuses to give her financial assistance. She starts working for advertising agencies. She enjoys concerts, opera and theatre.

1956. Eva meets Young Jin Choung, a young artist who is also studying at the Academy. The son of a Korean family, he has spent several years travelling around Europe and studying art and painting as a guest student at various academies of fine arts.

1957. Young Jin Choung formally proposes to Eva and is introduced to her father. With Young Jin’s agreement, Eva decides to take her mother out of hospital and bring her to live with them. Their first son, Paolo, is born in October.

1958. Young Jin obtains Austrian nationality. They marry and travel to Japan for the first time. Eva is pregnant with Elma and interrupts her studies at the Academy. The decision to leave is made by Young Jin’s parents, who send tickets to enable their son to return home with his young family. They live in Meguro-Ku, Tokyo, in the house of her in-laws – an old house built in the traditional Japanese style. She holds her first exhibition at the Café Rilke and a second one at the Shibuya Art Gallery in Tokyo in 1959, where she shows lithographs brought from Vienna. She starts working with printing techniques, especially linocuts. Her technique is quite unique, as she produces variable- rather than conventional editions. Her work is abstract. Meanwhile, Young Jin is busy with his father’s business. The parental influence over their lifestyle prevents him from developing his art. Eva quietly begins pursuing her own path.

1959. Their daughter Elma is born in March.

1960. They decide to return to Vienna and settle in a small apartment of their own. Eva makes contacts in the art world and exhibits her drawings at the Taborstrasse Art Room in Vienna. Paolo and Elma go to kindergarten, and Eva resumes her studies with her former professor, Franz Herberth. Young Jin travels to Scandinavia to spend a few months working and painting there. The condition of Ida, Eva’s mother, improves greatly. Her in-laws regret the family’s departure and offer to build them a separate house. Eva completes her studies in 1962 with a Master’s Degree in Art. She receives an award from the Ministry of Education, Art and Culture for her thesis project.

1962. Second trip to Japan. They rent a house to live in while the new one is being built.

1963. Eva works on her linocuts at night in a corner of the bedroom so as not to disrupt the family’s daily routine. She looks for printing facilities to produce her graphic work. Taro Masuyamasan, Dentsu art director (and Shinto priest), introduces her to the Tokyo Printing Company.  She receives permission to work on the Dharma-Shiki-style, flatbed, hand-operated printing press, which is now no longer in use. Part of the family feels a certain discomfort over her artistic activities. Along with her husband, she visits relatives in Seoul and has her first Korean exhibition at the Tondeimun Art Room.

1964. Young Jin’s parents prepare for their return to Korea. Tanaka Yoshikosan, art director at Shinchosha editorial in Tokyo utilizes (with professional agreements) reproductions of Eva’s print-graphic originals for book boxes and covers in the “Important Translations” collector’s series.

1965. Eva and her husband struggle to live their own idea of a life together, which does not coincide with the plans of her in-laws. Young Jin is unhappy with his work and incapable of adapting to his wife’s path. His Asian roots conflict with the lifestyle he had adopted during the years he spent in Europe. The differences between them are resolved without argument – in a more Asian than Western way. Eva continues with her work almost secretly so as not to bother. She has two exhibitions in Tokyo. One is held at the Akiyama Gallery in the Ginza district, the other at the Shinshyuku Art Gallery. She participates in the All Japan Graphic Arts Biennial in Tokyo. Thanks to the kindness of Taro Masuyamasan, she cultivates her relationship to classical Japanese art, No, Kabuki, and concert performances of ancient court music.

1966. She has two exhibitions in Osaka. One is held at the Hakusuisha Gallery, the other at the Nu-Nu Gallery. The value of her work which is highly appreciated is on a par with that of prestigious Japanese artists. She participates in the “Women’s Art Association” exhibition in Tokyo.

1967. A very unpleasant incident with her father-in-law precipitates the decision to return to Vienna. Young Jin supports the decision and leaves with her and their children.
They arrive in August and settle into their already formerly owned small Vienna apartment. They buy a bigger property, still under construction, 1969 Eva and the children will move in there. In September, Young Jin’s younger brother is assassinated. It was a high level, politically motivated crime, involving the American and Korean Foreign Ministries. Young Jin has to return to Seoul to take care of the family and their business.

1968. Eva has to look for work, because money transfers from Korea to Europe were impossible in those days. She immediately finds a teaching position at the Academy of Applied Arts. She establishes the department of photographic art and reorganizes the graphic arts department. She develops a relationship with her students based on deep understanding and collaboration, organizing donations for paper and paint supplies so that the students can work on their projects and exhibitions without financial pressure. In her photography seminars, she develops the idea that photography should serve as an important tool for every artists, in any kind of discipline. In addition to the department for photographic art, she successfully establishes an open access workshop and laboratory within the University. In her private studio, she moves from one medium to another with ease, from painting to printmaking, photography, object art, applied arts. For Eva, nothing separates the different artistic forms (…inspiration seeks its form of expression … ECF).
She participates in the exhibition “Licht und Finsternis” (Light and Darkness, a group show by artists related to the Wiener Schule) at the Kunstkabinett Riemergasse gallery. She is the only abstract artist, and her work sells. She buys a second-hand Gutenberg-type flatbed printing press, transforming the living room of their apartment into a workshop and the bathroom into a photo lab.

1969. She befriends Mari Nomura, a pianist from Tokyo who studied in Vienna. She gets to know the sculptor Karl Prantl and his family (in the 1950s, he began to realize his idea for the European Sculptors Symposium, which would be held for many years to come in the quarries of St. Margarethen, Burgenland). Her daughter Elma fits in very well at school, but Paolo suffers at the first school he attends. The other children do not accept him, and he is the target of discrimination.  He changes to the Theresianum, a boarding school with a more international outlook.
That same year, an attempt is made on Young Jin’s life in Seoul. He is hospitalized for a year and suffers paranoid episodes. Eva and the children go to Korea to meet him, but return to Vienna without having had the chance. They repeat the trip in the following summers, hoping the situation might improve, but this does not happen.

1970. Karl Prantl invites seven Japanese sculptors to the symposium and asks Eva to assist them, given her knowledge of the language. Eva accepts and becomes their photographer, translates the Japanese texts, designs the catalogue and even organizes the money needed for its publication in 1971.

1971. In exchange, Eva asks for permission to spend two weeks during the summer at the Bildhauerhaus (Sculptors’ House) with her students. She gives an open-air photography workshop. The same year, Eva exhibits xylographs and linocuts at the Tsubaki-Kindai Gallery in Tokyo.

1972. She travels to Romania with her students (and her children) to undertake the photo project Constantin Brancusi in Tirgu di Jiu; see “The Table of Silence”, “The Portal of Kisses” and “The Infinite Column”. She participates in the Second International Biennial Exhibition of Prints in Seoul, Korea. She exhibits “Wegbereitungen”, a cycle of wood engravings, at the ÖGB Gallery in Vienna.
She shares happy moments with her children, often taking them to exhibitions and concerts on Saturdays, introducing them to the cultural and intellectual life of Vienna. Using her special “photographic art” technique she portrays her friends, including the architects Anton Schwaighofer and Reinhardt Breit; the medical doctors Johannes Poigenfürst and Vilmos Vecej; the musicians Caroly Melles, René Clemencic and Mari Nomura; the sculptors Karl Prantl, Mathias Hietz, Osamu Nakajima and Zbinek Sekal; the painters Uta Prantl, Bruno Gironcoli and Christof Donin. She creates portfolios of photographs, exhibits them in her studio and give them away. These are intensely creative years for Eva, but in addition to her teaching at the University of Applied Arts and family obligations, she has to take on more work to support her family. During this year, her father dies in Vienna.

1973. The photography seminar at the St. Margarethen Bildhauerhaus is followed by the exhibition “Agro-Culture” with catalogue and a very successful show at the University. She does the first version of “Mothers and Sons”, a series of black and white photographs on paper, which is shown at the Fuji Art Salon in Tokyo. Karl Prantl plans a representative exhibition at the Museum of Modern Art – Schweizergarten in Vienna. Eva accepts his invitation to participate with her photographic art based on his work. She also participates in international graphic arts and photography biennials and triennials; she creates “Homage to Brancusi”, a cycle of long-grain xylographs. She is invited to join the Künstlerhaus Association of Austrian Artists and the following year joins its committee, being the first woman to hold this position in the 150-year history of the association.
She spends the summer with her children in Tokyo, and through her friend Mari Nomura, she meets the great composer and flute soloist Akira Miyoshi. The work of Akira Miyoshi eventually introduces her to the work of George Crumb, the American composer, with whom she feels an artistic kinship.
During the 1970s, she maintains her relationship with Japan and Korea with great affection. Commissioned by the Saitosan family, owners of ToPro Printing Co, where she had printed her artwork in the 1960s, Eva designs and handcrafts a 300 x 800 cm stone mural for the Irehune Building in Tokyo. She holds individual exhibitions of prints, drawings and photographs, and participates in group shows and biennials in Tokyo, Kamakura, Osaka, Kyoto and Seoul.
Towards the mid-1970s her work at the Academy, which is now a university, becomes more complex and she attains a professorship.

1974. She participates in photography and graphic arts triennials and biennials. In Poland, the Majdanek State Museum invites international artists to donate representative works for a recently established new art collection. Eva donates “Requiem Majdanek” a one-of-a-kind xylographic work measuring 80cm x100 cm. In Austria, she cultivates a friendship with the great writer and poet Imma von Bodmershof.

1975. Eva intensifies her contact with artists and works tirelessly on her art photography. She creates photographic portfolios dedicated to the musicians C. Melles, C. Ferenci, F. Raupenstrauch, M. Nomura, F. Cerha; to the sculptors O. Nakajima, K. Prantl, Z. Sekal, P. Skubic; the painters H. Nitsch, H.G. Anniès, I. Ninagawa, Y. Nakagawa and others. She exhibits her collections in Japan, Hungary and Austria. She does a solo exhibition of xylographs at the renowned Heian Gallery in Kyoto.

1976. She works on more xylographic projects, renting a studio in the Burgenland for two weeks in February to focus on her work in isolation. She participates in biennials in Switzerland and Germany.

1977. Paolo begins studying at the University of Music and Performing Arts to become a cinematographer. Eva works on a cycle of pencil drawings and xylographs in memoriam of the mother of Elma’s boyfriend. She shows them at an exhibition alongside the work of sculptor Osamu Nakajima in the sculptor’s hall of the Künstlerhaus Vienna. She participates in the Tokyo and Vienna biennials.

1978. In spring, Eva participates in a joint exhibition alongside Austrian artists in the Helmhaus Zurich with her aluminium engraving “The Valley” (200 x 200 cm). She receives special praise from Max Bill. Her photo-portrait of his wife and the double-exposure photographic cycle from the exhibition are shown at the joint exhibition with Swiss artists in Vienna. In October, she accepts an invitation from the Majdanek State Museum to be part of the jury for the First International “Arts against War” Triennial. She is the only member from the West and aware of the situation. She successfully uses the opportunity to defend the freedom of international art. Director Edward Gryñ provides her with information on the history of the site. She sees evidence of Austria’s special involvement in connection to the crimes committed there, in violation of all humanitarian principles. She suffers an emotional and intellectual crisis.

1979. Elma begins to study industrial ceramics and design. Eva and her daughter enjoy a brief trip to London to visit the Tate Gallery. In Majdanek, she obtains the necessary permits to realize a photo documentary about the former concentration camp (now the State Museum of the Martyrs). She feels so uneasy and afraid of working with the developed negatives that she stores them away until 1986.

1980. She works on sequences of long grain xylographic cycles: “Great Love Letters”, “Letters to my Friends”, “Pain” and “Easter Travel.” She organizes and exhibits at the “Three Austrian Xylographers” exhibition at the Konsthallen Uppsala in Sweden. The exhibition travels to Argentina and Brazil the following year.

1981. She organizes and conducts the photo seminar “20 Years of the Berlin Wall” and works for three weeks with ten of her students at the HDK (Hochschule der Künste) art academy in West Berlin. The subsequent exhibition “Berlin (West) ‘81” goes on the road with great success. Eva enjoys a friendly exchange with the 86-year-old artist Robert Fuchs (in 1956, he was commissioned to paint the signing of the Austrian State Treaty). Eva produces a cycle of 28 photographic portraits. She curates the retrospective of J. Metzenbauer’s work for the Künstlerhaus Vienna. He is an important aquarellist in the field of scientific- and medical illustrations. She assists Gerd Steinmöller, director of the Berlin-Spandau Citadel Museum of History, in his exhibition project, “Maria Theresa and Prussia”.
She has a car accident and spends several weeks at a rehabilitation centre away from Vienna. That summer her son Paolo suffers a deep crisis.

1980-82. Lacking further energy to travel, she gradually distances herself from her Japan-based projects and focuses on her activities in Austria.

1982. She organizes and curates the “International Exhibition of Woodcuts” at the Künstlerhaus Vienna, and includes, alongside the international XYLON artists, the work of artists from East Germany, Hungary, Czechoslovakia, Croatia, Poland and Russia (the collector Rudolf Leopold will later buy half of the exhibition).
Eva divorces Young Jin.

1983. She co-organizes the exhibition “Zeitgenössische Kunst aus Österreich” (Contemporary Art from Austria) and participates with “Homage to Krzysztof Penderecki” (a long-grain xylograph mounted in modules on a 350 x 450 cm canvas). By commission of the City of Bregenz, she and her students spend 3 photography workshops collecting images of the city to be published in the official City Book of Bregenz. In Switzerland, the XYLON association publishes her second set of xylographs, entitled “Schmerz-Los” (Pain-Fate).

1984. Dieter Ronte, director of the Museum of Modern Art (housed in the baroque Liechtenstein Palace) invites her to participate in the experimental exhibition “Work on Public View and Exhibit in the Museum”. She creates “Pain-Fate”, her first foray into realism, creating 14 panels of aluminium gravures (each 200 x 100 cm) in addition to 14 small panels (50 x 25 cm) using a combined technique of photography and gravure. Dieter Ronte writes the catalogue text. Her photo-portraits of Herman Nitsch are added to the Austrian Collection of Photography in Salzburg. She meets the painter Horacio Sapere in Vienna and helps him out of a disgraceful situation involving an exhibition at the Z Gallery in Vienna. She is invited by Arnau Panadés, one of Horacio’s friends and mentors, to spend time on Majorca. She is fascinated by the rural landscape and the island’s very different lifestyle. She feels a desire to perhaps settle there in the future.
Her children’s Korean grandfather comes to Vienna. He convinced Paolo to give up his university studies, his work and his apartment and move to Korea with him to become his heir.

1985. Eva organizes the presentation of the Traditional Japanese Papermakers in Vienna and edits the film produced for the occasion for the Austrian Film Archives. Her university studio workshop is set on fire; the perpetrator is never identified. All the wood-blocks, the entire work of a whole year of her students and of herself – for two exhibitions, one to be held at the BAWAG Foundation Vienna and the other at the Centre-Postsparkasse Vienna, destroyed. Eva has enemies.

1986. Years have gone by since Eva has hidden away the negatives of the Majdanek photographic documentary. When Kurt Waldheim is elected president of Austria, the connivance of other Austrian politicians in the face of the international community serves as a catalyst. She starts her project “Unser Schicksal: Euch zur Warnung” (Our Fate: a Warning to You), a 500 cm x 1000 cm photo-installation. She presents the work at the subsequent Majdanek Triennial and the museum requests her permission to exhibit the work at other locations in Poland. In Warsaw, she meets with survivors of the Majdanek concentration camp. These people have seen the murderers face to face. At that moment, Eva realizes that she has not done enough. She needs to get closer and give more of herself to this cause. She feels she must devote more time and attention to the survivors and portray them. She requests permission to interview them, marking the beginning of “Survivors on Life.” She creates a shorter version of the “Unser Schicksal: Euch zur Warnung” (Our Fate: A Warning to You) photo installation and exhibits it in Salzburg, Munich, and (in 1991) in Ripon, Wisconsin, USA. The work is eventually acquired by the Wiesenthal Foundation in Los Angeles.
She participates at the international Krakow-Art-Triennial and receives the Silver Medal for her Triptych “Dunkler Altar für eine kleine Hoffnung” (Dark Altar for a Tiny Hope). Eva gives a graphic arts seminar at the University of Applied Arts in Helsinki, Finland (years later, Yrjö Sotamaa, the rector, asks her to design their new graphic arts workshops). Eva later composes with the nature photographs she took in Finland, the photo murals for the SMZ-Ost Medical Centre in Vienna. The exhibition of print graphic art “My Students and I” is held at the BAWAG Foundation in Vienna. She creates cycles of photo-portraits of Joseph Beuys, Gerhard Rühm and Kurt Ingerl. She translates the shock over the reactors disaster of Chernobyl into “Die Strahlenden” (The Radiant). She exhibits the sequence of 49 black-and-white photographs mounted on canvas in Vienna, Salzburg, Munich/Deggendorf and Ripon, WI, USA.

1987. The exhibition “Auf der Suche nach dem Antlitz” (In Search of the Face), featuring woodcuts dedicated to the poet Hermann Schürrer, is shown in Vienna, the Polish cities of Lodz, Warsaw, Wroclaw and Poznan, and in Ripon, WI, USA. Dieter Ronte writes the catalogue text. Her first major oil painting exhibition (Reminiscence of Landscapes) is held at the Postsparkasse Centre in Vienna.

1988. “1938”, a memorial photo exhibition, is held at the Altnöder Gallery in Salzburg. She participates in biennials and triennials with Austrian and international groups in Poland, Germany, Austria, Switzerland, and gives a graphic arts seminar at the Helsinki University for Applied Arts in Finland.
Her mother dies on October 19th.

1989. She participates in the “Konfrontationen-Frauen Kultur-Wochen-Wien” (Confrontations-Women Cultural Weeks – Vienna) with three oil paintings. The University of Helsinki once again invites her to give a photography seminar. She works with ten young Finnish artists. The result is the exhibition and collection entitled “From Dawn to Dusk, a Dedication to the Sculptor Aimo Tukiainen”.
She finishes a project dedicated to a blind Japanese friend, “Reise mit Kozuesan” (Travels with Kozuesan) and presents the cycle of oil paintings at the Gallery Altnöder in Salzburg. She and her students work on “Haut und Hülle” (Skin and Shell). Partly the photographs of workmen (later mounted on aluminium boards) are taken close to the steel-cooking ovens of the VÖST in Linz. The successful exhibition goes from Vienna to Berlin and continues to be shown on Austria’s international exhibition circuit.

1990. Eva travels to Kochi, Japan. The Inocho Paper Museum invites her to exhibit the collection “Schriftbild” (Script-Face), woodcuts and engravings, printed on Japanese handmade paper by her students and herself. At the opening she gives a talk with a slideshow on contemporary European print graphics. For the Internationale Friedenstage (International Peace Days) in West Berlin she is invited to show the triptych “Pieta” and other oil paintings as well as give talks at the event’s symposium. Eva is invited on a lecture tour of Yugoslavia on the topic of “The Artist-Photographer’s Responsibility” and speaks at universities in Belgrade, Nish, Skopje and Rijeka. The visit evokes memories from Eva’s childhood: tension, coldness, aggression, danger, street protests (the coming war is in the air).

1991. The Caestecker Foundation in Ripon, Wisconsin, USA organizes and invites her to present a comprehensive exhibition of her work (wood engravings, photographic cycles and the Majdanek Photo-Installation). Simon Wiesenthal suggests that the Majdanek Installation be shown at the Simon Wiesenthal Centre in Los Angeles. The work is then added to its permanent collection. Eva works in the mountains of St. Gallen / Switzerland on the photography cycle “Der blaue Stein in der Riechisau” (The Blue Stone in the Riechisau) dedicated to Karl Prantl and commissioned by Gallery Ercker.

1992. Given her position as professor, she feels obliged to suggest to her institution that a photo-documentary book be produced in tribute to Simon Wiesenthal on the occasion of his being awarded an Honorary Doctorate and Membership by the University. She comes face to face with the hypocrisy of professors who support the book project, but do not want their names and/or faces to appear in a publication linked to Wiesenthal. The book is published, but the lack of internal support complicates her situation, and she finds it increasingly exhausting to constantly deal with unnecessary issues.
Eva fights for the prestige and recognition of the centralized art workshops and their teachers; she sends a statement to the Ministry. The document is approved, and remains in effect for many years.
Eva is introduced to Martin Zeiller, an art historian. A deep and trusting friendship begins.

1993. Eva suffers from burnout. The Austrian Ministry of Science and Art offers her voluntary retirement as a gesture of respect for her many years of successful work.
She receives an official commission to create a large mural at the new Allgemeine Krankenhaus, the new university hospital in Vienna. She decides to do a wood relief entitled “Prinzip Hoffnung” (Principle of Hope). She is also commissioned to create photo murals and a wood relief for the new SMZ-Ost Medical Centre in Vienna.
Eva begins to structure her commemorative project “Survivors on Life” in collaboration with the Museum Majdanek. Horacio Sapere invites her to spend time at his Majorca studio while he is in Argentina. During this time, she begins to read Spanish with Simon Belmonte. The text-stratification project “Homage to Antonio Machado, Miguel Hernández and the Sephardim” is born. During these months, she paints “Lilies of the Fields”, the egg tempera on paper cycle, giving expression to her spontaneous joy with nature and landscape. Ana María Vidal comes by to look at her work and offers Eva an exhibition at Matisos Galeria d’Art, her art gallery in Colonia de Sant Jordi. Eva decides to prepare the exhibition “Stratifications”, dedicated to the Spanish poets and the Sephardim. Martin Zeiller writes the catalogue text.

1994. In spring, she shows the exhibition at the Gallery Altnöder in Salzburg and in summer at Matisos Galería d’Art on Majorca. The collector Margarita Nigorra invites Eva to work at her guest studio at S’Hort de Nigorra in Santanyi. Eva accepts the invitation for the winter of 1995/96.
The Austrian Ministry of Education and Art offers to finance the “Survivors on Life” if Eva would include Holland in her project. She starts working on the expanded version of “Survivors on Life”. The Majdanek State Museum provides a translator and contacts among the Survivors groups in Poland. Simon Wiesenthal paves the way for her to establish contacts with Survivors groups in Holland; Maria Dobrikowa helps with contacts among Survivors groups in Slovakia. “Part one” involves research and collecting all data for the exhibition with trilingual catalogue planned for 1995. The project grows exponentially and becomes emotionally, financially and logistically very complicated. During the 6 months of research, Eva travels more than fifty thousand kilometres; she is exposed to the profound pain of the survivors, who help her by understanding the reconciliatory aim of her work: to reinforce Europe’s collective memory.

1994. For “Part two”, Eva withdraws to Majorca with her laptop. In isolation, she can fully concentrate on organising all of the data and handwritten testimonies she has collected. Up to this point, Eva has been working alone. For “Part three” of the project, Krzysztof Pisarek, a Polish friend and artist, joins her. Eva transforms her studio into a monster-darkroom, with the assistance of Krzysztof, 500 large-size photo-portraits, the text elements for the exhibition and smaller sized for the catalogue are developed. She receives assistance for translations, proofreading and the digitization for the multilingual catalogue. More help is needed and given for mounting the 500 photographic artworks on canvas and stretchers.
When a new government assumes office in Vienna, the project loses support. The exhibition is not cancelled, because agreements are already in place between Austrian embassies and museums in Holland, Poland and Slovakia, but the grant for the catalogue is postponed. Eva has to face a difficult decision: drop the project or finance it herself. Since the work is almost complete, she takes out a loan on her apartment and finishes the project on time.

1995. “Survivors on Life 1945-1995” is shown in Holland, Poland and Slovakia to widespread acclaim. The countries in question view the work as the first serious gesture of reconciliation with Austria.
In autumn, Eva suffers a breakdown brought on by comments issued by ministerial chefs of departments of the Austrian Government. Remembering Margarita Nigorra’s invitation, she goes to Majorca for five months. For the first time in her life, she works without the distraction of other obligations. In complete isolation, she completes the second phase of her project “Survivors on Life”, the oil painting cycles: “Notations Nr I”, “Notations Nr II”, and “Notations Nr III”. Reflections to phase one. She meets the great poet Blai Bonet (he later introduces her to the poems of Damià Huguet). She plans the first exhibition, homage to Blai in collaboration with the Majorcan composer Joan Valent and the German cellist Barbara Ronte.

1996. Eva has a solo exhibition in Vienna entitled “27 Objects”. Martin Zeiller writes the catalogue text. She is invited by the Chinese sculptor Wei Xiao Ming to participate in the International Symposium of Sculptors in TianJin, Teda, China. She accepts can finish the marble sculpture “Approximation”, height 580 cm in the given time with the help of a Chinese assistant mason. In Vienna, the video artists Palme & Richtex publish a 40-minute interview with Eva on the topic of Versöhnung (Reconciliation). She participates in the project “Der Molussische Körper” (The Molussian Body) in Vienna and Berlin. The photo exhibition “Die Strahlenden” (The Radiant), homage to the Chernobyl victims, travels to Ripon, Wisconsin, USA.

1997. Eva participates in graphic art triennials and biennials in Nuremberg and Krakow. She creates the photography documentation on the sculptor Zbinek Sekal for the Museum of Prague. She finishes “Volatineros”, a cycle of print graphics dedicated to Miquel Montserrat. “Survivors on Life” travels to the Croatian Museums of Split, Dubrovnik, Osijek, Rijeka and Zagreb as well as to Macedonia and Bosnia. Some of the openings include concerts by the Viennese Chamber Orchestra and a Jewish chorus. Eva exhibits “Stratifications” (a reduced version of the “Notation” cycles) at the Gallery Altnöder in Salzburg. Peter Stasny writes the catalogue text. In Warsaw, the Zacheta Gallery honours Eva with the exhibition “Stratifications”, showing the complete cycles of “Notations” and more. Angelica Bäumer, Peter Stasny, Ana Prasal and Martin Zeiller write texts for the catalogue. Eva writes texts for / and about artist friends that are published internationally.

1998. The Majdanek Museum expresses its wish to have “Survivors on Life 1945 1995” on permanent exhibition. The museum would adapt one of the historic barracks to house the show. The museum writes various official letters of request to the Austrian government. There is no answer.
Along with Horacio Sapere, she creates fourteen sets of print graphic originals: “Palm Trees for Sant Blai”. The prints form part of a fundraising drive to help restore the 15th century palm garden, connected to the Oratory Sant Blai in Campos, Majorca.
She travels to China, Korea and Japan trying to organize the exhibition tour of “Survivors on Life” for the year 2000. It will be placed in Shanghai.

1999. Eva as photographer is invited guest-artist by the Chinese government. She travels with her Hasselblad and an interpreter to five Chinese cities. (Changchun, Beijing, Dalian, Qingdau, Ningbo). Her self-chosen theme is “Contemporary Sculpture in Public Space”. She portrays and documents more than 500 sculptures, meets many artists and sees many places (later on, based on her material, the National University Beijing publishes a book for research purposes).
To repay the loan for the “Survivors on Life” project, Eva has to sell her apartment in Vienna. She rents an old house near Campos on Majorca and buys a small property nearby where one day she will construct a simple building for her art and herself.
She works hard on preparing the millennium exhibition in Shanghai. She expands the presentation of “Survivors on Life 1945 – 1995” with the 50 directly related oil paintings and graphic works.
“Prayers for Wings” (Homage Blai Bonet Nr II), cycle of relief prints is presented at the Matisos Gallery. Her daughter Elma with partner Harald Adler (established in Campos too), become Eva’s trusted advisers on future exhibitions.

2000. With the support of the Austrian Ministry of Foreign Affairs, the expanded version of “Survivors on Life” opens at the Shanghai Library Art Centre. Angelica Bäumer and Jin Ling present the introductory text by Dr. Thomas Klestil, President of Austria. The exhibition receives widest spread acclaim. Gerald Bast, Angelica Bäumer, Martin Zeiller and Pilar Ribal write the catalogue texts.
Later in the year Eva exhibits print graphics in Vienna, Macedonia, Poland and Majorca.

2001. She starts on the sketches for the stained glass inner doors of the Oratory Sant Blai near Campos. Her drafts are accepted, and from autumn of 2002 to April 2003 she works with Miguel Peñaranda on the project’s realization.
Eva participates with the photographic cycle “S’Avall piece with Dog” in the show “Capture Modern Mixed Living” along with five other artists at Alina Gallery in Campos. Marcos Vidal includes Eva’s pieces in the exhibition “The Arts of San Marc” held in Sineu. The cultural Centre Casal Balaguer in Palma invites her to contribute to the project “Dones Retratan Dones” (Women portraying Women). Eva shows portraits of her three best friends from her Tokyo years.
Her photography cycle “Kirkuk Lubelski” (The Jewish Cemetery in Lublin) is shown at the Majdanek Museum. At the Radetzky Art Room in Vienna, she presents the relief prints “Nach dem Sturm” (After the Storm).
Long-time friends, the sculptor Eugene and the art historian Evelyn Kain (from her Viennese circle of friends from the 1970s) come to visit her from the USA that summer. Upon hearing the news, the artists Akira Watanabesan from Tokyo and Luise Buisman from Vienna join them to renew old ties.

2002. In Austria, the artist Gue Schmidt curates the international exhibition “Grenzleben” (“Border Life”). Eva participates with an installation of closed transport crates from “Survivors on Life” (as they had returned from Shanghai) combined with an audio Polish and German CD. Niteen Gupte, a painter who runs the gallery Am Alaunplatz in Dresden, visits Eva on Majorca to choose pieces for the planned exhibition “Textschichtungen” (Text-Stratifications). She participates in triennials and prepares her second exhibition at the Miejska Galeria, Municipal Art Gallery of Lodz, Poland, with catalogue texts by Elzbieta Fuchs, Pablo Rico and Dieter Ronte. She is the guest artist at the First International Art Biennial in Beijing (BIAB I). She creates the diptych “Summary I” and “Summary II” and participates actively at the symposium. Back on Majorca, she designs the stained glass inner doors for the Oratory Sant Blai in Campos and realizes them with craftsman Miquel Peñaranda.

2003. In April, the new stained glass doors are ceremonially consecrated. She travels to Lodz to mount her exhibition at the Miejska Gallery (Municipal Art Gallery of Lodz). Elzbieta Fuchs, director of the gallery, has known Eva since her first presentation of “A Hundred Woodcuts” in 1987. The opening marks the start of a documentary about Eva entitled “To Carry the Other’s Burden”, based on a script by Ania Musialowicz. Filming continues on Majorca over the summer and concludes in the autumn in Majdanek. The documentary is a young cameraman’s thesis project that earns him an award. In 2004, it is broadcast on Polish television.
Eva travels to Beijing to attend the opening of BIAB I and speak at the symposium.

2004. She begins working with Peter Hassmann, Heinz Fux and Norbert Arnsteiner on transforming the expanded “Survivors on Life” exhibition into a digitized, audiovisual version on DVD. Feng Yuan, director of the National Art Museum of China in Beijing (NAMOC), invites Eva to show the audiovisual version at the international exhibition “Commemoration of Sixty Years of Victory over Fascism” to be held in 2005.

The Eselmühle Culture Centre in Seefeld-Kadolz, Austria invites Eva to show the exhibition “Survivors on Life 1945 1995”. Her brother Heinz Fux and Krzysztof Pisarek assist Eva in mounting the exhibition, featuring a simple multilingual sound installation for the first time. Eva, as guest artist at the second Beijing Biennial (BIAB II), works on the triptych of oil paintings “Continuous Connections”. She reads poetry and dedicates print graphic cycles to Damià Huguet, Taneda Santoka, Omar Khayyam, Ramón Llull and San Juan de la Cruz. She participates in the XYLON group exhibition in Salzburg / Austria, Germany, France and Switzerland. In Austria, the painter Katharina Prantl (daughter of sculptor Karl Prantl) publishes the photo-book “Gehen über den Hügel von St. Margarethen, von Stein zu Stein” (Walking over the St. Margarethen Hill from Stone to Stone) featuring Eva’s photographs. The book receives the “Most Beautiful Book of the Year” award. Eva dedicates the relief print diptych “Fifty Years with Love” to Don Gabriel Reus. The Alina Gallery in Campos presents Eva’s “Paintings out of the Silence.” She works on a sequence of prints for the “Bon Voyage” exhibition to take place the following year at the Gallery am Park in Vienna. She also prepares the first sketches for the “70 Pictures of Life”, a planned for her 70th birthday in 2005.

2005. “Commemoration of Sixty Years of Victory over Fascism” is held in Beijing NAMOC Museum. Eva’s audiovisual DVD “Survivors on Life”, edition I (Chinese, English, German), wins Eva the “Special Award of the National Art Museum of China”. The project receives positive reviews in many Chinese cultural publications, newspapers and on TV. She participates in the Second Beijing International Art Biennial (BIAB II) with the triptych of oil paintings “Continuous Connections”. She exhibits the “Bon Voyage Nr II” cycle at the Gallery am Park, and “Poems and Signs” at the Radetzky Art Room in Vienna. On Majorca, the art historian Isabel Perez organizes the written translation of “Survivors on Life” into Catalan and Spanish on a volunteer basis. (Eva Shakouri provides the voices and soundtrack). She successfully presents the project in Palma to the Es Baluard, Museum of Modern and Contemporary Art. In Vienna, Norbert Arnsteiner edits the second prototype of the DVD Catalan Castellan English. Nieves Barber starts on the written translation into Portuguese Eva enjoys the support of her daughter Elma and the particularly strong support of her brother Heinz, as in years past and the years to come.

2006. January, February. The audiovisual DVD “Survivors on Life”, edition II (Catalan, Spanish English) is presented to widespread acclaim in the Aljub Vault of the Es Baluard Museum of Modern and Contemporary Art in Palma de Majorca. Eva finishes the cycle of small-format prints “Primavera 2006” (Spring 2006), 250 donations to friends, and the print cycle “La Pareja Canta Nr I” (The Couple is Singing), 39 dedications. In February, Eva exhibits the oil paintings “Dedicaciones” (Dedications) and the print graphic cycle “In the Valleys of Hope” at the Porxe of Sant Blai. Nieves Barber finishes the Portuguese translation of the “Survivors on Life” project; Perfecto Cuadrado and Lourdes Pereira (University of the Balearic Islands in Palma) organize the spoken version.
Júlia N. Mészáros, Director of the Municipal Museum of Györ / Hungary, organizes the Hungarian translation and invites Eva to present the audiovisual DVD “Survivors on Life”, edition III (Hungarian, English, German). The opening ceremony of the restored Synagogue of Györ takes place on August 28 in the presence of European dignitaries (on the 1st floor, the 4-hour DVD in Hungarian plays on a screen and receives great attention).

2007. Eva works in Campos on oil paintings and print graphics for the exhibition “Fragments out of Silence”. She finishes the cycle of “La Pareja Canta Nr II” (The Couple is Singing), 39 additional dedications. Eva completes the print graphic cycles “Diario – Noctuario” “Herz-Zeit” (Time of Heart), “36 Pinseladas por Miquel Mulet” (36 Brushstrokes for Miquel Mulet) and (“Invocations”, exhibited 2006 in Vienna and 2007 in Campos). She creates a portfolio with a series of photo-portraits of “Don Gabriel Reus i Más”. She works on the print graphic homage sequences “Sant Juan de la Cruz”, “Ramon Llull” and “Damià Huguet”.
The construction of Ses Tanques – her new studio, printing workshop and storage room for her paintings – progresses and new problems arise. As always, Eva has the unwavering support of her brother Heinz.
Eva is invited to participate in the Busan International Graphic Arts Festival and shows her work at the Israeli / Palestinian / Lebanese online exhibition “Let the Muses Speak”.
Eva still nourishes hope; the Austrian government will finally donate the exhibition “Survivors on Life 1945 1995” to the Panstwowe Muzeum na Majdanku, State Museum of Majdanek, Poland.

2007. Eva is a guest artist at the third Beijing International Art Biennial (BIAB III). She participates with a diptych, the oil paintings: “Meditation on the Olympic Ideals” and “Meditation on the Olympic Movement”. She participates in Marcos Vidal’s Futbólicos project with the photographic cycle “Archaeology”. She works on her exhibition “Signs out of Silence” at Casal Can Pere Ignasi in Campos. She is invited by Don Pedro Serra to prepare an exhibition with a trilingual catalogue (texts by Dieter Ronte and Pablo Rico), “Dedicatories – Nou Cicles” (Dedications – New Cycles), to be held in August at the exhibition hall “Estación Tren d’Art de Sòller in Palma”. Eva dedicates graphic work to Don Jaime Serra, Don Pedro Serra and other friends from Majorca and Vienna.
Eva is amongst the invited artists at the “Beijing Olympic Art Dream – City Sculpture Exhibition”. Her idea is accepted, and in October she spends 10 days in Beijing to start working on her sculpture “The Guardian of the Olympic Ideals” (material copper, iron, steel, height 550 cm).

2008. January/February, Eva spends 6 weeks in Beijing to complete the work on her sculpture. She participates in the international exhibition “Eva’s Secrets” at the Primo Piano LivinGallery in Lecce, Italy with the diptych “Undisclosed Secrets of Me and My Sisters”, a xylographic work using the “lost plate” technique. Starting in March, she works on the oil painting diptych “Las Abuelas / The Grandmothers” for the Mulet family in Campos and sets up her printing workshop at the new studio Ses Tanques with the help of her brother. She is invited to participate at the OFA (Olympic-Fine-Arts International Exhibition, Beijing 2008). She selects the oil painting “From the Book of Songs (Shi Ching)” for this event. She finishes the oil painting “Meditation on Poems by M.T.D.” She finishes a series of 5 xylographs, “The Birds Sing my Invocations”, and a cycle of variations of relief prints, “The Birds”, which she takes to China. She works on the cycle “Square Meters”, 170 individual prints. She exhibits 70 of them at the Radetzky Art Room in Vienna and 100 at her studio in Ses Tanques / Campos, asking her friends for support. She works on her new graphic cycle “Temptations / Seductions” and travels to Beijing in July for the Biennale opening and to participate in the Symposium. (The government of the Balearic Islands issues a special catalogue about the 4 participants from Majorca). Wei Xiao Ming and the collector Mr. Miao Hong Bin honour Eva with a great banquet. Mr. Miao selects 4 of Eva’s oil paintings for his collection. On the flights to and from Beijing, Eva photographs the view from the airplane window. “Between Heaven and Hell”, 3 portfolios consisting of 21 black and white photographs each, is the outcome. Portfolio Nr I is acquired by the Public Collection of Vienna, Nr. II by the collection of Don Pedro Serra on Majorca, Eva holds Nr III and exhibits it in Alaró / Majorca. In September, she finishes her xylographic cycle “Temptations / Seductions” and continues working on the diptych “The Grandmothers”.

2009. Eva works on her cycle “Angels Don’t Need Wings”. In April / May, she moves into her new studio Ses Tanques in Campos. She participates in two group exhibitions on Majorca. At IncArt in Inca, she presents the object-installation “Introspection” (text Dieter Ronte). At ALARO/Majorca, in the Son Tugores exhibition hall, she shows the triptych “Continuous Connections” (oil paintings she presented at the 2005 BIAB II in Beijing), and the photographic cycle “Between Heaven and Hell”. Her work “Angels Don’t Need Wings” is accepted at the Penang Art International 2009, and she (with the support of the Public Culture Office of Vienna) travels to Malaysia for the opening. She is deeply impressed by the stage performance “A Bridge of Planks”, and the cooperativeness and kindness she encounters in Malaysia. Prior to her departure for her solo exhibition at the GemArt Gallery in Tokyo, she successfully organises an art auction on Majorca of the diptych (long grain wood engraving) “Nights with Eva in Tokyo” to fund her trip to Japan. In Tokyo, she shows the complete cycle of 96 prints “Homage to Taneda Santoka” with a text by Dieter Ronte, and the two open cycles “Window to Memory A” and “Window to Memory B”. Eva meets with her artist friends, some of whom she has known since 1958, and these encounters are the most moving and important moments of her trip. Upon her return, Eva prepares her next solo exhibition, “Engagements”, at the Caestecker Gallery along with a seminar and lectures to be held in September / October. She will spend 6 weeks in the US, in Ripon / Wisconsin, invited by the Caestecker Foundation’s Fine Art Series, organized by the Eugene Kain (sculptor) and Evelyn Kain (art historian) from the Ripon College of Art. Eva’s stay in Wisconsin is full and intense. She gives many guided tours of her exhibition, followed by very lively discussions at the gallery. The photographic images from the “Radiant” series and the “Pain-Fate” installation, both from 1986, draw as much interest as the print cycles dedicated to “My Sisters Behind Veils” and “Angels Don’t Need Wings” from 2009, amongst others. Her lectures at the auditorium attract a full house every time. At weekends, Eva’s hosts take her to museums in Milwaukee / Michigan and other nearby places of interest and to visit and befriend other artists. Upon her return to Majorca, she works on her photo-album “American Picture Book”.  The DVD version of the “American Picture Book” (dedicated to Eugene and Evelyn Kain) now forms part of the Caestecker Foundation’s collection, the collection of the City of Vienna / Austria, and the Don Pedro Serra Collection / Majorca.
Eva is very tired and decides to decline a personal invitation to the 4th BIAB in Beijing. She declines invitations to minor solo and group exhibitions as well.

2010.  In January, Eva is invited to present her work at the Museum Can Prunera in Sóller / Majorca from May 7 to June 14. She decides to show new woodcut cycles dedicated to women: “Letters to My Veiled Sisters”, “Letters to My Sisters” and “Undisclosed Secrets of Me and My Sisters” and others. Eva designs the trilingual catalogue (Catalan, Spanish, English). A numbered edition of 500 is published. A separate special edition of 25 is also published, marked with Roman numerals. Each volume contains an original from a special cycle of small-format works, “Sisters behind Veils I-XXV”.
In July, Eva participates in the International Miniprint Biennial in Lessedra / Bulgaria with “Heaven I and Heaven II”. In September, Eva is invited to participate in the Beirut CMC Hospital Project by Lena Kelekian and donates one-time digital reproduction rights of the print triptych “Landscape towards Felanitx”. Eva also participates in a group exhibition in Sarajevo and in Bania Luka / Bosnia-Herzegovina with the diptych “Letter I and Letter II”. She sends the relief print graphic triptych “Standpunkt” (Standpoint) to the group exhibition “Points of View” at the Vienna Park Gallery.
Eva spends the late summer and autumn on the cycle “Esperanza y Creencia” (Hope and Belief), 6 oil paintings (Homage to Blai Bonet) measuring 90 x 145 cm and dedicated to 6 true friends on Majorca. In December, she starts preparations on the large cycle of prints “Wide Land in the Change of Times”, 70 individual works conceived as a donation to a Senior Citizens Residence in Dortmund / Germany, which she finishes in March 2011. Dieter Ronte (Bonn / Germany) writes an essay about the work. The permanent installation is set up in May 2011.

2011. The news of the disasters in Japan is deeply shocking to Eva. Some of her friends have disappeared; others lost everything but their lives. Eva participates in the Majorca Artists action with the single edition print “Salvem Japò”. She sets aside all other work to participate in the International Triennial Exhibition of Prints in Kochi / Japan. The result is the triptych “In Memoriam 11-3-11”. Her work is accepted and shown in October. In May, her friends Eugene and Evelyn Kain from Ripon / USA come to spend a creative month on Majorca. Eugene works on sculptures and gives Eva’s brother Heinz a hand. Evelyn immediately integrates herself in village life and seizes the opportunity to learn a lot. The evenings are spent talking about art and life. The mutual exchange is inspiring and wonderful. After they leave, Eva completes the cycle of five “Dream Pictures” and a series of nine collages entitled “Perifericas I-IX” (works that close the “Sister Cycles” of 2010) and starts working on her website. During this time, she prepares her work for the International Split Graphic Biennial and the Lessedra International Mixed Media Exhibition. She participates with “S’Avall Pareja Day and Night Poems” in the Majorcan travelling group exhibition “Prenpremta illenca Travessera” (organized by Marcos Vidal). She also completes three print triptychs entitled “Africa 2011”. She prepares and completes the triptych “Unity”, three large-scale oil paintings dedicated to Francis of Assisi and his Canticle of the Sun, for the Beijing International Art Biennial (BIAB V). The CMC Hospital in Beirut accepts her work (digital prints from woodcuts).
The Art Collection Vienna welcomes Eva’s proposal to donate the most representative part of her oeuvre since 1957 and so far more than 800 artworks, including graphics, print graphics and oil paintings, have been chosen.

2012. Eva starts the New Year with the triptych “Tengo Hambre. Tengo Sed. Tengo Miedo.” (I am Hungry. I am Thirsty. I am Afraid.) She finishes the “Three Missioners” (preparatory work for the planned cycle “Homage Junipero Serra” in 2013). February/March she works on the print graphic sequence “The Birds” (27 originals conceived as gift editions for her family and friends). In April, she completes the black/white/digital photo sequence “In the Clouds”. In May, the director of the Art Collection Vienna chooses more than 300 additional pieces from the photography archive and the art objects archive as part of the donation. On August 4, international curators (Elzbieta Fuchs – Lodz/Poland, Dieter Ronte – Bonn/Germany, Berthold Ecker – Vienna/Austria, Rogelio Araujo – Palma/Majorca) met at Eva’s studio to select pieces from the donated works for a travelling exhibition, which is projected to start in 2015 at the Museum Es Baluard in Palma/Majorca and then continue on to the Miejska Galeria in Lodz/Poland and the MUSA Museum in Vienna/Austria.
Eva begins restoring the objects from the “27 Objects” exhibition (101 pieces), mounts the object cycles “Poems I – Poems 7” (seven pieces) and works on the object cycle “Treasure Boxes” (19 pieces) as well as the “Introspection II and III” objects (19 pieces); Heinz, Eva’s brother, restores the display boxes for “Introspection I” and “Introspection II & III”. She starts work on the seven oil paintings “Manuel Tur”, homage to Blai Bonet (who died 15 years ago), and Pilar Ribal, director of the cultural centres Casal Solleric, Ses Voltes and Casal Balaguer invites Eva to show the Homage (19 pieces) at Ses Voltes (Palma) in December. When this does not work out, Eva presents the project to the Majorcan Council. The Council accepts the project, and the exhibition “In Memoriam: Homage Blai Bonet” will open in July 2013 at the “Capilla de la Misericordia” in Palma and run through mid-September. Upon Eva’s invitation, Marcos Vidal agreed to show objects from the era included in his family’s archive. The exhibition will also include a trilingual catalogue.
Friends in Ripon/Wisconsin/USA complete the Russian translation of “Survivors” and others in Warsaw/Poland record the audio version. In November, Eva expresses her gratitude with two print graphic cycles: “Rescued Memories” (for the translators in the US), and “Listen to the Memories” (for the voice artists in Poland).
In December, she completes the “Manuel Tur” oil paintings, the object “Half Face”, the cycle “Perifericas, Intro”, nine black and white prints as well. To commemorate the fifteenth anniversary of Blai Bonet’s death, Eva organizes an event at her studio on December 16, accompanied by a string concert (Gisela Raum and Ferran Villar Saez) and speeches about the art of Blai Bonet by Pere Joan Martorell and his early years by Miquel Pons. The event was attended by 67 friends and received positive coverage in the Majorcan press.
In December, Eva completes the print graphic sequence “Spieglein, Spieglein an der Wand” (“Little Mirror, Little Mirror on the Wall”) and exhibits three of the four pieces as part of the Majorcan travelling group exhibition “Prenpremta illenca Travessera” in Inca (organized by Marcos Vidal). She finishes the cycles “Invocation I” and “Invocation II” as further preparatory work for the planned “Homage Junipero Serra”. She uses the theme “Invocation” to compose 88 card-sized single prints as gift editions, which she sends as New Year’s greetings to her friends both near and far in January 2013.

2013. In January, Eva works on the object “Three from Seventy”, which she sends to Vienna in February for the International Mailing Art Exhibition at Gue Schmidt’s MAG3 “TheRED”. She continues to work on the project “Homage Junipero Serra” with the print graphic triptych “Lost Prayers”, which she finishes in March. She participates in the Miniprint Annual in Lessedra/Bulgaria with the diptych “Who Will Open the Knots”, also completed in March. At the beginning of April, she goes on a double-condolence trip to Austria. Her closest family friend, the great sculptor Osamu Nakajima, had passed away. A few days earlier, Eva’s first professor at the art academy had also died. When she returns to the island, she completes the photographic cycle “Among the Clouds” and the open print graphic triptych “The New Day I”, “The New Day II” and “The New Day III”, dedicated to her friends Guillermo Clar, Antonia Font and Kouchi Ninagawa. At the end of April, she prepares the canvas for her next six oil paintings and focuses on finishing “Abuela” and “Jotul Oil”. Eva is among 50 artists invited to paint two terracotta plates for a project by the RC of Inca/Majorca, to be exhibited and sold at INCART in May 2013 to help fund a social programme.

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The Chronology of Eva Choung-Fux (until 2006) was originally written in Spanish by Mar Estrada, Majorca.

The English translation up to 2008 was corrected by Jeremy Harrington.
The translation from 2008 to 2013 was corrected by Aisha Prigann.