In commemoration of the 95th anniversary of an outstanding writer and friend of the Rogatchi family late Grigory Kanovich ( 1929, Lithuania – 2023, Israel ) and marking the European Days of Jewish Culture 2024, with its designated theme Family, the Rogatchi Foundation has donated a 25-piece special art collection Shtetl Songs to the Grigory Kanovich Public Library of the Jonava Municipality District, Lithuania.
The collection consists of Michael Rogatchi’s 15-piece Shtetl Stories collection and Inna Rogatchi’s 11-piece Shtetl Memories series and includes both original works by both artists and exclusive museum prints of their works produced for the project specifically.
The Rogatchi Foundation has also donated to the Grigory Kanovich Public Jonava Library licensing rights for the images of the artworks in the donated collection in support of the Library cultural and educational projects.
All works by both Michael and Inna Rogatchi visit the theme of Jewish heritage, focusing on reminiscences to shtetl. The theme is well-known to both artists due to their respective families’ stories and origins. Inna and Michael Rogatchi both tell about it in their introductions to the collection in the Shtetl Songs art catalogue which has been published for the occasion of the donation of the collection and its inaugural exhibition at the Grigory Kanovich Public Library in Jonava, Lithuania.
15 artworks by Michael Rogatchi represents the artist’s well-known series on various themes of Jewish history and heritage, including his Shtetl Stories, Jewish Melody, Psalms Country, Daily Miracle and In the Mirror of the Shoah. 11 works by Inna Rogatchi are from the artist’s Songs of Our Souls and Shtetl Memories series.
The entire collection has been donated by the artists and their The Rogatchi Foundation to the Grigory Kanovich Public Library of the Jonava Municipality in Lithuania at the special ceremony on September 12th, 2024. The ceremony was part of the extensive program of the annual European Days of Jewish Culture, which has FAMILY as the theme in 2024.
Michael Rogatchi is touring his exhibition at the inauguration for the Israeli Ambassador to Lithuania H.E. Hadas Wittenberg Silberstein and the Embassy delegation. September 2024. (C) The Rogatchi Foundation Archive.
The Rogatchi Foundation also licensed all images of the donated collection to the Library with the purpose of the ongoing support of their wide and versatile educational and cultural activities.
The 25-piece Shtetl Stories and Memories collection will be exhibited in the Library in Joanav until the end of November 2024, after which the exhibition will travel throughout Lithuania from 2025 onward. After its tour, the Rogatchi Collection will return to the Jonava Library as part of the Library Permanent Art Collection.
In September 2024, Michael Rogatchi conducted an IMAGINATION master-class during a series of multi-disciplinary events of The Rogatchi Foundation in Lithuania.
Michael Rogatchi leads his master-class in Jonava, Lithuania. September 2024. (C) The Rogatchi Foundation archive.
The artist’s master-class was conducted at the Grigory Kanovich Public Library in Jonava, Lithuania. His students become 15-17-year old students of the Jonava schools.
Michael Rogatchi conducts his master-class in Jonava, Lithuania. September 2024. (C) The Rogatchi Foundation Archive.
During a very engaging master-class, the artist spoke about the crucial role of imagination in the process of visual art and its practical application, referred to mutual influence of different arts to the process and especially the role of music in the process of creation, and taught his students special details during practical application of creating new artworks.
Michael Rogatchi with his students after the artist’s master-class in Jonava, Lithuania. September 2024. (C) The Rogatchi Foundation.
Due to a strong public demand, the master-classes of Michael will continue with and via the Foundation Lithuanian partners in a near future.
Michael Rogatchi (C). The Wind of Sorrow. POST-HARMONY. Pencil on cotton paper. 2024.
Now it is almost a year since the shocking morning of October 7th, 2023, the day on which all the Jews in Israel and world-wide were supposed to celebrate the Simchat Torah, the uplifting celebration rounding the High Holidays in 2023.
Since that morning, we all have been living in a new reality, a painful, dramatic, tragic and shocking one. The reality which we did not live through before. The reality which resembles to me the reality in which our parents and grandparents lived, the one of the Shoah and post-Shoah, when innocent people of all ages and in all conditions were attacked in unimaginably cruel ways for a sole reason of being Jewish. I do recognise many differences in circumstances of the annihilation of Jews by the Nazis in the 1940s and attacking the Jews in Israel eighty years later in the 2020s by the Hamas terrorists, but the core of the attacks against innocent people, on their own territory, in their own country, is the same, in my understanding. It is the crime against humanity which is prompted by animalistic racial hatred. Which is indefensible.
The shock caused by the barbaric attacks committed against innocent people in Israel on October 7th, 2023, did not cease for almost a year after the massacre. On the contrary, we are hit by more and more terrible news about more murders, the desperate situation with the hostages, and more suffering all the time in the unprecedentedly difficult for every Jewish person world-wide situation of the unleashed hatred against us. Because of what? Because it has always been there, for all 3 300 years of our people’s existence, and now, the barbarity committed against us on October 7th, 2023 has re-opened the doors which were supposed to be shut down after the Shoah. They were not shut down for good, as we have learned so painfully now.
Michael Rogatchi (C). The Cry of Silence. POST-HARMONY. Pencil on cotton paper. 2024.
What happened on and after October 7th, 2023 in Israel matters to me and my wife essentially. Our family members and many of our friends live in Israel, and we love Eretz Israel whole-heartedly. When people in Israel are threatened, we are alarmed and deeply worried. It is our pain, and it does not go away.
What can we do, each of us, to confront this terror? These thoughts were overwhelming me for a good while, after initial shock, horror and bewilderment caused by the October 7th massacre and following consequences of it.
Each of us reacts to the existential threat of our people and country in its own way, in the way which we are capable of. I am doing it in the way of my art, my language of expression.
The scenes of October 7th and thereafter did evoke the scenes which I witnessed as a child and which never left me. Walking with friends, and also on my own, in outskirts of our Karaganda city in Kazakhstan where our family was exiled after the arrest by the NKVD of my father in his young age just after the end of the Second World War and sending him to GULAG in the place called the Valley of Death, where I was born, and previous brutal liquidation by the NKVD of my Hungarian Jewish grandfather before the war, we founded every now and then in the grass of the Kazakh steppe an odd subjects. Human skulls with holes in it, human bones, detached limbs. Those ‘discoveries’ , always sudden ones among the tall grass, and often many, have never left my mind ever since.
Michael Rogatchi (C). Beyond Tears. POST-HARMONY. Pencil on cotton paper. 2024.
After October 7th, 2023, this backside of my memories came back. What I conveyed in these 36 black and white drawings of the POST-HARMONY collection, is my Kaddish. And it also is my Psalms, my lament to all the victims of the barbarism which has been committed against the innocent people on their own territory, in their own country, their families, their friends, everybody affected by this ongoing horror.
The thing is that the low cowards who attacked our people in Israel on October 7th, 2023, and those apologists who are permeating vile racial hatred to blossom in the XXI century, do not know, nor do they understand us, Jews. They do not have a clue of our history which can be also expressed as a history of resilience. The resilience of humanity, kindness, help and resolve. Resolve to live and to prevail over the darkest circumstances. As my people always did, as we are still doing, and as we always will do.
Throughout our mourning, we also live in resolve. Through our Kaddish, we also are resilient and committed to life, light and loving memory.
“Chazak! Chazak! Venichazeik!”, “Be Strong! Be Strong! And may we be strengthened!” – is pronounced loudly in our synagogues at the end of the reading of each of the five books of the Torah at our liturgies throughout the circle of a Jewish year. Every year. Three thousand and three hundred years and counting. This is my favourite line from our Book. The book of life, not death. The book of light, not darkness. The book of good, not evil. This disposition to life has made us who we are. This disposition to life has made us strong. That’s how we endured unimaginable trials.
Michael Rogatchi (C). Gearing Up. POST-HARMONY. Pencil on cotton paper. 2024.
And this what will keep us going in this gloomy, difficult current reality of post-October 7th, amidst our ongoing tragedy, longing for so many innocent lives lost, witnessing and going through so much suffering around us and within every one of us.
How to live in all this, which is Post-Harmony? Post-Normality? Post-Mercifulness?
I have no other recipe of survival in this pulsating turmoil of the XXI century than our ‘Chazak!’ attitude, which has been proved right by the entire history of our people.
Full Shtetl Stories collection ( 2010 – 2024) can be seen here.
There is a big joy for me that my works, Shtetl Song series, will be present at the permanent art collection of the Grigory Kanovich Public Library of Jonava, in memory of a wonderful, special writer, and a very good man, whom we have had an honour and privilege to know for many years, Grigory Kanovich, who always was and still is a role model for a Jewish caring and talented man to us, my wife and myself.
Grigory Kanovich’s input into the surviving and living heritage of Jewish people as a writer should not be under-estimated. There are not that many writers who did narrate the life of our people, and those in a shtetl , to that degree and that detail, and with such care, love and gentleness, as Grigory Kanovich did, having a special qualities for that, including his open heart and his unobtrusive wisdom.
For me, Grigory Kanovich lives in two dimensions, at least: as an older and caring wise and kind friend, and as a great writer who is a pride of Jewish cultural heritage world-wise, but also at micro-level for every single person who ever read his special, breathing, alive books, full of love and memory.
Michael Rogatchi (C). Devilspel. Homage to writer Grigory Kanovich. Original drawing. 2022. Private collection, Lithuania.
There is more to me in Grigory Kanovich’s literature. I can hear there also a specific music, specific melodies, our Yiddish lullabies and nigguns, I can recognise there our joys peppered with sadness, and our sorrows enlightened from inside, with that indescribable light, which kept and is still keeps us all going: Kanovich’s own family, my family, and any other Jewish family with similar origin, history and circumstances of life.
When creating the works for this series, Shtetl Songs, which is intimately close to me, I was thinking of nothing else, but my family. About my beloved grandmother Sofia Litowska, and her family, with their all so dramatic and so difficult life, which never ever has made them angry or depressed, but yet more helpful towards the others and focused on the good always instead, being determined to live faithfully, decently, and to help anyone they could. And they did.
Michael Rogatchi (C). Ljuli-Ljuli. Yiddish Lullaby. Jewish Melody series. 2013.
This goodness in veins which I know and learned from my family, is also lives in every work created by Grigory Kanovich, in all those many intricate details, and all those encompassing feelings which all together weaved in these great books which can be called a prose mirror of the history of shtetl in the period before that history’s ultimate and so tragic closure. The more precious and special for me is that steady light which comes from Grigory Kanovich’s books, always, and which has left all our loving memories about our all families from the shtetl to live on for generations to come.
To me, the Grigory Kanovich Public Library of Jonava is the best possible place for those of my works which are dedicated to this memory and are speaking about the shtetl and our families.
Michael Rogatchi Shtetl Stories Collection Review ( Excerpts)
By Michaël de Saint Cheron
Photo (C) Anne de Diberden.
Published first in the Shtetl Stories and Memories Art Catalogue (C) 2024.
Michael Rogatchi Shtetl Stories collection can be seen here.
Rabbi Menahem Mendel of Kotzk once uttered the words, that our dear Elie Wiesel repeated so often (which he attributed to Rabbi Nachman of Bratslav): “Ein Shalom yénitar milèv shavour “ (there is no peace greater than a broken heart ). Elie added to this for his part: “There is no greater faith than a broken faith”. Isn’t this ardent force that nourishes Inna and Michaël, lies in this indescribable faith, this insurmountable faith that springs from a broken faith?
The artist’s love of Yiddish memory, like that of music, shines through each piece of the collection.
For my part, this is the first time that I have been able to see Michaël’s studies and sketches, some of them monochrome, as in his Homage to Elie Wiesel, or Homageto Leonard Cohen.
If the connection with music is organic for the artist and his oeuvre, it is interesting and telling that his Study for Yiddishe Son, for Elie Wiesel, also brings us to the domain of music, with this character (Elie as a child) playing the violin.
Michael Rogatchi (C). Study for Yiddish Son. Homage to Elie Wiesel. 2011.
It is the same for Shtetl Song, a very interesting work due to the form that Michaël Rogatchi chose, a flower which serves as a receptacle for a dance at the festival of Simchat Torah, where we can imagine in the foreground a group of young girls dancing in the middle of a assembly of men. Here, in the shape of the drawing, the artist has drawn a flower which has the shape of an eye – and we can see here a reminiscence of the parsha Re’eh from the Torah, chapter “See”. In this chapter, the central role is played by the pericope of eternal meaning at the pivotal moment, in which God gives to the Children of Israel, and through them, to the human race as a whole, an imperative of the choice between a blessing and a curse.
Michael Rogatchi (C). Shtetl Song III. 2013.
Blessing for those who follow the divine commandments of sanctification of life, curse for those who refuse them. What could be speaking more acutely to humans in our 21st century than this meaning, this choice in between life and death, the choice between blessing and curse?
Let’s return to our Shtetl Song work. Contemplation of this Michael Rogatchi’s drawing on cotton paper immediately evokes for me the names of Paul Celan and Anselm Kiefer. In his first book Mohn und Gedächtnis (Poppy and Memory), Paul Celan composed an untitled poem: “Ich bin allein, ich stell die Aschenblume/ins Glas voll reifer Schwärtze. Schwestermund… (I am alone, I put the ash flower/in the glass full of ripened black, sister mouth.. […]”.
This verse has always fascinated Anselm Kiefer, and I associate it as if hearing it again today, when I see this drawing by Michaël Rogatchi, Shtetl Song. What is this Aschenblume, this Ash Flower, to which Kiefer, the German artist, but resident in France for thirty years, has devoted numerous works, being fascinated by the Celan’s paradox? Normally, we perceive a flower as a direct opposition to ash, isn’t it? Or can it be seen differently ? In his poem, Celan brings together two contradictory, almost opposite words, and what they represent, the ashes and a flower. Irresolvable artistic aporia.
Michaël Rogatchi, like many artists who lived through the horror or who were born afterwards, with a deep knowledge of it, chose figuration rather than abstraction, abandoning the famous Biblical principle of the prohibition of representation.
Recently, Gehrard Richter chose to paint his Birkenau series, based on four absolutely unique photos of the members of the Sonderkommando unit of Auschwitz-Birkenau, taken in the greatest secrecy in the summer of 1944. The series contains several works, and it has been defined by a French art historian and director general of the National Institute of History of Art Eric de Chassey as Make ( It) Visible.
Can we suppose that Michaël Rogatchi did not have to see these terrifying photos of an open-air pyre in which the SS butchers were burning the corpses of those tortured in the gas chambers? It would be too easy to think so. One does not need these indescribable images of the Shoah (I prefer the Hebrew word SHOAH to that of the Holocaust) to paint, compose or write works on the Shoah, as very great artists have done and are still doing for 80 years. To do so is certainly a decisive mental and artistic act, and such homage can be not only monumental art, as it is in the case of four monumental paintings Birkenau by Gerhard Richter. The Shoah is so often present in the work of Michaël and Inna Rogatchi, as it is in the entire oeuvre of Anselm Kiefer, without any photo being necessary for neither of the artists, as was the case for Claude Lanzmann in his cinematic masterpiece SHOAH.
Michaël and Inna , in the part of her series, Shtetl Memories, which is combined in this joint collection with the works of her husband, choose to bring us, work after work, into their memory, into their imagination, into their timelessness, inhabited with the memory of the extermination. Thus, their works, studies, sketches, drawings, depicting and expressing much more than just a boy playing the violin, or just an accordionist sitting on a bench (Homage to Leonard Cohen) with winged figures above him, like angels, nor just a community dancing on a flower for Simcha Torah.
Michael Rogatchi (C). Study for Zion Waltz. 2013.
Thinking about metaphors in Michael’s works, it brings us powerful paradoxes again. A flower as such, let alone an eye, cannot be a place for dancing. Only the Aschenblumen, the flowers of ashes, or the Auschenaugen, the eyes of ashes, can be places of ashes where bone can dance against the ashes.
Michael Rogatchi’s Yiddish Song, the Psalm 9 – Ghetto Waltz, or his Shtetl Song, are all works that bring to mind these powerful words from Anselm Kiefer, when he spoke of his numerous interpretations of the Celan’s Ashesflower, with Daniel Arasse ( 1944 – 2003), the one of the most important French art historians , who died too young. In their conversation which occurred on the France Culture TV programme in 2001, there is a telling episode:
Michael Rogatchi (C). Psalm 9 – Ghetto Waltz V. 2017.
“Daniel Arasse: Let’s also talk about a word, an alliance of terms. I believe that you also borrowed it from Celan, his Aschenblume.
Anselm Kiefer: Aschenblume, Yes, it’s very beautiful.
D.A.: “Flowers of ashes”.
A. K.: A flower is dazzling, it is an explosion of life, of joy, and if we associate it with ashes, ashes which are already the fruit of metamorphosis, we suspend time by bringing the two elements together, at the same level. »
This collection of works by Inna and Michaël Rogatchi suspends our time and our imagination, their drawings make us hear the songs in the secret of the soul of Elie Wiesel, in particular his “Ani Maamin”: “I believe in the coming of the Messiah, and although he delays, I will wait for him every day”. Elie’s version of the essential for Jewish soul Ani Maamim, came to him, as he has told, from the heart of the Shoah, from a nephew of his rabbi of Wiznitz, who had sung it in front of him one Shabbat in 1943. Wiesel always remembered that special song, all his life.
The Rogatchis’ works from their Shtetl Songs collection are also infused with magnificent songs of Leonard Cohen, and many other songs and much of the other essential music, like that of Gustav Mahler, one of the most gifted ancestors of Inna Rogatchi.
“There is no greater peace than a broken heart » . There is no artworks greater than those which make us hear the Song of our Souls and this Cry of Heaven.
President , The André Malraux International Research Center (CIRAM)
Philosopher of religions, art critic, author of “Soulages, d’une rive à l’autre” (2019) and “The Seven Heavenly Palaces of Anselm Kiefer” (2025, Actes-Sud)
The Holocaust Garden of Hope in Kingwood, near Houston, opened its first phase on November 5th, 2023.
The image of Michael Rogatchi’s well known Heart of the Matter painting meets visitors of the new memorial garden in Texas.
The artist’s artwork is on the first panel of the Entrance exhibit of the new important project in a beautiful garden with the lake in Kingwood.
Various exhibits would tell the story of the Holocaust and urge for its remembrance, understanding and actuality of it at our challenging times.
Four more of Michael Rogatchi’s artworks will be part of a permanent display throughout the Holocaust Garden of Hope which is under further construction now.
On September 9th, Michael Rogatchi and his wife Inna Rogatchi participated in a warm, interesting and important event in Helsinki, Finland, to commemorate the 100th anniversary of the Library of the Helsinki Jewish Community.
In commemoration of the date, the artist donated to the library a museum giclee produced in only copy of his famous Heeding the Book painting:
Michael Rogatchi (C). Heeding the Book. Oil on canvas. 1995. Forefathers collection.
At very well attended event, with presence of the Israeli Ambassador and The Head of the Mission to Finland , many leading Finnish intellectuals and academics, prominent members of the Helsinki Jewish Community, and foreign guests from Sweden, Italy, the UK and Israel Michael Rogatchi donated the museum replica of his artwork to the librarian Jutta Leffkowitsch and told briefly about the history and background of this special artwork.
In his speech, the artist remembered the essential importance of a subject of a book to his family, to every Jewish family, to Jewish tradition. He enlightened the public with reflections to his family story in which reading books for gathered family, friends and guests was a nightly tradition for years. Often, the books were read aloud in the light of a candles or oil lamps, in the absence of electricity. It is significant and always unique how children’s memories are appearing in adult’s creative works many years later.
Everybody present at the special event was highly appreciative to the artist for his gesture. The donated artwork will be placed on the new wall which the Helsinki community builds for the Library.
“There is everything in this fantastic work of Art: knowledge, curiosity, enlightening, attraction to intellectual power, spirituality. There is no doubt that this painting will stay in and with Helsinki Jewish community for good, in generations” – said in appreciation Paula Hovav, a senior community member.
Opening a new activity season 2022/2023, Michael Rogatchi has successfully cooperated with The Rogachi Foundation in creation of new artistic products for the Foundation new art charitable campaign 2022/2023. Additionally to our new From Bach to Baker art calendar for 2023, The Foundation and the artist have produced two sets of charming, fine and elegant limited & exclusive edition of museum double-cards featuring the artworks from new Michael’s series:
Set 1: Sound – in – Line series, 6 horizontally-oriented double-cards, 12 x 17 cm.
As our audience is aware of, the artist and The Foundation never repeat their art products which are produced just once, and that’s why are collectible and unique.
Set 2: From Bach to Baker, 6 vertically-oriented museum double-cards, 17 x 12 cm.
All cards are coming with envelopes. Price for each set ( 6 double-cards with envelopes) – Eur 18.00Price for both sets ( or two sets) – Eur 35.00
Orders: office@michaelrogatchi.com
office@rogatchifoundation.org
We are shipping world-wide.
As part of The Rogatchi Foundation From Bach to Baker art charitable campaign 2022/2023, the art cards sales proceeds go to support the new TYKS Children Hospital and help with installation of the art collection which the Foundation have donated to them.
We will be happy to post the cards along with the From Bach to Baker collectible art calendar 2023 if you would like to combine or update your orders.
The orders are payable by both bank transfer and PayPal. Upon receiving your order, we will send you an invoice with banking information and PayPal link as well.
If our audience would like to consider to support The Rogatchi Foundation new art campaign and activities in 2022/2023 with a kind donation to The Rogatchi Foundation in support of the TYKS Children Hospital, we would be very grateful for that.
Opening a new season 2022/2023, The Rogatchi Foundation has created a Limited & exclusive edition of new collectible Art Calendar 2023 featuring Michael Rogatchi From Bach to Baker new art series of radiant works dedicated to music:
The works in the calendar are all new, Michael has created them this and last year, those are two of his newest art series. They were not published before. Most of the works are in private collections in Europe and Mexico.
As always, the collectible art calendar is a charitable campaign of The Rogatchi Foundation. This year, the proceeds from the art calendar will be used for support of the new TYKS children’s hospital in Turku and for helping to install a new art collection which The Rogachi Foundation have donated to them.
If our audience would like very kindly to consider some additional contribution to The Rogatchi Foundation to support this new From Bach to Baker charitable art campaign 2022-2023, based on the new artworks of Michael Rogatchi, it would be wonderful and we will be very grateful for that.
Price for this limited edition exclusive art calendar 2023 – Eur 20.00 + very modest post expenses.
Five of Michael Rogatchi’s artworks are featured at the Abstract Mind 2022 international art exhibition at the CICA Museum, the Institute of Contemporary Art, in South Korea.
Michael’s works at this exhibition represent the selection of new graphic works by the artist based on his well-known works of metaphorical expressionism, many of them belonging to notable European public and private art collections.
This selection can be seen in the introductory video:
According to the exhibition catalogue:
“Michael’s five works presented at the Abstract Mind 2022 exhibitions are philosophical works in which the fundamental questions of life are addressed in an artistic way: what is the origin of life? ( Origination of Life work), what is the essence of our memory? ( Memory Sketch. White on White work). How is nature reflecting on itself ( Earth Mediation work). What is the Wheel of Fortune, both literally and metaphorically ( The Wheel of Fortune work). All these four prints were made as special modern versions based on Michael’s original oil paintings with the same names.
Work Collage in Orange brings the theme of importance of colour both in life and art. This work was created in 2021 as a graphic work, and it is based on the background fragments of Michael’s well-known BOLERO composition of oil works.
The images of all these works are original and special creations of the artist, the metaphors which he originated and created both visually and as a metaphorical image and message. The powerful coloristic of the works adds to their captivating power”.
CICA Museum, The Institute of Contemporary Art. South Korea. (C) CICA Museum.
At the exhibition, 66 artworks by 33 artists are presented. Apart from Michael, five works are exhibited only by his wife Inna Rogatchi and one South Korean artist. Among those international artists, 13 of them are from South Korea, six are from the United States, with the rest are artists from Canada, Mexico, Argentina, India, Russia, Switzerland, Israel, Greece, Italy, Poland and Finland. Michael and his wife Inna Rogatchi are the only representatives of Finland at the exhibition.
CICA Museum is a well-known art institution which was established in the mid-1990s and started to operate from 2006 onward. The Museum started as the studio and gallery of the leading Korean contemporary sculptor Czong ho Kim who was studying, working and exhibiting also in New York, Los-Angeles and Geneva. From that starting point, the international dimension of the museum was started and developed. The Museum is well-known due to its numerous international projects with American, in particular, New York based museums and art institutions.
Interior of the CICA Museum, the Institute of Contemporary Art, South Korea. (C) Courtesy: CICA Museum.
Abstract Mind 2022 is a customary CICA Museum international multidisciplinary exhibition in which the works in various genres of contemporary art render the main theme.
Exterior of the CICA Museum complex, the Institute of Contemporary Art, South Korea. (C) Courtesy: CICA Museum.
Michael’s wife, artist Inna Rogatchi, also participates in the Abstract Mind 2022 exhibition with her works. It is another ‘joint show’ of the Rogatchi family, after their successful At the Same Time dual exhibition in Rome, Italy.
The exhibition is on display from February 23nd till March 13th, 2022.
Interior of the CICA Museum, the Institute of Contemporary Art, South Korea. (C) Courtesy: CICA Museum.
Exterior of the CICA Museum complex, the Institute of Contemporary Art, South Korea. (C) Courtesy: CICA Museum.