(Contenidos en espa\u00f1ol pr\u00f3ximamente disponibles)<\/p>\n
Every cultural act is also political. <\/p>\n 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.<\/p>\n 1938. Hitler invades Austria.<\/p>\n 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.<\/p>\n 1943. A bomb partially destroys the Fux house. Richard Fux relocates the family to a small farm about two hundred kilometres from Vienna.<\/p>\n 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.<\/p>\n 1946. The family returns to Vienna, which is occupied by the four liberating armies \u2013 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.\u00a0 She shows interest in Catholic mysticism and the books on philosophy she found in her father’s library.<\/p>\n 1948. Ida Fux is admitted to hospital. She will require treatment again and again for several years.<\/p>\n 1950. In compliance with her father\u2019s wishes, but contrary to her own, she enrols at the Chemische Lehr\u2013 und Versuchsanstalt. She reads H\u00f6lderlin, 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.<\/p>\n 1952. She gradually decides to abandon her technical studies.<\/p>\n 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.<\/p>\n 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.<\/p>\n 1957. Young Jin Choung formally proposes to Eva and is introduced to her father. With Young Jin\u2019s 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.<\/p>\n 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\u2019s 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 Caf\u00e9 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\u2019s business. The parental influence over their lifestyle prevents him from developing his art. Eva quietly begins pursuing her own path.<\/p>\n 1959. Their daughter Elma is born in March.<\/p>\n 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\u2019s mother, improves greatly. Her in-laws regret the family\u2019s departure and offer to build them a separate house. Eva completes her studies in 1962 with a Master\u2019s Degree in Art. She receives an award from the Ministry of Education, Art and Culture for her thesis project.<\/p>\n 1962. Second trip to Japan. They rent a house to live in while the new one is being built.<\/p>\n 1963. Eva works on her linocuts at night in a corner of the bedroom so as not to disrupt the family\u2019s 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.\u00a0 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.<\/p>\n 1964. Young Jin\u2019s parents prepare for their return to Korea. Tanaka Yoshikosan, art director at Shinchosha editorial in Tokyo utilizes (with professional agreements) reproductions of Eva\u2019s print-graphic originals for book boxes and covers in the \u201cImportant Translations\u201d collector\u2019s series.<\/p>\n 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\u2019s 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 \u2013 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.<\/p>\n 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 \u201cWomen’s Art Association\u201d exhibition in Tokyo.<\/p>\n 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. 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 (\u2026inspiration seeks its form of expression \u2026 ECF). 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.\u00a0 He changes to the Theresianum, a boarding school with a more international outlook. 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.<\/p>\n 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.<\/p>\n 1972. She travels to Romania with her students (and her children) to undertake the photo project Constantin Brancusi in Tirgu di Jiu; see \u201cThe Table of Silence\u201d, \u201cThe Portal of Kisses\u201d and \u201cThe Infinite Column\u201d. She participates in the Second International Biennial Exhibition of Prints in Seoul, Korea. She exhibits \u201cWegbereitungen\u201d, a cycle of wood engravings, at the \u00d6GB Gallery in Vienna. 1973. The photography seminar at the St. Margarethen Bildhauerhaus is followed by the exhibition \u201cAgro-Culture\u201d with catalogue and a very successful show at the University. She does the first version of \u201cMothers and Sons\u201d, 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 \u201cHomage to Brancusi\u201d, a cycle of long-grain xylographs. She is invited to join the K\u00fcnstlerhaus 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. 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 \u201cRequiem Majdanek\u201d 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.<\/p>\n 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. Anni\u00e8s, 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.<\/p>\n 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.<\/p>\n 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\u2019s boyfriend. She shows them at an exhibition alongside the work of sculptor Osamu Nakajima in the sculptor\u2019s hall of the K\u00fcnstlerhaus Vienna. She participates in the Tokyo and Vienna biennials.<\/p>\n 1978. In spring, Eva participates in a joint exhibition alongside Austrian artists in the Helmhaus Zurich with her aluminium engraving \u201cThe Valley\u201d (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 \u201cArts against War\u201d 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 Gry\u00f1 provides her with information on the history of the site. She sees evidence of Austria\u2019s special involvement in connection to the crimes committed there, in violation of all humanitarian principles. She suffers an emotional and intellectual crisis.<\/p>\n 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.<\/p>\n 1980. She works on sequences of long grain xylographic cycles: \u201cGreat Love Letters\u201d, \u201cLetters to my Friends\u201d, \u201cPain\u201d and \u201cEaster Travel.\u201d She organizes and exhibits at the \u201cThree Austrian Xylographers\u201d exhibition at the Konsthallen Uppsala in Sweden. The exhibition travels to Argentina and Brazil the following year.<\/p>\n 1981. She organizes and conducts the photo seminar \u201c20 Years of the Berlin Wall\u201d and works for three weeks with ten of her students at the HDK (Hochschule der K\u00fcnste) art academy in West Berlin. The subsequent exhibition \u201cBerlin (West) \u201881\u201d 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\u2019s work for the K\u00fcnstlerhaus Vienna. He is an important aquarellist in the field of scientific- and medical illustrations. She assists Gerd Steinm\u00f6ller, director of the Berlin-Spandau Citadel Museum of History, in his exhibition project, \u201cMaria Theresa and Prussia\u201d. 1980-82. Lacking further energy to travel, she gradually distances herself from her Japan-based projects and focuses on her activities in Austria.<\/p>\n 1982. She organizes and curates the \u201cInternational Exhibition of Woodcuts\u201d at the K\u00fcnstlerhaus 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). 1983. She co-organizes the exhibition \u201cZeitgen\u00f6ssische Kunst aus \u00d6sterreich\u201d (Contemporary Art from Austria) and participates with \u201cHomage to Krzysztof Penderecki\u201d (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 \u201cSchmerz-Los\u201d (Pain-Fate).<\/p>\n 1984. Dieter Ronte, director of the Museum of Modern Art (housed in the baroque Liechtenstein Palace) invites her to participate in the experimental exhibition \u201cWork on Public View and Exhibit in the Museum\u201d. She creates \u201cPain-Fate\u201d, 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 Panad\u00e9s, 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. 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.<\/p>\n 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 \u201cUnser Schicksal: Euch zur Warnung\u201d (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 \u201cSurvivors on Life.\u201d She creates a shorter version of the \u201cUnser Schicksal: Euch zur Warnung\u201d (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. 1987. The exhibition \u201cAuf der Suche nach dem Antlitz\u201d (In Search of the Face), featuring woodcuts dedicated to the poet Hermann Sch\u00fcrrer, 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.<\/p>\n 1988. \u201c1938\u201d, a memorial photo exhibition, is held at the Altn\u00f6der 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. 1989. She participates in the \u201cKonfrontationen-Frauen Kultur-Wochen-Wien\u201d (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 \u201cFrom Dawn to Dusk, a Dedication to the Sculptor Aimo Tukiainen\u201d. 1990. Eva travels to Kochi, Japan. The Inocho Paper Museum invites her to exhibit the collection \u201cSchriftbild\u201d (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 \u201cPieta\u201d 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 \u201cThe Artist-Photographer’s Responsibility\u201d 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).<\/p>\n 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 \u201cDer blaue Stein in der Riechisau\u201d (The Blue Stone in the Riechisau) dedicated to Karl Prantl and commissioned by Gallery Ercker.<\/p>\n 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. 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. 1994. In spring, she shows the exhibition at the Gallery Altn\u00f6der in Salzburg and in summer at Matisos Galer\u00eda d\u2019Art 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. 1994. For \u201cPart two\u201d, 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 \u201cPart three\u201d 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. 1995. \u201cSurvivors on Life 1945-1995\u201d 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. 1996. Eva has a solo exhibition in Vienna entitled \u201c27 Objects\u201d. 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 \u201cApproximation\u201d, 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 Vers\u00f6hnung (Reconciliation). She participates in the project \u201cDer Molussische K\u00f6rper\u201d (The Molussian Body) in Vienna and Berlin. The photo exhibition \u201cDie Strahlenden\u201d (The Radiant), homage to the Chernobyl victims, travels to Ripon, Wisconsin, USA.<\/p>\n 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 \u201cVolatineros\u201d, a cycle of print graphics dedicated to Miquel Montserrat. \u201cSurvivors on Life\u201d 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 \u201cStratifications\u201d (a reduced version of the \u201cNotation\u201d cycles) at the Gallery Altn\u00f6der in Salzburg. Peter Stasny writes the catalogue text. In Warsaw, the Zacheta Gallery honours Eva with the exhibition \u201cStratifications\u201d, showing the complete cycles of \u201cNotations\u201d and more. Angelica B\u00e4umer, Peter Stasny, Ana Prasal and Martin Zeiller write texts for the catalogue. Eva writes texts for \/ and about artist friends that are published internationally.<\/p>\n 1998. The Majdanek Museum expresses its wish to have \u201cSurvivors on Life 1945 1995\u201d 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. 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 \u201cContemporary Sculpture in Public Space\u201d. 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). 2000. With the support of the Austrian Ministry of Foreign Affairs, the expanded version of \u201cSurvivors on Life\u201d opens at the Shanghai Library Art Centre. Angelica B\u00e4umer and Jin Ling present the introductory text by Dr. Thomas Klestil, President of Austria. The exhibition receives widest spread acclaim. Gerald Bast, Angelica B\u00e4umer, Martin Zeiller and Pilar Ribal write the catalogue texts. 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 Pe\u00f1aranda on the project’s realization. 2002. In Austria, the artist Gue Schmidt curates the international exhibition \u201cGrenzleben\u201d (\u201cBorder Life\u201d). Eva participates with an installation of closed transport crates from \u201cSurvivors on Life\u201d (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 \u201cTextschichtungen\u201d (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 \u201cSummary I\u201d and \u201cSummary II\u201d 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 Pe\u00f1aranda.<\/p>\n 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 \u201cA Hundred Woodcuts\u201d in 1987. The opening marks the start of a documentary about Eva entitled \u201cTo Carry the Other\u2019s Burden\u201d, 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\u2019s thesis project that earns him an award. In 2004, it is broadcast on Polish television. 2004. She begins working with Peter Hassmann, Heinz Fux and Norbert Arnsteiner on transforming the expanded \u201cSurvivors on Life\u201d 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 \u201cCommemoration of Sixty Years of Victory over Fascism\u201d to be held in 2005.<\/p>\n The Eselm\u00fchle Culture Centre in Seefeld-Kadolz, Austria invites Eva to show the exhibition \u201cSurvivors on Life 1945 1995\u201d. 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 \u201cContinuous Connections\u201d. She reads poetry and dedicates print graphic cycles to Dami\u00e0 Huguet, Taneda Santoka, Omar Khayyam, Ram\u00f3n 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 \u201cGehen \u00fcber den H\u00fcgel von St. Margarethen, von Stein zu Stein\u201d (Walking over the St. Margarethen Hill from Stone to Stone) featuring Eva\u2019s photographs. The book receives the \u201cMost Beautiful Book of the Year\u201d award. Eva dedicates the relief print diptych \u201cFifty Years with Love\u201d to Don Gabriel Reus. The Alina Gallery in Campos presents Eva\u2019s \u201cPaintings out of the Silence.\u201d She works on a sequence of prints for the \u201cBon Voyage\u201d exhibition to take place the following year at the Gallery am Park in Vienna. She also prepares the first sketches for the \u201c70 Pictures of Life\u201d, a planned for her 70th birthday in 2005.<\/p>\n 2005. \u201cCommemoration of Sixty Years of Victory over Fascism\u201d is held in Beijing NAMOC Museum. Eva\u2019s audiovisual DVD \u201cSurvivors on Life\u201d, edition I (Chinese, English, German), wins Eva the \u201cSpecial Award of the National Art Museum of China\u201d. 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 \u201cContinuous Connections\u00bb. She exhibits the \u201cBon Voyage Nr II\u201d cycle at the Gallery am Park, and \u201cPoems and Signs\u201d at the Radetzky Art Room in Vienna. On Majorca, the art historian Isabel Perez organizes the written translation of \u201cSurvivors on Life\u201d 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.<\/p>\n 2006. January, February. The audiovisual DVD \u201cSurvivors on Life\u201d, 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 \u201cPrimavera 2006\u201d (Spring 2006), 250 donations to friends, and the print cycle \u201cLa Pareja Canta Nr I\u201d (The Couple is Singing), 39 dedications. In February, Eva exhibits the oil paintings \u201cDedicaciones\u201d (Dedications) and the print graphic cycle \u201cIn the Valleys of Hope\u201d at the Porxe of Sant Blai. Nieves Barber finishes the Portuguese translation of the \u201cSurvivors on Life\u201d project; Perfecto Cuadrado and Lourdes Pereira (University of the Balearic Islands in Palma) organize the spoken version. 2007. Eva works in Campos on oil paintings and print graphics for the exhibition \u201cFragments out of Silence\u201d. She finishes the cycle of \u201cLa Pareja Canta Nr II\u201d (The Couple is Singing), 39 additional dedications. Eva completes the print graphic cycles \u201cDiario – Noctuario\u201d \u201cHerz-Zeit\u201d (Time of Heart), \u201c36 Pinseladas por Miquel Mulet\u201d (36 Brushstrokes for Miquel Mulet) and (\u201cInvocations\u201d, exhibited 2006 in Vienna and 2007 in Campos). She creates a portfolio with a series of photo-portraits of \u201cDon Gabriel Reus i M\u00e1s\u201d. She works on the print graphic homage sequences \u201cSant Juan de la Cruz\u201d, \u201cRamon Llull\u201d and \u201cDami\u00e0 Huguet\u201d. 2007. Eva is a guest artist at the third Beijing International Art Biennial (BIAB III). She participates with a diptych, the oil paintings: \u201cMeditation on the Olympic Ideals\u201d and \u201cMeditation on the Olympic Movement\u201d. She participates in Marcos Vidal’s Futb\u00f3licos project with the photographic cycle \u201cArchaeology\u201d. She works on her exhibition \u201cSigns out of Silence\u201d 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), \u201cDedicatories – Nou Cicles\u201d (Dedications \u2013 New Cycles), to be held in August at the exhibition hall \u201cEstaci\u00f3n Tren d\u2019Art de S\u00f2ller in Palma\u201d. Eva dedicates graphic work to Don Jaime Serra, Don Pedro Serra and other friends from Majorca and Vienna. 2008. January\/February, Eva spends 6 weeks in Beijing to complete the work on her sculpture. She participates in the international exhibition \u201cEva’s Secrets\u201d at the Primo Piano LivinGallery in Lecce, Italy with the diptych \u201cUndisclosed Secrets of Me and My Sisters\u201d, a xylographic work using the \u201clost plate\u201d technique. Starting in March, she works on the oil painting diptych \u201cLas Abuelas \/ The Grandmothers\u201d 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 \u201cFrom the Book of Songs (Shi Ching)\u201d for this event. She finishes the oil painting \u201cMeditation on Poems by M.T.D.\u201d She finishes a series of 5 xylographs, \u201cThe Birds Sing my Invocations\u201d, and a cycle of variations of relief prints, \u201cThe Birds\u201d, which she takes to China. She works on the cycle \u201cSquare Meters\u201d, 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 \u201cTemptations \/ Seductions\u201d 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. \u201cBetween Heaven and Hell\u201d, 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 Alar\u00f3 \/ Majorca. In September, she finishes her xylographic cycle \u201cTemptations \/ Seductions\u201d and continues working on the diptych \u201cThe Grandmothers\u201d.<\/p>\n 2009. Eva works on her cycle \u201cAngels Don\u2019t Need Wings\u201d. 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 \u201cIntrospection\u201d (text Dieter Ronte). At ALARO\/Majorca, in the Son Tugores exhibition hall, she shows the triptych \u201cContinuous Connections\u201d (oil paintings she presented at the 2005 BIAB II in Beijing), and the photographic cycle \u201cBetween Heaven and Hell\u201d. Her work \u201cAngels Don\u2019t Need Wings\u201d 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 \u201cA Bridge of Planks\u201d, 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) \u201cNights with Eva in Tokyo\u201d to fund her trip to Japan. In Tokyo, she shows the complete cycle of 96 prints \u201cHomage to Taneda Santoka\u201d with a text by Dieter Ronte, and the two open cycles \u201cWindow to Memory A\u201d and \u201cWindow to Memory B\u201d. 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, \u201cEngagements\u201d, 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 \u201cRadiant\u201d series and the \u201cPain-Fate\u201d installation, both from 1986, draw as much interest as the print cycles dedicated to \u201cMy Sisters Behind Veils\u201d and \u201cAngels Don’t Need Wings\u201d 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 \u201cAmerican Picture Book\u201d.\u00a0 The DVD version of the \u201cAmerican Picture Book\u201d (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. 2010.\u00a0 In January, Eva is invited to present her work at the Museum Can Prunera in S\u00f3ller \/ Majorca from May 7 to June 14. She decides to show new woodcut cycles dedicated to women: \u00abLetters to My Veiled Sisters\u00bb, \u00abLetters to My Sisters\u00bb and \u201cUndisclosed Secrets of Me and My Sisters\u201d 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, \u201cSisters behind Veils I-XXV\u201d. 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 \u201cSalvem Jap\u00f2\u201d. She sets aside all other work to participate in the International Triennial Exhibition of Prints in Kochi \/ Japan. The result is the triptych \u201cIn Memoriam 11-3-11\u201d. 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 \u201cDream Pictures\u201d and a series of nine collages entitled \u201cPerifericas I-IX\u201d (works that close the \u201cSister Cycles\u201d 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 \u201cS\u2019Avall Pareja Day and Night Poems\u201d in the Majorcan travelling group exhibition \u201cPrenpremta illenca Travessera\u201d (organized by Marcos Vidal). She also completes three print triptychs entitled \u201cAfrica 2011\u201d. She prepares and completes the triptych \u201cUnity\u201d, 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). 2012. Eva starts the New Year with the triptych \u201cTengo Hambre. Tengo Sed. Tengo Miedo.\u201d (I am Hungry. I am Thirsty. I am Afraid.) She finishes the \u201cThree Missioners\u201d (preparatory work for the planned cycle \u201cHomage Junipero Serra\u201d in 2013). February\/March she works on the print graphic sequence \u201cThe Birds\u201d (27 originals conceived as gift editions for her family and friends). In April, she completes the black\/white\/digital photo sequence \u201cIn the Clouds\u201d. 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. 2013. In January, Eva works on the object \u201cThree from Seventy\u201d, which she sends to Vienna in February for the International Mailing Art Exhibition at Gue Schmidt’s MAG3 \u201cTheRED\u201d. She continues to work on the project \u201cHomage Junipero Serra\u201d with the print graphic triptych \u201cLost Prayers\u201d, which she finishes in March. She participates in the Miniprint Annual in Lessedra\/Bulgaria with the diptych \u201cWho Will Open the Knots\u201d, 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 \u201cAmong the Clouds\u201d and the open print graphic triptych \u201cThe New Day I\u201d, \u201cThe New Day II\u201d and \u201cThe New Day III\u201d, 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 \u201cAbuela\u201d and \u201cJotul Oil\u201d. 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.<\/p>\n –\u00a0\u00a0 –\u00a0\u00a0 –\u00a0\u00a0 –\u00a0\u00a0 –\u00a0\u00a0 –<\/p>\n The Chronology of Eva Choung-Fux (until 2006) was originally written in Spanish by Mar Estrada, Majorca.<\/p>\n The English translation up to 2008 was corrected by Jeremy Harrington. <\/p>\n","protected":false},"excerpt":{"rendered":" (Contenidos en espa\u00f1ol pr\u00f3ximamente 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 […]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-894","page","type-page","status-publish","hentry"],"yoast_head":"\n
\n<\/em><\/p>\n
\nThey 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\u2019s 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.<\/p>\n
\nShe participates in the exhibition \u201cLicht und Finsternis\u201d (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.<\/p>\n
\nThat same year, an attempt is made on Young Jin\u2019s 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.<\/p>\n
\nShe 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 \u201cphotographic art\u201d technique she portrays her friends, including the architects Anton Schwaighofer and Reinhardt Breit; the medical doctors Johannes Poigenf\u00fcrst and Vilmos Vecej; the musicians Caroly Melles, Ren\u00e9 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.<\/p>\n
\nShe 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.
\nDuring 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.
\nTowards the mid-1970s her work at the Academy, which is now a university, becomes more complex and she attains a professorship.<\/p>\n
\nShe has a car accident and spends several weeks at a rehabilitation centre away from Vienna. That summer her son Paolo suffers a deep crisis.<\/p>\n
\nEva divorces Young Jin.<\/p>\n
\nHer children\u2019s 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.<\/p>\n
\nShe participates at the international Krakow-Art-Triennial and receives the Silver Medal for her Triptych \u201cDunkler Altar f\u00fcr eine kleine Hoffnung\u201d (Dark Altar for a Tiny Hope). Eva gives a graphic arts seminar at the University of Applied Arts in Helsinki, Finland (years later, Yrj\u00f6 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 \u201cMy Students and I\u201d is held at the BAWAG Foundation in Vienna. She creates cycles of photo-portraits of Joseph Beuys, Gerhard R\u00fchm and Kurt Ingerl. She translates the shock over the reactors disaster of Chernobyl into \u201cDie Strahlenden\u201d (The Radiant). She exhibits the sequence of 49 black-and-white photographs mounted on canvas in Vienna, Salzburg, Munich\/Deggendorf and Ripon, WI, USA.<\/p>\n
\nHer mother dies on October 19th.<\/p>\n
\nShe finishes a project dedicated to a blind Japanese friend, \u201cReise mit Kozuesan\u201d (Travels with Kozuesan) and presents the cycle of oil paintings at the Gallery Altn\u00f6der in Salzburg. She and her students work on \u201cHaut und H\u00fclle\u201d (Skin and Shell). Partly the photographs of workmen (later mounted on aluminium boards) are taken close to the steel-cooking ovens of the V\u00d6ST in Linz. The successful exhibition goes from Vienna to Berlin and continues to be shown on Austria\u2019s international exhibition circuit.<\/p>\n
\nEva 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.
\nEva is introduced to Martin Zeiller, an art historian. A deep and trusting friendship begins.<\/p>\n
\nShe 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 \u201cPrinzip Hoffnung\u201d (Principle of Hope). She is also commissioned to create photo murals and a wood relief for the new SMZ-Ost Medical Centre in Vienna.
\nEva begins to structure her commemorative project \u201cSurvivors on Life\u201d 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 \u201cHomage to Antonio Machado, Miguel Hern\u00e1ndez and the Sephardim\u201d is born. During these months, she paints \u201cLilies of the Fields\u201d, the egg tempera on paper cycle, giving expression to her spontaneous joy with nature and landscape. Ana Mar\u00eda 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 \u201cStratifications\u201d, dedicated to the Spanish poets and the Sephardim. Martin Zeiller writes the catalogue text.<\/p>\n
\nThe Austrian Ministry of Education and Art offers to finance the \u201cSurvivors on Life\u201d if Eva would include Holland in her project. She starts working on the expanded version of \u201cSurvivors on Life\u201d. 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. \u201cPart one\u201d 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\u2019s collective memory.<\/p>\n
\nWhen 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.<\/p>\n
\nIn 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 \u201cSurvivors on Life\u201d, the oil painting cycles: \u201cNotations Nr I\u201d, \u201cNotations Nr II\u201d, and \u201cNotations Nr III\u201d. Reflections to phase one. She meets the great poet Blai Bonet (he later introduces her to the poems of Dami\u00e0 Huguet). She plans the first exhibition, homage to Blai in collaboration with the Majorcan composer Joan Valent and the German cellist Barbara Ronte.<\/p>\n
\nAlong with Horacio Sapere, she creates fourteen sets of print graphic originals: \u201cPalm Trees for Sant Blai\u201d. 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.
\nShe travels to China, Korea and Japan trying to organize the exhibition tour of \u201cSurvivors on Life\u201d for the year 2000. It will be placed in Shanghai.<\/p>\n
\nTo repay the loan for the \u201cSurvivors on Life\u201d 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.
\nShe works hard on preparing the millennium exhibition in Shanghai. She expands the presentation of \u201cSurvivors on Life 1945 – 1995\u201d with the 50 directly related oil paintings and graphic works.
\n\u201cPrayers for Wings\u201d (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.<\/p>\n
\nLater in the year Eva exhibits print graphics in Vienna, Macedonia, Poland and Majorca.<\/p>\n
\nEva participates with the photographic cycle \u201cS\u2019Avall piece with Dog\u201d in the show \u201cCapture Modern Mixed Living\u201d along with five other artists at Alina Gallery in Campos. Marcos Vidal includes Eva’s pieces in the exhibition \u201cThe Arts of San Marc\u201d held in Sineu. The cultural Centre Casal Balaguer in Palma invites her to contribute to the project \u201cDones Retratan Dones\u201d (Women portraying Women). Eva shows portraits of her three best friends from her Tokyo years.
\nHer photography cycle \u201cKirkuk Lubelski\u201d (The Jewish Cemetery in Lublin) is shown at the Majdanek Museum. At the Radetzky Art Room in Vienna, she presents the relief prints \u201cNach dem Sturm\u201d (After the Storm).
\nLong-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.<\/p>\n
\nEva travels to Beijing to attend the opening of BIAB I and speak at the symposium.<\/p>\n
\nJ\u00falia N. M\u00e9sz\u00e1ros, Director of the Municipal Museum of Gy\u00f6r \/ Hungary, organizes the Hungarian translation and invites Eva to present the audiovisual DVD \u201cSurvivors on Life\u201d, edition III (Hungarian, English, German). The opening ceremony of the restored Synagogue of Gy\u00f6r 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).<\/p>\n
\nThe 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.
\nEva is invited to participate in the Busan International Graphic Arts Festival and shows her work at the Israeli \/ Palestinian \/ Lebanese online exhibition \u201cLet the Muses Speak\u201d.
\nEva still nourishes hope; the Austrian government will finally donate the exhibition \u201cSurvivors on Life 1945 1995\u201d to the Panstwowe Muzeum na Majdanku, State Museum of Majdanek, Poland.<\/p>\n
\nEva is amongst the invited artists at the \u201cBeijing Olympic Art Dream – City Sculpture Exhibition\u201d. Her idea is accepted, and in October she spends 10 days in Beijing to start working on her sculpture \u201cThe Guardian of the Olympic Ideals\u201d (material copper, iron, steel, height 550 cm).<\/p>\n
\nEva 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.<\/p>\n
\nIn July, Eva participates in the International Miniprint Biennial in Lessedra \/ Bulgaria with \u201cHeaven I and Heaven II\u201d. 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 \u201cLandscape towards Felanitx\u201d. Eva also participates in a group exhibition in Sarajevo and in Bania Luka \/ Bosnia-Herzegovina with the diptych \u201cLetter I and Letter II\u201d. She sends the relief print graphic triptych \u201cStandpunkt\u201d (Standpoint) to the group exhibition \u201cPoints of View\u201d at the Vienna Park Gallery.
\nEva spends the late summer and autumn on the cycle \u201cEsperanza y Creencia\u201d (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 \u201cWide Land in the Change of Times\u201d, 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.<\/p>\n
\nThe 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.<\/p>\n
\nEva begins restoring the objects from the \u201c27 Objects\u201d exhibition (101 pieces), mounts the object cycles \u201cPoems I \u2013 Poems 7\u201d (seven pieces) and works on the object cycle \u201cTreasure Boxes\u201d (19 pieces) as well as the \u201cIntrospection II and III\u201d objects (19 pieces); Heinz, Eva\u2019s brother, restores the display boxes for \u201cIntrospection I\u201d and \u00abIntrospection II & III\u201d. She starts work on the seven oil paintings \u201cManuel Tur\u201d, 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 \u201cIn Memoriam: Homage Blai Bonet\u201d will open in July 2013 at the \u201cCapilla de la Misericordia\u201d 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.
\nFriends in Ripon\/Wisconsin\/USA complete the Russian translation of \u201cSurvivors\u201d and others in Warsaw\/Poland record the audio version. In November, Eva expresses her gratitude with two print graphic cycles: \u201cRescued Memories\u201d (for the translators in the US), and \u201cListen to the Memories\u201d (for the voice artists in Poland).
\nIn December, she completes the \u201cManuel Tur\u201d oil paintings, the object \u201cHalf Face\u201d, the cycle \u201cPerifericas, Intro\u201d, 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.
\nIn December, Eva completes the print graphic sequence \u201cSpieglein, Spieglein an der Wand\u201d (\u201cLittle Mirror, Little Mirror on the Wall\u201d) and exhibits three of the four pieces as part of the Majorcan travelling group exhibition \u201cPrenpremta illenca Travessera\u201d in Inca (organized by Marcos Vidal). She finishes the cycles \u201cInvocation I\u201d and \u201cInvocation II\u201d as further preparatory work for the planned \u201cHomage Junipero Serra\u201d. She uses the theme \u201cInvocation\u201d to compose 88 card-sized single prints as gift editions, which she sends as New Year\u2019s greetings to her friends both near and far in January 2013.<\/p>\n
\nThe translation from 2008 to 2013 was corrected by Aisha Prigann.<\/p>\n