Richard Herzog
Taylor Pilote
Natalie Dunham
Judy Gelles
Bear Kirkpatrick
Ira Upin
Anna Olsson
Randy Burman
Jaber AlAzmeh
Oscar Fuentes

As the state’s only large format magazine competition, for our 3rd consecutive year IRREVERSIBLE has introduced the work of thousands – local, estate, national and international artists – working in all media: emerging, mid-career, and established artists.  Our annual Featured Artists Competition reinforces Irreversible commitment to artists, provides professional exhibition opportunities for emerging artists, and reveals a provocative and aggressive glimpse – through artists’ eyes – of the state-of-the-art today through paintings, sculpture, photographs, video and installations. The results of the Featured Artists contest were based on the judge’s extensive experience and knowledge of works that engage audiences with contemporary visual art, creative thinking, and most importantly; an educational component inspiring future generations. The presentation and technical merits of each entry were extremely important, as well as the quality of the work and the information provided in the application.

There is no doubt an artist grows by leaps and bounds when he or she puts artwork in the public eye for feedback, and that is what this art competitions is all about. History, patronage, commissions, and incredible opportunities have all been prizes afforded to winners of major art competitions. Big part of my dream is that IRREVERSIBLE PROJECTS, EXHIBITIONS AND THE MAGAZINE further the reach and spectrum of opportunities available for an artist of any experience level and medium.

Please note you are invited to the physical exhibition that will take place at the Museum of Contemporary Art, North Miami MOCA Nov 12, 2014

Thank you very much for entering our competition, CONGRATULATIONS!
Noor Blazekovic
Founder Publisher/ Chief Editor at large

Cocktail Reception
Introduction by The Museum of Contemporary Art North Miami Director, Babacar M’Bow

The Museum of Contemporary Art North Miami
770 NE 125th St, Miami, FL 33161

November 12, 2014
4- 9 PM


Richard Herzog

SONY DSC Creeping Ivy
Laser-cut Acrylic Mirrors, Hand-cut Vinyl, Wood, Steel
18’ x 32’ x 1.5’

As a child growing up I had no interest in reading fantasy or science fiction books-a great contrast to the rest of my family. I devoured all the biographical books and articles I could find. I especially liked reading about inventors, explorers and scientists. My fascination was more than about their accomplishments; it was an appreciation for their determination. These people placed all they had in what they believed, they were willing to take chances, and were willing to risk their lives. They gave me a glimpse into the possibilities in the world. Anything could be accomplished if you had the determination, drive and belief in yourself. My entire family is rooted in the hard sciences physics, chemistry and mathematics. The explanation of the world, what exists and how it works drives them to explore and learn. They are happy in this never-ending journey, always traveling down new paths looking for answers. I am not interested in explaining the world, but to put it into a different context. I examine parts of society and nature to bring awareness to these elements and alter the viewer’s perceptions. My goal is to make them look at things a bit different and consider the world they live in more closely.


As an artist I do not have the answers, I feel my role is more like an activist. I do not create work with a political agenda nor have a politically motivated view. My role is to bring awareness to the society in which we live and to the subjects, objects and ideas that permeate our culture in a subordinate or subversive manner.

My current work explores botanical forms, the lack of interaction between man and nature, our disconnection from this environment and the ‘artificalization’ of nature, natural spaces and all things living. These sculptures talk about organization and the chaotic nature within natural and man-made forms. I look at how items are composed and they’re many parts, then abstract their elements-keeping true to there inherit qualities. Some sculptures are more organic in form as if growing or flowing from group to group, mimicking ivy or spring flowers sprouting here and there. All a combination of a systematic organization of natural forms possessing a chaotic multi-layered visual effect creating a metaphor of our world, dominated by its rapid pace and over-stimulation.


IRREVERSIBLE PROJECTS Galerie BEDDINGTONG FINE ART Two Openings / Deux Vernissages Saturday 19th July 2014 6pm – 9pm




IRREVERSIBLE PROJECTS Two Openings / Deux Vernissages
Saturday 19th July 2014 6pm – 9pm Galerie Beddington Fine Art


Guy and Michèle Beddington both follow a family tradition,
as members of both families in every generation since the 19th century
have been closely involved in the Arts, either as patrons, experts, dealers or as artists.

Long-time admirers of the Midi, and permanent residents nowadays, they exhibit well-known Contemporary Artists on two floors of a magnificent 18th century ‘Maison de Maître’ on the south-facing ramparts of the mediaeval village of Bargemon, where they also display works from their eclectic collections from other periods.

They work with museums and offer an art consultancy service to private clients, architects and to interior designers covering all aspects from the sourcing, purchase and sale of works of art to advice on valuation and insurance.

BEDDINGTON FINE ART Les Remparts 83830 Bargemon Var Provence – France



DUTCH LIGHT Everything happens in the landscape

To dutch painter Ramon Otting (1969), the landscape is a huge source of inspiration. The landscape reflects our moods, is enjoyable, can heal, or gives cause for contemplation. Otting’s work is all about nature and what it does to us human beings. This interaction is essential. An almost physical ominous threat is present in many of his land- and seascapes. Sometimes in dark and stormy skies, sometimes in overwhelming lightness. The superior power of nature compared to man, who will always lose, is palpable.

“I’d love to literally transfer nature’s behavior onto canvas. To paint like that is like almost merging with nature, even though there’s always some sense of shaping the image. But of course this is never attainable, this can only happen in nature. Sometimes you can also go too far, so you fall over, but that’s good too. In the end it’s all about the endeavour, because we can never really attain nature’s perfection. We’ll always be confronted with our shortcomings and insignificance. But it’s a requisite for us humans to persevere, on the road to the goal. Even though essentially you’re not, or only hardly, doing anything new.”

More and more, Otting’s work concentrates on building the wholeness to be found in nature. From low viewpoints and using terroir, Otting shows us the beauty and wealth of form and colour in nature. The looseness of his painting opens up his work even more and strengthens the power in the details. Paintings which capture that wondrous effect of light upon universal landscapes based on the rich Dutch cultural background. Dutch Light.

Helena Stork, Art Historian

Alejandro Portrait


Alejandro Mendoza is one of Cuba’s most diverse and intensely driven contemporary sculptors.  His career in the U.S., particularly in South Florida, has had far-reaching impact.  His work is constantly evolving yet maintains an aesthetic and personal integrity.  His sculpture, in particular, is unafraid of venturing into different themes and tones–from defense of natural world to explorations of the personal and collective unconscious.  His work boldly explores a wide range of formal concerns and draws on and fuses such diverse references as nature, urban detritus, and the dream state, and he does this in works whose deceptive simplicity and presentational immediacy allows them to be enjoyed by people with cultivated and popular tastes alike.

Mendoza genuinely embraces the role of sculpture and art in general as a motor for change in the world.  For all the audacious experimentation in style and media Mendoza engages in, he does not cater to effete sensibilities and settles to have his work admired by smug illuminati.  His “Giants in the City,” for example, has gathered dozens of inflatable sculptures by international artists specifically created for this project.  Mendoza has taken them to numerous venues and installed them in publicly accessible grounds, permitting the general population to enjoy the various works whose impact range from the whimsical to the enigmatic and from the purely aesthetic to the socially conscious.  Whether it be in his own powerful and distinctive work or in projects such as “Giants,” Mendoza’s spirit is the same–art is a fundamental social and personal need, an undeniable and irrepressible force in our personal and collective presence in this world.

ART CRITIC Ricardo Pau-Llosa


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It’s tempting to see the years 1912–25 and 1947–70 as the two golden ages of abstract art, and to feel that the present revival of abstraction is no more than a silver age. But the present is always deceptive: it was not evident to their contemporaries that Malevich, Mondrian, and Pollock were the towering giants they seem to us in retrospect. The fact is, there is a vast amount of good abstract art being made today, and the best of it is every bit as good as the best abstract art of the past. The golden age of abstraction is right now.

Museums and art centers have lately been taking a remarkable interest in abstract art, past and present. Last year, MoMA opened “Inventing Abstraction, 1910–1925”; the Guggenheim offered “Art of Another Kind,” comparing American and European abstraction of the 1950s; “Destroy the Picture,” at the Museum of Contemporary Art, Los Angeles, explored the fascination with dirty, distressed materials among artists of the same era; the Musée d’art contemporain de Montréal traced theimpressive history of Canadian abstraction since 1939; the Hunter College/Times Square Gallery presented “Conceptual Abstraction,” a survey (which I curated with Joachim Pissarro) of 20 abstract painters who came to prominence in New York in the 1980s; and MUDAM (the Musée d’Art Moderne) in Luxembourg gathered 23 contemporary European artists in “Les Détours de l’abstraction.” Already in 2013, the Walker Art Center in Minneapolis has opened “Painter Painter,” a survey of emerging abstract painters from both the U.S. and Europe, and next month, the Museum of Contemporary Art in Chicago opens “MCA DNA Chicago Conceptual Abstraction,1986–1995,” with works in various mediums.

How do we make sense of all this activity in a type of art that was declared dead 40 years ago? I believe the most useful way to understand abstraction is not in terms of its formal evolution (which does not, in any case, fit the linear models beloved of theoreticians) but in terms of thematic content. The formal qualities of an abstract painting or sculpture are significant not in themselves but as part of the work’s expressive message. Artists work by reviving and transforming archetypes from the unconscious of modern culture. Therefore, the most useful questions to ask about contemporary abstract painting or sculpture are: What themes and forms does it retrieve from the tradition of modern art? How have they been changed? And how has the artist used them to express the social, political, and spiritual experience of our own time?




Amanda Madrigal was born and raised in Miami, Florida, where she attended one of the most prestigious art magnets in the country, New World School of the Arts. The school soon became a true home and family to her and offered the foundation she needed for her next journey, acquiring a bachelors degree in fine arts at Maryland Institute College of Arts. Amanda recently graduated from MICA in the Spring of 2013 with a major in Fiber Art and is currently living and working in Miami.

I began working on this piece from the inside out, both literally and figuratively. It is a circular object, created using a single element crochet technique, beginning in the center and working outward. The form is reminiscent of a polar grid, the same basic structure used to create a doily, but in this case, on a huge scale. I think about this piece as both a release of energy and collection of time. A way for me to transfigure the energy inside of me into something outside myself, and tangible; evidence. The piece was created using mostly donated and found materials that I would cut up and rip into long strips which I then crocheted into the final product, a large circular net. The simple and repetitive actions felt so necessary to me, they became a way to capture the fleeting time. The net is a physical construct made to collect my thoughts, ideas, feelings, and memories. Formulated from thousands of stitches, I would tear things apart and put them back together, stronger and united as a whole.

As the piece grew larger, it would consume the surrounding space so that I was no longer working around the net, but it was working around me. Forming a sort of back and forth between me and this extension of myself, constantly growing with every knot. Each layer of color that was added would transform the piece into something completely different, and watching this object spill effortlessly from my body I felt connected to the space around me. This idea began to provide a deep feeling of release.

The work became a mirror of the energy and time I put in to it. I saw a place to observe and experience abundance, flexibility, expansiveness and endless possibilities.





Ouroboros is a discussion of the beautiful process of birth-death-rebirth


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9 artists Deserving such of Honorable Recognition NSU Museum of Art Fort Lauderdale The Miami Generation:Revisited


Panel Discussion / The Miami Generation: Revisited

Panel discussion with exhibition artists Mario Bencomo, Maria Brito, Humberto Calzada, Pablo Cano, Emilio Falero and César Trasobares, who are part of an influential group of first generation of Cuban exiles who received their artistic education in the United States. Moderated by Helen L. Kohen and Juan A. Martinez, Ph.D.
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9 artists Deserving such of Honorable Recognition.In 1983, Miami’s former Cuban Museum of Arts and Culture presented the groundbreaking exhibition The Miami Generation, which represented a pivotal moment in South Florida’s cultural history and brought together for the first time nine emerging artists from Miami’s Cuban exile community who were part of a first generation that received its artistic education in the United States. Now, more than 30 years later, NSU Museum of Art Fort Lauderdale picks up where this exhibition left off, with The Miami Generation:Revisited, a new exhibition featuring works created since 1983 by the original nine artists: Mario Bencomo, María Brito, Humberto Calzada, Pablo Cano, Emilio Falero, Fernando García, Juan González, Carlos Maciá, and César Trasobares.

IRREVERSIBLE Cover Featured artist Pablo Cano

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2014 Culture Keeper Award to Noor Blazekovic, the Publisher of IRREVERSIBLE Magazine.

The Florida Africana Studies Consortium (FLASC) presented their 2014 Culture Keeper Award to Noor Blazekovic, the Publisher of IRREVERSIBLE Magazine. For over the last 8 years, IRREVERSIBLE has sustained a critical engagement with contemporary visual expressions contributing to the rise of South Florida as a global cultural center.

Locally published with incontestable global reach, IRREVERSIBLE has positioned Miami at the center of international debates on contemporary cultural issues.


The achievements of this publication owe much to Mrs. Blazekovic’s commitment, dedication and passion for the arts. By these means, we salute Mrs. NOOR as a Culture Keeper for her contributions to making the South Florida art scene a better place for all.



Babacar M’Bow: The city of North Miami has appointed Mr. M’Bow as the director for the Museum of Contemporary Art. Babacar M’Bow, is the managing editor of the Encyclopedia of the African Disapora and founder of the Multitudes Contemporary Art Gallery in Little Haiti.

   Noor&Babacar Noor&Award 

The award was presented during the 10th Annual Symposium scheduled at the Museum of Contemporary Art of North Miami (MOcaNomi) Saturday June 14, 2014 @4PM.

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IRREVERSIBLE is seeking contemporary visual artists for our 2014 juried competition!

IRREVERSIBLE is seeking contemporary visual artists for our 2014 juried competition. Winning work will be published by IRREVERSIBLE Limited Edition Magazine during Art Basel Miami week Dec 2014. Enjoy other opportunities to win as ten (10) artists will be selected by a panel or highly noted jurors for recognition in Publication and through a physical exhibition. “Irreversible – an International art project – is a pioneering exhibition platform for all projects that transcend the classical art show including small format, large scale installations, theatrical events, mixed media, video projections, massive sculptures, music, live performances & unlimited kids programs.”

Keyword: Irreversible


ARTIST needs to create an artist profile
Creating a profile is easy. To open a CaFETM Artist account, provide us with your basic contact information. To get started, click here.
Your account information may refer to an individual artist, or may reflect a team of up to three artists (appropriate for some calls).
You may have separate CaFETM accounts for each purpose.

2. SLIDE SHOW BOX bottom green box reads VIEW CALLS click here!

3. Keyword Irreversible click GO


Entry fee $45 (4 images) with a $5.00 fee for each additional JPG. NOTE: Maximize your chances with a judge. Minimun suggested application 10 images (total paypal fee $70). There are several things that artists can do to maximize their chances with competition judges; to draw more attention to an entry, an artwork should have strong composition, and use strong values with sharp, high contrasts to catch the eye. “Enter the works that have the strongest compositions.” “Irreversible look for the best work that shows a mastery of drawing, composition, color and technique.” If you want the best chance of getting an award, we think you have a better chance with a series of larger works than a very small, few images or tiny work.”

Entry Guidelines:

Open to all professional artists from all backgrounds: emerging, mid career, established, national and international artists over 18 years of age.

Winning Work : will be published by IRREVERSIBLE Limited Edition Magazine during Art Basel Miami week Dec 2014. Enjoy other opportunities to win as ten (10) artists will be selected by a panel or highly noted jurors for recognition in Publication and through a physical exhibition.

Eligibility: This call for submission is open to all residents of the U.S. and its Territories also welcomes international artists; working and leaving overseas, 18 years of age or older.


IRREVERSIBLE 2014 Feature magazine competition



(3) Full pages Critic’s Review Artist Award
Cash Prize & Physical Exhibition”

2 Full pages Group Profile & Physical Exhibition. Oversize Work, Assemblages, Upcycled Recycled materials and Installations are WELCOME, but must meet all other specifications and be delivered, installed and removed by the artist (or their agent) upon arrangement with IRREVERSIBLE staff.

1 Full page Profile & Physical Exhibition


Paypal fee $45 for a total of 4 images (you need to use code 1185 when checking out of

$70 fee for a total of (10) images CC checking out of



2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida, Gallery Owner Elizabeth San Juan & Jonathan Baez


2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida, Noor Blazekovic founder Publisher/ Irreversible Projects- Exhibitions -The Magazine
Winner Tiago(China)  and Gallery owner Elizabeth San Juan


2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida,


2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida, Dario Posada



2013 IRREVERSIBLE Winners Exhibition Gallery 2014 Hollywood Florida.




2014-04-26 16.31.50

MariaGrazia Todaro ArtDirector

info @
tel 3346447738


2014-04-27 17.46.35

Alejandro Mendoza
Cuba USA

Alejandro Mendoza provides a visual vocabulary that signals the recognition that the transactions of peoples brought together result in profound disruptions and adjustments that require an active process of forging new identities. Mutan Series then prompts to ask: What does the artworks, and expressive forms generally, tell us about this process that exceeds what analytical and historical accounts by themselves can reveal? Are there more general lessons to be learn here about the problematic of subjectivity, particularly regarding the role of affect? And are these the forms through which identities and ways of life can be re-figured? For Mendoza, it is through the activities of recalculating/calibrating that locations are transformed into place of meaning. The works presented in Art Monaco 2014 provide cues for finding adequate formulas.




In his art Dirk Janssens explores the positive and emotional aspects of the basic concept of being human. His work is a tribute to life and love, purely instinctive, in a completely unique language. His works are an investigative transformation; it is far from arbitrary, and represents a willful, passionate craving for almost unattainable and utopian Love. At the same time, this art offers comfort, as it fires an enthusiasm for life and inspiration; in fact it’s a tireless courting of passion itself.

The artist forces himself to convert every single feeling of frustration into pure life force. Whether futile or intense, the expression shows an iron will, an unfailing passion and an enduring optimism that is deep-rooted in the artist himself. By doing so he makes his audience contemplate their own happiness.

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Gerald Hartinger
Seilergasse 9
1010 Vienna

Within just a few years, the Gerald Hartinger Fine Arts Gallery has made a name for itself far beyond Austria’s borders. Today, it owns one of the most relevant pop art collections in Europe. The focus of the gallery is classic American pop art from artists such as Andy Warhol, Roy Lichtenstein and Tom Wesselmann who nowadays have become icons themselves, as well as neo-pop art, with works by Keith Haring, Steve Kaufman, Russell Young, Burton Morris and the rising star, Romero Britto. Furthermore, the gallery has in its possession, probably uniquely in Europe, works by Ringo Starr and John Lennon.



The Gallery aims to appeal to all art enthusiasts. An international network with good contacts and extensive knowledge of the market and the subject matter allows the gallery to provide assistance to clients and prospective buyers in every phase of acquisition – from research and expertise to auction and transfer. As far as art investment is concerned, however, the emotional value should be considered even for very stable and profitable assets: the ability of a work of art to touch us in a new way over and over again, to – as Picasso so beautifully said – wash away from our souls the dust of everyday life


Dirk Janssens Belgium
Art Mónaco’14, French Riviera
April 24 – April 27 2014

Dirk Janssens lives and works in Leuven, Belgium. During his childhood, he worked in the studio of his father, sculptor and artist Freddy Janssens. That is where he learned how to sketch, paint, use and understand materials and techniques. He painted portraits, abstract works, worldly wisdoms and quotes on canvas.

After years of intense research and study, Janssens made his first collection in 2010. He named it Made in Wonderland. It was one of the most popular shows to be exhibited at CATM CHELSEA, New York in 2011. He continued his professional career as an artist with his second collection, Lost in Wonderland, debuting at the BAH – Belgian Art House, where his work was welcomed with great excitement and proved most successful. There his work was displayed with some of the greatest contemporary Belgian artists, including, Luc Tuymans, Michael Borremans, Arne Quinze, Hans Op de Beeck and Jan De Cock.