503 lines
23 KiB
Plaintext
503 lines
23 KiB
Plaintext
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INTRODUCTION TO THE 1990 MILWAUKEE SHADOWS PROJECT CATALOG
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THIS SHOW WAS HELD AT THE WOODLAND PATTERN ARTS CENTER GALLERY
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SUMMER, 1990
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By Karl Young, Curator
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The Manhattan Project was a microcosm of the nuclear age. It was
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conducted in secret. The American public did not know it was going on,
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nor did the majority of military and political personnel. Only two of
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the twelve men aboard the plane that dropped the first bomb knew what
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they were carrying when they took off. The American people were not
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asked if the bomb should be used -- they were not trusted to make the
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decisions that the president and a small circle of cohorts wanted. At
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the same time, the elite Manhattan Project scientists weren't trusted
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either: a secret army of spies kept them under surveillance.
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There you have three of the main characteristics of the nuclear age:
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secrecy, elitism, and exclusion. The next element, terror, also
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surrounded the Manhattan Project. The ostensible reason for using
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nuclear weapons was to terrify the Japanese into surrender. Japan's
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surrender, however, took a back seat to the need to spread greater
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terror in the Soviet Union. That worked so well that the U.S. and the
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U.S.S.R. have spent the succeeding forty five years terrifying the
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world by inventing ever more fiendish ways of terrifying each other.
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But opposition has also been characteristic of the age. After the
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defeat of Nazi Germany, many of the Manhattan Project scientists
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wanted to stop work on the bomb. Although their protests were muzzled,
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it is clear that opposition to nuclear weapons began BEFORE the
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first one was tested and before the bombing of Hiroshima.
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The 1990 International Shadows Project represents a particularly
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appropriate tradition of opposition. For over a decade people around
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the world have gone about their communities outlining each other's
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bodies in memory of those Hiroshima residents who had been vaporized
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by the first bomb. Performance artists have joined this tradition. In
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the U.S., John Held, Jr. has been indefatigable in such efforts.
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Ruggero Maggi of Milan, Italy has not only been active in
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performances, he and Held have united Mail Art and Shadows Projects.
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Maggi sponsored several shows in Italy in the mid '80's, and took part
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in organizing a major show in Hiroshima in 1988. Work from this show
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passed on to a 1989 show in Calexico, under the curatorship of Harry
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Polkinhorn. The Calexico show in turn formed the nucleus of this
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year's expanded Milwaukee show.
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Mail Art is intrinsically opposed to the secrecy, elitism, and
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exclusion of the nuclear age. It is thoroughly unhieratic. It is not
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localized in centers of power and authority, but emanates from
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everywhere and can go anywhere. Mail Art matured and continues to have
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a large following in the Fascist dictatorships of Latin America, the
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totalitarian countries of Eastern Europe, the U.S.S.R. and other
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places where political commitment has been strong and the need to
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avoid censorship has been great. Many American Mail Artists see the
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genre as a means of confounding economic censorship. In addition to
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making a case against nuclear weapons, the show argues the case for
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freedom of every sort, including freedom from censorship, freedom from
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repressive governments, and freedom from class, race, and social
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prejudice. It does so by offering complete freedom of expression to
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participants.
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Although freedom from the terror of nuclear annihilation is
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foregrounded in this show, the desire for freedom from other forms of
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terror is also represented. For nearly half a century the human race
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has been enslaved by nuclear weapons and the world they have created.
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The nuclear virus has spread everywhere. Consider, for instance, that
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freedom from hunger is the most basic of freedoms. If the enormous
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resources devoted to nuclear weaponry had been directed toward
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agriculture and food distribution, we would live in a world free from
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hunger. If the ingenuity lavished on nuclear delivery systems had been
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used to develop alternative energy sources, we would be free from
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dependency on fossil fuel. Fissionable materials remain lethal for
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thousands of years. That means that we are not free to restructure
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society along different lines: someone will have to tend our nuclear
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wastes for millennia. Freedom from sociopolitical terror is also a
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basic freedom. Had we not carefully laid the foundations for terror as
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panacea forty five years ago, we would be closer to freedom from
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terror today, and terrorism would not have been elevated to the status
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of an ideology or a religion.
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The nuclear age has been alive with proposals for the elimination of
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nuclear terror. Ours is simple: to answer slavery with freedom; to
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answer elitism with universal enfranchisement; to answer exclusion
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with openness; to answer expensive weaponry with art that can be
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produced inexpensively; to answer terror with visions of peace.
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SURVEY OF THE 1990 SHADOWS PROJECT SHOW
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The Woodland Pattern Book Center consists of a book store and a gallery-
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performance area. You enter the gallery through a hallway from the
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bookstore. In the hall we hung a participatory piece, OUR SHADOWS STAND
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TOGETHER. This is a large cloth on which visitors could draw shadows
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around each other. Pens were left at the base of the piece to facilitate
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the drawing of these shadows. I had expected a static composite, defined
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by the largest and smallest participants, with line density increasing
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toward the mean size. Participants, however, positioned themselves in
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ways that kept their shadows from repeating those that had been made
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before. Some added drawings and messages. This collective and
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spontaneous effort shows that participants weren't going to stand
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still in the middle of the cloth and simply fill in a space. They had
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their own ideas of what they wanted to do and weren't going to try to
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figure out or obey what some absent authority figure expected of them.
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As a result, they created a much more lively and profound piece than I
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had expected. This optimistic piece emphatically underscored the point
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of the whole project.
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The gallery is a large, rectangular room. The design problem for the
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show was to use this space to best advantage. I made a number of
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preliminary sketches, contrasting areas of greater and lesser density
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with areas of negative space, working areas with a vertical
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orientation against horizontal and angular designs. Most design work
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beyond this was done on a day to day basis by Anne Kingsbury and Karl
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Gartung who worked out excellent solutions to difficult problems.
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Among the problems were how to keep small pieces from being
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overwhelmed by larger ones nearby, how to display envelopes, how to
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let each piece keep its individuality while interacting with the show
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as a whole.
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You enter the room from the west. At the center of the eastern wall we
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set up several cubes in the form of an altar. On the top of this we
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placed a garland of cranes made by Mizuho Kakiue specifically for this
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show. Mrs. Kakiue was a child on the outskirts of Hiroshima at the
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time of the bombing. A painting by nine year old Jules Villanueva-
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Castano, the youngest contributor at the time of the opening, was
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placed below this garland. Two other crane garlands were lent to the
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show by visitors. The altar was the exhibit's centerpiece, both
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underscoring the fact that Hiroshima victims included an inordinate
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number of children, and that the consequences of continued nuclear
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insanity will be a world in which there will be no future, in which
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the succession of generations will cease.
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The north and south walls worked out the patterns mentioned above. Cut
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out and painted shadows formed a motif through all the walls,
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culminating on the western wall. Here they not only reached their
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greatest density, some were bent around angles in the wall. No
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negative space was left as visual relief or visual silence on this
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wall.
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Many contributors did not address nuclear weaponry directly. Two large
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pieces by Clemente Padin of Montevideo traced shadows of Disappeared
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Persons in his country. Others addressed the same issue, as well as
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child and spouse abuse, censorship, AIDS, colonialism, and other
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horrors under the nuclear umbrella. These formed a second motif,
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asking the viewer not to see nuclear arms in too narrow a context.
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The show constantly changed. Work kept coming in past the deadline.
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Works not immediately mounted were placed on tables at the center of
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the room when it was not being used as performance space. Many
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contributors sent poetry, and some of the poems were initially placed
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on the tables. Later many were moved to the walls and eventually bound
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into books. Patrons of Woodland Pattern often sit in the store or the
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gallery and read available books. _The POETRY FROM THE SHADOWS_ books
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were read by many visitors, including those who wanted to sit down for
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a while before looking further, and by those who felt more comfortable
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reading poetry from books than on a wall.
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Though the world changed drastically after the first Hiroshima Day, life
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has gone on. Those of us who have participated in this project have done
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so in the hope that humanity can continue despite its present suicidal
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course. There's more than a little crazy optimism in this hope. Maybe
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that's what will ultimately save us from ourselves.
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@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
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TWO POEMS FROM THE 1990 CATALOGUE:
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from _THE SEVEN HELLS OF JIGOKU ZOSHI_
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THE SEVENTH HELL: of smoke, where fire-raisers
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try in vain to escape
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from a shower of hot sand falling
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from a cloud
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BY JEROME ROTHENBERG
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The Houses of men are on fire
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Pity the dead in their graves
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& the homes of the living
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Pity the roofbeams whose waters burn till they're ash
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Pity the old clouds devoured by the clouds of hot sand
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& the sweat that's drawn out of metals pity that too
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Pity the teeth robbed of gold
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The bones when their skin falls away
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Pity man's cry when the sun the sun is born in his cities
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& the thunder breaks down his door
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& pity the rain
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For the rain falls on the deserts of man & is lost
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If the mind is a house that has fallen
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Where will the eye find rest
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The images rise from the marrow & cry in the blood
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Pity man's voice in the smoke-filled days
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& his eyes in the darkness
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Pity the sight of his eyes
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For what can a man see in the darkness
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What can he see but the children's bones & the black bones buried
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But the places between spaces & the places of sand
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& the places of black teeth
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The faraway places
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The black sand carried & the black bones buried
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The black veins hanging from the open skin
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& the blood changed to glass in the night
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The eye of man is on fire
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A green bird cries from his house
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& opens a red eye to death
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The sun drops out of a pine tree
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Brushing the earth with its wings
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For what can a man see in the morning
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What can he see but the fire-raisers
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The shadow of the fire-raisers lost in the smoke
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The shadow of the smoke where the hot sand is falling
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The fire-raisers putting a torch to their arms
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The green smoke ascending
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Pity the children of man
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Pity their bones when the skin falls away
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Pity the skin devoured by fire
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The fire devoured by fire
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The mind of man is on fire
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& where will his eye find rest
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MY BEAUTIFUL HIROSHIMA TEACHER
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BY KEIKO MATSUI GIBSON
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Crimson sunset in Lake Michigan.
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I think of a beautiful woman
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in Hiroshima when the bomb was dropped.
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Was she fortunate not to be killed
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with the 200,000 others?
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Was she fortunate to stay alive?
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Bright light
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crushed her breath
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windows burst
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she went out
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she woke far off
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stuck all over
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with broken glass
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she couldn't scream
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in blood and pain
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no word would do
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or will ever do
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she felt the end of the world
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Fujiko is more beautiful because of her scars
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Fujiko is more beautiful because many men and women have loved her
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Fujiko is more beautiful because she has lived alone
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Fujiko is more beautiful because she has taught many students
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Fujiko is more beautiful because she has always
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loved Hiroshima
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Fujiko is more beautiful because she plans to live
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in a tiny farmhouse there
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Fujiko is more beautiful because she does not fear
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the inevitable cancer
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Fujiko is more beautiful because of her peace
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The wormy scar on her neck
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tells the folly of history.
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@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
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########################################################################
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Poem by Jerome Rothenberg copyright (C) 1990 by Jerome Rothenberg. #
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Poem by Keiko Matsui Gibson copyright (C) 1990 by Keiko Matsui Gibson #
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########################################################################
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THE FOLLOWING RETROSPECTIVE APPEARED IN THE 1990 SHADOWS PROJECT CATALOGUE:
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SHADOW: THE INTERNATIONAL SHADOW PROJECT
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CALEXICO, CALIFORNIA, AUGUST-SEPTEMBER, 1989
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BY HARRY POLKINHORN, CURATOR
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The Calexico Shadow Project took place in a small gallery environment
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at the Imperial Valley campus of San Diego State University. Located
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within walking distance of the U.S.-Mexico international boundary, the
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gallery featured works by artists from all over the world. During the
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planning phase, the organizers approached Ruggero Maggi of Milan,
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Italy, who has been a key figure in the International Shadow Project
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for several years now. Long active in mail art and underground
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networking of alternative art forms, Maggi forwarded many of the works
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exhibited in Japan during the 1988 event. The sponsorship of the
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Shadow Project by the California State University marks perhaps the
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first time that the Shadow Project's goals have been so supported by a
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public agency.
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Of additional significance, of course, is our location on the border.
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Those who live in a bicultural context are acutely aware of the
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conflicts between values, beliefs, and customs which residing on the
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border exacerbates; they are also aware of the interdependence of
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people, our compelling need to acknowledge difference in order to
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survive under its mandate. As a place with little history; a social
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laboratory made up of in-migrants from central Mexico who mix with
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Mexican American, Anglo American, and other residents of southern
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California; the abrasive divide between a developed and a developing
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economy, spanned by the U.S.-controlled mass media -- as all of this
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and more, the border provides a very appropriate setting for the
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objectives and ideology of the International Shadow Project.
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Another locus of conflict and accommodation which a border environment
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manifests is of course language itself. Visual art does not transcend
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the level on which such problems occur but substitutes alternative
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sets of codes for the verbal. Interestingly, much of the work in the
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Shadow Project features both visual and verbal systems, as if to
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underscore a drive to overcome the loss of communication which takes
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place between cultures, languages, and media. In spite of these
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preconditions, these works speak bluntly: the message is one of the
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necessity for tolerance of difference if we are to survive.
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@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
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CONTRIBUTORS TO THE 1990 SHADOWS PROJECT SHOW
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A.
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Peter Ahlberg (Sweden); Casteli Alberto (Italy); Ernest Alberto
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(Mexico); Josephina Alcala Lopez (Mexico); Charles Alexander (U.S.A.);
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Mark Amerika (U.S.A.); Michael Andre (U.S.A.); Komives Andor
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(Romania); Lengyel Andras (Hungary); Antler (U.S.A.); Atmosphere
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Controlled (Denmark); Avago (Austria);
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B.
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Kun Nam Baik (Korea); Anna Banana (Canada); Vittorio Baccelli (Italy);
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Ken Baker (U.S.A.); Claudine Barbot (U.S.A.); Gerard Barbot (U.S.A.);
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Vittore Baroni (Italy); Umberto Basso (Italy); Pap Bela (Hungary); Guy
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Beining (U.S.A.); Juan di Bella (Mexico); John M. Bennett (U.S.A.);
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Giuseppe Beoeschi (Italy); Carol Berge (U.S.A.); Martha Bergland
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(U.S.A.); Daniel Berrigan (U.S.A.); Carla Bertola (Italy); Guy Bleus
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(Belgium); Giovanni Bonanno (Italy); Dario Bozzolo (Italy); Anna
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Boschi (Italy); Cesar Brandao (Brasil); McCanon Brown (U.S.A.); Joseph
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Bruchac III (U.S.A.); Equipe Bruscky (Brasil); Dietrich Buhrow (W.
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Germany); Serfio A. Burguez (Mexico); Peter Van Beveren (Belgium);
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C.
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Glauco Lendaro Camilles (Italy); Terra Candella (U.S.A.); Michael
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Catsro (U.S.A.); Giuseppe Canzi (Italy); Bruno Capati (Italy); Jorge
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Caraballo (Uruguay); Center for International Education (U.S.A.); Che
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(U.S.A.); Ryosuke Cohen (Japan); Geoffrey Cook (U.S.A.); Antonio Cirao
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(Italy); David Cole (U.S.A.); Collective of the Italian Mail Art
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Meating; Flavio Coltri (Italy); Paul Cope (England); Michel Collet
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(France); Raimondo Cortese (Australia); Costis (Greece); Gincarlo
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Cristiani (Italy); Robin Crozier (England);
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D.
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Daniel Daligand (France); Guillermo Deisler (W. Germany); Raimondo Del
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Prete (Italy); Wally Depew (U.S.A.); Jean-Claude Deprez (Belgium);
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Carlo Desiro (U.S.A.); Rino de Michele (Italy); Marcello Diotallevi
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(Italy); Bill DiMichele (U.S.A.); Desirey Dodge [Peace Post] (U.S.A.);
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Marcello Diotallevi (Italy); Matthias Dreyer (W. Germany); Andrzej
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Dudek (Poland); Francoise Duvivier (France);
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E.
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John Eberly (U.S.A.); Egg (U.S.A.); Theodore Enslin (U.S.A.); Cesar
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Espinosa (Mexico); Ever Arts (Netherlands);
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F.
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FaGaGaGa (U.S.A.); Arturo G. Fallico (U.S.A.); Rob Finlayson
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(Australia); Charles Francois (Belgium); Mariagrazia Federico (Italy);
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H.R. Friker (Switzerland); Cesar Figueiredo (Portugal); Tetsuya Fukui
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(Japan);
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G.
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V. Gabriell (Yugoslavia); Jesus Romeo Galdamez (El Salvador/Mexico);
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Kenneth Gangemi (U.S.A.); Gene Ganow (U.S.A.); Karl Gartung (U.S.A.);
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||
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Keiko Matsui Gibson (U.S.A.); Morgan Gibson (U.S.A.); Gino Gini
|
||
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(Italy); Luigi Giurandella (Italy); Bedeschi Giuseppe (Italy); Antonio
|
||
|
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Gomez (Spain); Rafael Jesus Gonzalez (U.S.A.); Mario Grandi (Italy);
|
||
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Anette and Michael Groschopp (E. Germany); Petra Grund (E. Germany);
|
||
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Pedro J. Gutierrez (Cuba); Graqciela Gutierrez Marx (Argentina);
|
||
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||
|
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H.
|
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Mayumi Handa (Japan); Lotte Rosenkilde Hansen (Denmark); Mike Hazard
|
||
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(U.S.A.); He Mi ["Beauty Surrounding"] (Japan); Scott Helmes (U.S.A.);
|
||
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John Held, Jr. (U.S.A.); Red Herring (England); Hans Hess (E.
|
||
|
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Germany); Crag Hill (U.S.A.); Alexandra Holownia-Mattmuller (W.
|
||
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Germany); Gene Hosey (U.S.A.); G. Huth (U.S.A.);
|
||
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J.
|
||
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Lou Janac (U.S.A.); Janet Janet (U.S.A.); Miroslav Janousek
|
||
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(Czechoslovakia); Chris Jensen (U.S.A.); Ko De Jonge (Netherlands);
|
||
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Gregg Jupa (U.S.A.);
|
||
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||
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||
|
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K.
|
||
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Mizuho Kakiue (Japan); Ulrich Kattensroth (W. Germany); Kowa Kato
|
||
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(Japan); Karl Kempton (U.S.A.); Detlef Kappis (E. Germany); Roberto
|
||
|
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Keppler (Brasil); Bliem Kern (U.S.A.); Paulo Klein (Brasil); Eckhard
|
||
|
|
Koenig (W. Germany); steen krarup (Denmark); Ilmar Kruusmae (Estonia -
|
||
|
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U.S.S.R.); Zvonimir Krtulovic (Yugoslavia); Jack Kronebusch (U.S.A.);
|
||
|
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Sadako Kurihara (Japan); Arto Kytohanka (Finland);
|
||
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|
||
|
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L.
|
||
|
|
La Follette/Silver Wind (U.S.A.); Kurt Landler (U.S.A.); James
|
||
|
|
Lawrence (U.S.A.); Valeria Landolfini (Italy); Freddy Lapenna (Italy);
|
||
|
|
Herald Lehnardt (W. Germany); Michael Leigh (England); Carmen Leon
|
||
|
|
(U.S.A.); torbjorn lime (Sweden); Joel Lipman (U.S.A.); Oranzo Liuzzi
|
||
|
|
(Italy); Richard Long (England); marco lorenzoni (Italy); Luce
|
||
|
|
(Belgium); Serse Luigetti (Italy); Solamito Luigino (Italy); Freddy
|
||
|
|
Lupenna (Italy);
|
||
|
|
|
||
|
|
M.
|
||
|
|
Jackson Mac Low (U.S.A.); ManWoman (Canada); Ruggero Maggi (Italy);
|
||
|
|
Olga Maggiera (Italy); Reima Makinen (Finland); William Mann (U.S.A.);
|
||
|
|
Roberto Marchi (Italy); Stephen-Paul Martin (U.S.A.); S. Martinou
|
||
|
|
(Greece); Mata (Spain); Antonella Mattei (Italy); Alina McDonald
|
||
|
|
(Australia); Herbert A. Meyer (W. Germany); Ruth Miles (U.S.A.);
|
||
|
|
Cynthia Miller (U.S.A.); Angela & Henning Mittendorf (W. Germany);
|
||
|
|
Kusacic Miro (Yugoslavia); Seiko Miyazaki (Japan); Adele Monaca
|
||
|
|
(Italy); Rene Montes (France); Emilio Morandi (Italy); Chris Mosdell
|
||
|
|
(Japan); Jack Moskovitz (U.S.A.); Rodrigo Munoz (Mexico); Roman
|
||
|
|
Mszynski (Poland); Caroline Muchhala (U.S.A.); Nathan Muchhala
|
||
|
|
(U.S.A.); Kazunori Murakami (Japan);
|
||
|
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|
||
|
|
N.
|
||
|
|
Shigeru Nakayama (Japan); Steve Nelson-Raney (U.S.A.); Giorio Nelva
|
||
|
|
(Italy); Rea Nikonova (U.S.S.R.); Mogens ollo Nielsen (Denmark);
|
||
|
|
Norman Conquest (U.S.A.); Jean-Pierre Naud (France); Hugo Pontes
|
||
|
|
(Brasil);
|
||
|
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|
||
|
|
O.
|
||
|
|
Atsuko Ochiai (Japan); Aloys Ohlman (W. Germany); Makoto Okuno
|
||
|
|
(Japan); Andrea Ovcinnicoff (Italy);
|
||
|
|
|
||
|
|
P.
|
||
|
|
Clemente Padin (Uruguay); Massimo Pattaro (Italy); Shane Paul
|
||
|
|
(U.S.A.); Teresinka Pereira (U.S.A.); Michele Perfetti (Italy); Pawel
|
||
|
|
Petasz (Poland); Michael Joseph Phillips (U.S.A.); Stuart Pid
|
||
|
|
(U.S.A.); Barry Edgar Pilcher (England); bruno pollacci (Italy); Harry
|
||
|
|
Polkinhorn (U.S.A.); Jeff Poniewaz (U.S.A.); Bern Porter (U.S.A.);
|
||
|
|
|
||
|
|
Q.
|
||
|
|
Julio Quispe (Peru);
|
||
|
|
|
||
|
|
R.
|
||
|
|
Robert Rehfeldt (W. Germany); Sherry Jo Reniker (Japan); Tulio
|
||
|
|
Restrepo (Colombia); Harland Ristau (U.S.A.); M.P. Fanna Roncoroni
|
||
|
|
(Italy); Waclaw Ropiecki (Poland); Salvatore de Rosa (Italy); Erika
|
||
|
|
Rothenberg (U.S.A.); Jerome Rothenberg (U.S.A.); Rupocinski (Poland);
|
||
|
|
|
||
|
|
S.
|
||
|
|
Mako Sakoda (Japan); Loredana Sanganelli (Italy); Vesselin Sariev
|
||
|
|
(Bulgaria); Marco Sbizzera (U.S.A.); C. Schneck (U.S.A.); Wolfgang
|
||
|
|
Scholtz (W. Germany); Serge Segay (U.S.S.R.); Jan Serr (U.S.A.);
|
||
|
|
Lucien Seul (France); Shozo Shimamoto (Japan); Shmuel (U.S.A.); Marie
|
||
|
|
Snell (U.S.A.); Fulgor C. Silvi (Italy); Maria Rosa Simoni (Austria);
|
||
|
|
Christopher Skiba (Poland); Valter Smokovic (Yugoslavia); Elson B.
|
||
|
|
Snow (U.S.A.); John Solt (U.S.A.); Pete Spence (U.S.A.); Chuck Stake
|
||
|
|
(Canada); Joachim Stangle (Italy); State of Being (U.S.A.); Manfred
|
||
|
|
Stirnemann (Switzerland); Marcel Stussi (Switzerland); Giovanni Strada
|
||
|
|
(Italy);Russell Swabe (U.S.A.); Arthur Sze (U.S.A.);
|
||
|
|
|
||
|
|
T.
|
||
|
|
Piero Tacconi (Italy); Mukata Takamura (Japan); Kazuyoshi Takeishi
|
||
|
|
(Japan); Ruben Tani (Uruguay); Anne Tardos (U.S.A.); Nathaniel Tarn
|
||
|
|
(U.S.A.); Harvey Taylor (U.S.A.); Andre Tisma (Yugoslavia); Jean
|
||
|
|
Toyama (U.S.A.); Roberta Tyree/Holt (U.S.A.);
|
||
|
|
|
||
|
|
V.
|
||
|
|
Jose VdBroucke (Belgium); Franco Vallone (Italy); Alma Luz Villanueva
|
||
|
|
(U.S.A.); Jules Villanueva-Castano (U.S.A.); Martha Villegas (U.S.A.);
|
||
|
|
Justo Vigil (Peru); Stephen Vicary (U.S.A.); Alberto Vitacchio
|
||
|
|
(Italy); Candido Vetia (Spain);
|
||
|
|
|
||
|
|
W.
|
||
|
|
David Waite (U.S.A.); Joy Walsh (U.S.A.); Tamotso Watanabe (Japan);
|
||
|
|
Achim Weigelt (W. Germany); Franz-Milan Wirth (Austria);Don Wellman
|
||
|
|
(U.S.A.); Peter Witkauski (U.S.A.); Phil Woods (U.S.A.); Ruth Wulf-
|
||
|
|
Rehfeldt (W. Germany); Gerd Wunderer (Austria);
|
||
|
|
|
||
|
|
Y.
|
||
|
|
Richard J. Yost (U.S.A.); Karl Young (U.S.A.);
|
||
|
|
|
||
|
|
Z.
|
||
|
|
Maria Grazia Zamparini (Italy); Biro Zozsef (Hungary); Roberto Zito
|
||
|
|
(Italy);
|
||
|
|
|
||
|
|
|
||
|
|
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
|
||
|
|
|
||
|
|
For more information on Shadows projects contact Karl Young
|
||
|
|
|
||
|
|
karlyoung@delphi.com
|