FID Propaganda Summer Post 2: The Questions of Alexander the Great

Vue du bureau FID dans la Forêt d’Ecouves en Normandie

Janvier 325 Alexandre le Grand arrive à l’Indus. Début 324 il réprime une révolte de tribus locales initiée par des philosophes brahmanes et fait prisonniers ces sages. Je vais vous poser des questions dit Alexandre. Si vos réponses me plaisent vous aurez la vie sauve.

Possédez-vous des biens.
Avez-vous un maître.
Lequel a existé le premier le jour ou la nuit.
Comment un homme peut-il devenir un dieu.

Pourquoi ces questions et pas d’autres. Les brahmanes prisonniers ont ils eu la vie sauve. Dans la forêt il fait frais. FID se repose.


In January 325 Alexander the Great reaches the Indus River. At the beginning of In January 325 Alexander the Great reaches the Indus River. At the beginning of 324 he suppresses a revolt by local tribes initiated by Brahman sages. He takes these sages prisoner. I am going to ask you some questions says Alexander. If I like your answers, you will live.

Do you own property.
Do you have a master.
Which came into being first day or night.
How can a man become a god.

Why these specific questions. Did the Brahman prisoners live. In the forest it is cool. FID is at rest.

Texte : Serghei Litvin Manoliu
Translation: Petrus Viljoen
Many thanks to Alex Albu

Summer Post 1: Emily Dickinson


“Emilie Dickinson Poésies Complètes”
Traduction Françoise Delphy, Flammarion 2009.
Poésie 137 (fragment), 1860.

Les voisins ne se doutent encore de rien !
Les bois échangent un sourire !
Verger, Bouton d’or et Oiseaux –
Dans un instant !

The neighbors do not yet suspect !
The woods exchange a smile !
Orchard, and Buttercup, and Bird –
In such a little while !

The FID gathers some amazing minds…


In 2012, Andreea Ciobica was an art student in Romania, when she became the FID Prize laureate. Today, she is our Guest Juror, invited to participate to the FID Prize Jury 2016.

Serghei Litvin: You won the FID Prize in 2012: what changed in your professional life since then?

Andreea Ciobica: It’s hard to narrow it down to just one thing. I believe it has been an intense surge ever since. I realized then that being in the art world is as much about the relationships you nurture as it is about the work.
(Since FID Prize 2012, Andreea Ciobica participated in art fairs like Viennafair and Arco Madrid, solo and group shows with museums and galleries like MAK Vienna, Ivan Gallery, (Bucharest, Romania), Plan B Gallery (Cluj-Napoca, Romania), Catherine Putman Gallery (Paris), Salonul de Proiecte (Bucharest, Romania), Twilight-Zone Gallery (Tournai, Belgium),…)

Serghei Litvin: What would you say to motivate artists to participate to the competition?

Andreea Ciobica: This competition in particular gathers some amazing minds surrounding drawing so entering it means communicating in a constructive environment. It’s the beginning of what could be a profoundly rewarding conversation.

Serghei Litvin: All applicants will not make it until the final phase – they will not be all Finalists. What would you say to motivate these artists to participate again, to come back next year?

Andreea Ciobica: Results happen in a set of circumstances that are each time unique. Applicants should be aware that their presence in a future edition might make an entirely different statement than the previous one did. One answer doesn’t have to be the end of the conversation.

Serghei Litvin: In his interview for FID Newsletter, Brett Littman said: « My hope is that the artists who apply for the 2016 FID Prize deeply respect what drawing can be and can achieve. » Could you make a comment on this as an artist and a Juror?

Andreea Ciobica: Since drawing is so basic to art, it has the potential to slip through our perception and reach impossible ends without being noticed. I too am hopeful that the artists who apply this year use this superpower to its full extent.

Serghei Litvin: What would you advise the candidates not to do?

Andreea Ciobica: I would ask them to avoid editing their work in order to fit any expectations.

The applications for the FID PRIZE 2016 opens Tuesday 1 December at 09:00 UTC
The registration time is limited.
The number of applications is limited.

Interwiew with Maurits van de Laar


Only 6 days before the start of applications for the 7th edition of the FID Prize, Maurits Van De Laar accepted to answer to our questions. He speaks about building up long term relationships with artists, about the important part of his gallery program that is devoted to drawing. He says also that drawing should inspire and surprise both artist and viewer…

Serghei Litvin: Very young, you considered going to art school. Finally, you studied art history at Leiden University in The Netherlands. Why did you decide to become a gallerist?

Maurits Van De Laar: Because I wrote my thesis about the german Painter Markus Lüpertz and so I got to know Gallery Michael Werner in Cologne. I was impressed by Michael Werner who had built up his gallery over a long time and not without difficulty when he started. The aspect of perseverance and building up long term relationships with his artists appealed to me.

Serghei Litvin: What is drawing for you? And what is the place of drawing in your gallery?

Maurits Van De Laar: Drawings make up an important part of my gallery program.
Most fascinating for me is the directness of drawing.
Drawing is less burdened than for instance painting and this makes the artist feel less restrained and inspired to express him/herself freely. Ideas often find their first concrete form in drawing. To me a good drawing gives an insight into the mind of the artist.
Over the years artists like Marcel van Eeden, Robbie Cornelissen, Martin Assig, Ed Pien, Henri Jacobs have shown their work at the gallery. Last year Robbie Cornelissen showed a groundbreaking animation video The Black Room that is projected simultaneously on three screens that are placed in a U-shaped form. The work consists of about 60 animations based on charcoal drawings, in which the essence of drawing is investigated: line versus volume, perspective and space, abstraction and figuration and the transition from two-dimensional to three-dimensional.

Serghei Litvin: What do you personally expect from the candidates? What would you say to motivate artists to participate to the competition?

Maurits Van De Laar: Most of all I want to be surprised and convinced by the artist in creating a new and genuine world in their drawings. I am curious as to what the artists will send in for the competition. I hope they will draw without holding back, in a direct and passionate way. Drawing should excite, inspire and surprise both artist and viewer.

Serghei Litvin: As a FID Prize Juror, what would you advise the candidates not to do?

Maurits Van De Laar: Not force themselves because of the competition, but give themselves trully and freely through the choice of the drawings they will present.

Registration will open on Tuesday 1 December 2015 at 9:00 UTC and will close on Friday 4 December 2015 at 5:00 p.m..
The registration time will be limited and the number of applications will be limited.

With many thanks to Petrus Viljoen

Interwiew with Rebecca Kerlin


In the FID Prize Jury 2016 there are two international gallery owners among the most important in the field of contemporary drawing: Rebecca Kerlin (Gallery Joe, Philadelphia) and Maurits Van De Laar (The Hague). “The FID is one of the only prizes given exclusively for drawing.” says gallerist Rebecca Kerlin.

Serghei Litvin: Gallery Joe has moved to a new location: 2 Saint James Court, Philadelphia, PA 19106, “By Appointment Only.” Why?

Rebecca Kerlin: I moved because of pending construction on the building where the gallery was located. What initially seemed like a crisis became an opportunity to rethink the whole idea of a traditional gallery.
My new space has a small exhibition area. Drawings will always be on display, but the monthly shows will no longer be a priority. I will continue participating in art fairs both in the US and abroad and will hold small events in the space a few times a year.
Over the past few years the proportion of my clients who live outside of Philadelphia has grown dramatically. By having a comfortable welcoming space by appointment I can offer my local clients a more personal experience. At the same time, a more vigorous presence on-line will better serve my clients who live far away.

Serghei Litvin: Yes, crisis as opportunity, a new strategy: switching priorities, participating more in art fairs, being more on line. What is drawing for you?

Rebecca Kerlin: Drawing is the most fundamental and direct of the art forms. It is closest to the artist, to how he or she thinks. It is a means for organizing one’s thoughts, observing detail, and re-presenting information. It can be a simple sketch, or a highly detailed portrait, a watercolor, or a line in the sand.
I opened my gallery in 1993. In the beginning I showed a variety of things, sculpture, drawing, and installation. My mission became clear in 1997 when I saw Mark Lombardi’s drawings in the Winter Selections exhibition at The Drawing Center in New York. I was profoundly moved by Mark’s work. It opened the world of drawing for me. From then on the gallery has been devoted exclusively to the exhibition of contemporary drawing. Mark’s work remains a touchstone for me. I go back to it when I feel lost or need inspiration.

Serghei Litvin: What do you personaly expect from the candidates? Do you have a specific expectation for the 7th edition of FID Prize? What would you say to motivate artists to participate to the competition?

Rebecca Kerlin: Personally, I hope to see drawings that show consistency in presentation, rigor in thinking, and the ability to communicate an idea.
I hope to see a great variety of drawings, from many countries, all age groups expressing the vast diversity of peoples, techniques, and subjects. Is this too much to ask? Perhaps, but that is what I would like to see.
If your primary art form is drawing, then you certainly should apply. The FID is one of the only prizes given exclusively for drawing. Jurors who have a particular commitment to the field will view your work only in the context of drawing.

  • Standard data and procedures for FID Prize 2016 are at your disposal here: