Jephan de Villiers’ antidote to the end of history is the continuity of nature. Working with the random findings of the forest—branches, twigs, bark, leaves, feathers, dirt—he creates a private world of figures and forms that hovers between memory and premonition. His tiny tree-creatures consist of no more (and no less) than masklike faces perched on limbless bodies of scrap wood or bark; garbed in dried leaves and/or winged with a pair of feathers, they cluster together in wall reliefs and shallow boxes, in mysterious coffers, and in an enormous processional entitled Mille et trois souffles

At the very moment when Europe is in the throes of ideological and political reevaluation (problems with minorities, ethnic differences, Yugoslavia, the formation of the European Community, etc.), Rainer Ganahl put together a three-part exhibition, “3 TIMES, 3 WEEKS,” including the work of Peter Fend, Sylvia Kolbowski, and himself, on the question of the production of space. His objective as both curator and artist was to present recent formalist conceptual practices and to problematize the question of power. From this point of view, it was the exhibition itself that held our attention. The