From the catalogue of the painting projects exhibition at IULM university, Milan 1995


I have lived in Italy almost a quarter of century. Wandering, I travelled along the peninsula many times. To feel places, perhaps to feel myself.

And now I am searching for the magnificent views more specifically. Seven. It is an emphasis of many building-symbols, marks of themselves. But I need to meet a hundred sage men and see other places even more adequate.

I need to meet a hundred architects and painters and poets to see other wonderful symbols representing the Fine Arts...


The seven wonders of the ancient world...

The great Pyramid of Giza, the Hanging Gardens of Babylon, the statue of Zeus in Olympia, the temple of Artemis in Ephesus, the Mausoleum of Alicarnasso, the Colossus of Rhodes, the beacon of Alexandria.

For many centuries people's identification and identity.


The short period of our old modern world is coming to an end. Two symbols, two models: the Tour Eiffel of the past century and the recent glass pyramid of the Louvre Museum.

Our new world, that will not be modern or post-modern, has no wonderful monument:

We must listen to hear the true voices of a new feeling for beauty.

Seven wonderful temples. Today:
The Music Temple, the Painting Temple, the Sculpture Temple, the Literature Temple, the Dance Temple, the Cinema Temple and the Temple of Immaterial Arts.

In marble and granite, a hundred meter high if possible.

Temples, exhibition spaces and telematic archives of the entire world Fine Arts.


Armed with microscopes, artists find in today's life one or some of their own fragments.

While Kandinsky was still worried about the idea of an objective and spiritual fruition, the Academy post-Duchamp and post-Malevich, has given power to any object or behaviour of those who want to introduce values and alphabets.

This reality produces myriads of small rewarding adventures. To be kind enough, we could say that now the artist activity is an extremely interiorised one. Many are the artists, and art
and everything. This seems reassuring and alive in a making philosophy, a life philosophy and in a methodology one.

Looking back, one could be even more convinced to believe in progress: the ancient world, the world in the centuries of the 7 wonders, was tending most probably toward an exterior vision of life, really exterior or less interior than our present world is. It seems that some dictators (or politicians) entrusted some (or many) valid artists, with tasks that they accomplished in an exemplary way. And society, or societies, and peoples, busy with other problems, where indifferent and not much involved. It could have been.

I look at some Eighteenth-century engravings representing the 7 wonders. They are a plausible depiction because many civilizations left their description for each monument in the course of the centuries.

I feel sad. I watch from the window (from any window). In little more than a hundred years we have built straight and high lines most of all, as for example our houses, smooth and clean, one over the other infinitely, vertically and horizontally, where everything and nothing can happen... All smooth and free.
I look at my dusty microscopes.
I close my eyes and see the Colossus of Rhodes with his legs stretched apart and ships passing under, while children play around the little toe of his left foot...

I open my eyes again and see my children playing around the feet (which feet?) of the Two Twins (but which Twins?).

Of parallelepipeds.

Alzek Misheff

New York - Milan, April 1995