FOREWORD

The Year 2001 was an extraordinary one. The Year thatwas declared the United Nations Year of Dialogue AmongCivilizations by the General Assembly was marked by aheightened sense of mistrust and insecurity that made theimportance of continuous dialogue even greater. The need fordialogue between cultures and traditions did not diminishafter 11 September 2001; it took on added urgency. TheUnited Nations Office at Geneva and Member Statesresponded by intensifying efforts to overcome prejudice andhatred through cultural interaction.

For a number of Years, UNOG has actively beenadvancing dialogue among civilizations by providing an openand inclusive forum for cultural engagement. The officialUnited Nations Year of Dialogue among Civilizations gavefurther impetus to the programme and inspired us tobroaden the scope of activities. It afforded us with a welcomeopportunity to reaffirm our belief in the value of diversity.

In close and fruitful collaboration with Permanent Missions, UN agencies and programmesand our Host City and Country, UNOG hosted over 80 cultural events to commemorate the Yearof Dialogue Among Civilizations. The wide spectrum of art forms included concerts, film festi-vals, theatre performances and exhibitions. These activities were supplemented by a series of lec-tures, conferences and discussions in order to reach beyond the cultural sphere and engage theintellectual community.

The exceptional variety of events compelled us to reflect upon the remarkable richness andcomplexity of civilizations. They impressed upon us the intrinsic dynamism of cultural expres-sion. Civilizations are not unitary and static concepts. They consist of many layers and carry dif-ferent meanings for different people and for different generations. Crucially, the many eventshighlighted how cultures have been transformed and re-interpreted through external contacts.Civilizations have mutually inspired and stimulated each other; they have grown and beenenriched through interaction. The diverse activities also underlined that tolerance and accept-ance are hallmarks of all civilizations and that universal values of respect and freedom unite usacross lines of race, creed and ethnic affiliation.

Art is the creative articulation of basic conditions and sentiments shared by the wholehuman family. It is a particularly powerful medium for cultivating cross-cultural appreciation.Cultural exchange is thus not an adjunct to the work of the United Nations but is central to over-coming those fears of differences that too often are sources of conflict. It epitomizes the centralethos of the United Nations and our commitment to cultural plurality, and as such it is at theheart of our efforts to promote peace.

Direct involvement of Permanent Missions and our Host City was key to the success ofUNOG’s cultural programme within the framework of the Dialogue Among Civilizations. Timeand energy devoted to individual events by an ever-increasing number of Missions is the culturalforum’s main strength. Constructive cooperation between UNOG and Permanent Missions andamong Permanent Missions themselves in the organization of events is in itself an illustrativemanifestation of a dialogue among civilizations. The enthusiastic reception of events acrossnational and regional lines remains a source of inspiration for us in our daily work.

The ambitious cultural agenda for the Year 2002 demonstrates that the vibrant artisticengagement continues beyond the designated timeframe of the Year of Dialogue Among Civili-zations. We, at the United Nations Office at Geneva, look forward to playing an active part inthe continuation of this dialogue together with Member States and bringing the on-going cele-bration of differences to an even wider audience.

Vladimir Petrovsky

Director-GeneralUnited Nations Office at Geneva

December 2001

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CONTENTS

Page

FOREWORD ........................................................................................... 1

INTRODUCTION ..................................................................................... 5

VIII. THE PANORAMA OF EXHIBITIONS ............................................ 9

VIII. CONCERT AT THE UNITED NATIONS OFFICE AT GENEVA .... 15

VIII. CULTURAL TALKS .................................................................... 19

IIIV. FILM FESTIVALS ....................................................................... 25

IIIV. THEATRICAL EXPRESSION IN THE SERVICE OF DIALOGUE ...... 30

IIVI. CULTURAL PUBLICATIONS BY UNOG IN 2001 .......................... 31

IVII. DONATIONS OF WORK OF ART TO UNOG IN 2001..................... 34

VIII. OPENING OF THE PALAIS DES NATIONS TO CULTURAL ACTIVITIES 56

VIX. IMPLEMENTATION OF THE ARCHIVE REFORM.............................. 59

ANNEXES

VIII. —Calendar of exhibitions, 2001............................................. 63

VIII. —Provisional calendar of exhibitions, 2002........................... 78

VIII. —Permanent Missions which participated in the culturalVIII. —activities of the United Nations Office at Geneva in 2001 90

VIII. —Permanent Missions which participated in the culturalVIII. — activities of the United Nations Office from 1993 upVIII. — to 2001 ............................................................................... 91

VIII. —Guidelines, rules ................................................................. 93

VIII. —Management of archives and files at UNOG...................... 98

VIII. —UNOG Cultural Activities Committee ............................... 103

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Introduction

Every aspect of the cultural programme of UNOG bears theimprint of the United Nations Year for Dialogue among Civilizations.UNOG has made a very substantial contribution to theimplementation of the General Assembly resolution in question, andthe Permanent Missions have committed themselves with dynamismand originality.

The following Permanent Missions have contributed to thisexceptional Year: Albania, Armenia (Republic of), Belgium, Chile,China (People’s Republic of), Cuba, Cyprus, Finland, France,Germany, Hungary, Iran (Islamic Republic of), Israel, Italy, IvoryCoast, Japan, Kazakhstan (Republic of), Korea (Republic of),Lebanon, Malta, Moldova, Mongolia, People’s Democratic Republicof Algeria, Portugal, Romania, Russian Federation, Saudi Arabia(Kingdom of), Senegal, Sweden, Switzerland, Tunisia, Turkey,Ukraine, the United States of America and the InternationalOrganization of La Francophonie.

Five types of cultural events–exhibitions, talks, concerts, filmfestivals and theatrical performances–were organized.

1. Of the 62 exhibitions mounted in 2001, 32 were organizedwithin the framework of the United Nations Year for Dialogue amongCivilizations. They were organized with the support of 26 PermanentMissions to UNOG.

2. Ten concerts were organized by 10 Permanent Missions tothe UNOG. They consisted of classical, jazz and choral concerts andalso concerts of traditional music, the genuine cultural heritage ofNations.

3. Nine talks were organized by nine Permanent Missions.They gave writers, academicians, architects, historians and artistsan opportunity to compare their experiences, their writings and their

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views on the world and to express their conceptions of dialogueamong civilizations.

4. Three film festivals were organized, two in cooperationwith the North-South Media Festival and the Black Movie Festival ofGeneva, and a Festival of Iranian Contemporary Cinema. A Swissfilm adapted from a novel by Rachid el-Daïf, a Lebanese writer, borewitness to the multicultural dimension of this very special Year.

5. An original theatrical event enabled the French and Swisstheatres to join together on the basis of a milestone text by HansMagnus Enzensberger and at the same time marked the beginning ofa new type of cooperation with Geneva’s Théâtre Saint-Gervais.

These 55 major events permitted the involvement of intellectualand artistic society in the celebration of 2001, the United NationsYear for Dialogue among Civilizations. But over and above theconsiderable efforts made for that unique Year, other cultural eventswere organized at UNOG or with its support, bringing the totalnumber of events organized in 2001 to 90.

This rare and imaginative programme deserves a few generaland specific remarks from which lessons for the future can bedrawn..

The notion of dialogue among civilizations did not cease toexist on 31 December 2001. It is a response to an international needcalling for positive action by Member States and the United Nations.This new approach to the relationship between culture and politicsenhances the importance of solidarity, the spirit of tolerance and thefunction of dialogue. The heritage of humankind is a source ofinspiration which can facilitate understanding among peoples and adialogue of cultures.

This appeal to civil society is leading the United Nations toexplore in greater depth the subject of human relationships. In 2001,many artists, writers, philosophers, filmmakers and individuals fromthe world of theatre made the effort to propose, through the universeof their creativity and their conceptions of art, a different approachto the problems of the world. Their visions of reality, their capacityto innovate and their sense of dialogue all contain lessons for ourinstitutions.

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The cooperation which has developed between UNOG and thePermanent Missions Reveals a common desire to bear witness to thecultures of the world through the art and creations of different countries.Moreover, new synergies have emerged between different artisticconceptions which have created unexpected but timely relationships,dialogues between countries with different cultures on a commonunderlying base and a common theme–in a word, a shared desire to betogether and to work together.

During this exceptional Year culture has facilitated greater opennessand dialogue. Meetings have occurred which in normal times would nothave taken place; concerts have been organized bringing togetherorchestras belonging to different civilizations; talks have brought togetherwriters who would probably have never met. This new dialectic is not theoutcome of a dichotomic or stereotyped pattern of thinking, but rather afacility designed to constitute an important guideline for development andthe solution of problems.

For UNOG the Year 2001 was not only an opportunity not only toparticipate in the common effort decided on by the United Nations GeneralAssembly but also to create a splendid structure for the revelation oftalents, initiatives and meetings. In 2002 we intend to continue thesevisible efforts and direct our activities towards a creative culture oftolerance and peace.

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I. The panorama of exhibitions

Sixty-two exhibitions were staged at the Palais des Nations in 2001.There were 47 in 1998, 46 in 1999 and 52 in 2000. This increase is asubstantial one and is evidence of an exceptional cultural vitality. Theseevents, taken together with the celebration of the United Nations Year forDialogue among Civilizations, during which other events were alsoorganized, illustrate the level of active participation of the PermanentMissions to the United Nations.

A brief analysis of the programme of exhibitions reveals a wide rangeof differing projects, forms and contents. Although exhibitionsaccompanying conferences are still an essential part of the programme,WHO, ILO, UNESCO and OCHA have mounted dynamic presentations.Although the principle of not providing facilities for exhibitions by non-governmental organizations has been maintained, certain exceptions havebeen allowed where the exhibitions in question have been sponsored byPermanent Missions or UN Departments. This was, for instance, the casewith Médecins sans frontières or the Maecenas World PatrimonyFoundation. Within the premises of UN itself the Year 2001 was markedby an exhibition of United Nations posters, by the United NationsDepartment of Public Information in New York, two exhibitions mountedby the United Nations Women’s Guild and the now traditional exhibitionsorganized by the Library of the United Nations Office at Geneva (UNOG)both in the form of archive presentations and in cyberspace generally.

The following countries mounted exhibitions in 2001:

• Albania, two exhibitions of contemporary Albanian painting, thefirst with a spiritual theme, the second focussing on light andcolour;

• People’s Democratic Republic of Algeria, an exhibition on St.Augustine, mounted jointly with the Permanent Mission of Swit-zerland;

• Armenia, an exhibition of contemporary Armenian painting;

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• Belgium, an exhibition of works by Roger Somville, painter, pro-posed by the French Community of Belgium and the WalloonRegion and including a tapestry entitled The Triumph of Peace;

• Chile, an exhibition of watercolours by Patricia Sperje and a trib-ute to Pablo Neruda, the famous Chilean poet;

• the Peoples Republic of China, an exhibition of paintings by thecontemporary Chinese artist Xu Dongdong;

• Cyprus, an exhibition of photographs illustrating both the coun-try and the different aspects of photographic art in Cyprus;

• Finland, together with the Haute Ecole darts appliqués deGenève (Geneva Applied Arts Institute), the Alvar Aalto Foun-dation and the UNOG Library, organized an exhibition on theAlvar Aalto libraries entitled Architecture to read;

• France, with several exhibitions of paintings, ranging fromworks by Guy Péron to those of Mahin, Guy Breniaux, RogerBonafé and Léon Zanella;

• Germany, an exhibition of engravings by Otto Dix and KätheKollwitz held in the archives of the League of Nations;

• Hungary, an exhibition of paintings by Abdelijeva Bahit, ayoung artist;

• the Islamic Republic of Iran, two exhibitions on traditional Ira-nian art, calligraphy and miniatures;

• Israel, an exhibition of paintings by mentally handicapped per-sons;

• Italy, an exhibition of sculptures inspired by Carrara marble enti-tled Metaphysics of form: the language of abstract sculpture;

• Japan, as part of an exhibition organized jointly with the Perma-nent Mission of France as a tribute to Balthus, with paintings bySetsuko and jewellery by Harumi;

• the Republic of Korea, paintings on the subject of ParadiseRegained by a young Korean woman artist, Jeong-Ae Ju;

• Malta, during a major art festival lasting a week, an exhibition ofworks by young Maltese painters and a selection of sculpturesand photographs;

• Moldova, an exhibition of paintings by Alexander David;

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• Portugal, an exhibition of photographs by Sergio da Silva enti-tled Water, mirror of the world);

• the Russian Federation proposed an exhibition of sculptures byElena Surovtseva and Vladimir Surovtsev entitled Russiansteppe, Horses and Women and an exhibition of paintings byGalina Kulaeva;

• the Kingdom of Saudi Arabia, an exhibition of paintings by ayoung Saudi artist, Nawal Mossali;

• Senegal, photographs by Jean Bossardet together with paintingsby Momar Seck;

• Sweden, an exhibition of sculptures by Cecilia Rodhe entitledLénergie au fémnin;

• Switzerland, an exhibition of photographs, books and multime-dia material on Saint Augustine. This exhibition was organizedin cooperation with the Permanent Mission of People’s Demo-cratic Republic of Algeria and mounted together with FribourgUniversity Library;

• Turkey, an exhibition of paintings by Nafizé Güleryüz entitledFaces of Year 2000;

• Ukraine, an exhibition of paintings by Boris Mikhaylov;.

• the United States of America, an exhibition of paintings by JanAronson and a presentation of the Fredericks family’s excep-tional collection of Navajo Indian art.

In 2001, 27 countries, individually or in cooperation, organizedexhibitions in the Palais des Nations. Africa, America, Asia and Europe allpresented a wide variety of aspects of their cultures. Tradition andmodernity rubbed shoulders with one another with respect for multiethniccultures and in a spirit of tolerance.

The Year 2001 was unusual in that it was marked by a desire on thepart of Permanent Missions to contribute to the dialogue amongcivilizations, a desire by departments to provide backup for the lecturesthey organize and a determination on the part of the different players in thePalais des Nations to develop communication between the many eventshappening in different places. This new concept of a “cultural space” isintroducing behaviour patterns more in harmony with civil society and theinternational community.

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In addition to these events, sponsored by Member States and the hostcountry, mention must be made of the participation of other institutionswhich organized events during the Year 2001, each in its own particularway. The International Organization of La Francophonie (OIF) entertainedus with an exhibition in story form entitled “Si la langue française m’étaitcontée” (a child’s history of the French language). It also offered us anunprecedented exhibition of photographs of Africa taken by Africans; itwas organized in cooperation with the magazine “Revue noire” and held atthe same time as the festival of African photography in Bamako. It waspresented in a Faxculture broadcast on the French-speaking Swisstelevision channel with Manu Dibango. Another area of cooperationproved decisive for UNOG, namely that started by the GenevaEthnographic Museum, an exceptionally privileged place for meetingsbetween civilizations and for multiethnic culture. An exceptionally closedialogue has developed with this museum which is the harbinger of the“esplanade of the worlds”. An exhibition of photographs on “the road toSamarkand” was followed by an exhibition on the Navajo Indians entitled“Timeless Images: The Fredericks Family Collection of Native AmericanArt” which presented Mimbre pottery, Hopi “Kachina” statuettes andNavajo blankets. The last original facet of the Year 2001 reflected thecontinuing and determined efforts of the Maecenas World PatrimonyFoundation, which presented two brilliant exhibitions–“Sun Kingdoms ofthe Americas” presenting pre-Colombian art, and Chinese porcelain fromthe “A Dutch Taste of China” collection, reflecting the passion for an artof the table as a vision of the world prevalent in Europe during the 17th and18th centuries–in a highly unusual place: the Library Cyberspace.

During 2001 the Cultural Activities Committee of the UNOG soughtto give special prominence to art works by UNOG officials and the latter’swish to join in the dialogue among civilizations. As the action of the Socio-Cultural Committee was as usual discreet and the role of the book clubsdecisive, two artists were highlighted on grounds of their talent and theirapproaches to the world and to existence, namely Sergio da Silva by meansof his photographs and Fung by means of his paintings. They illustratewonderfully that, as Claudio Magris (Erasmus Prize, 2001) said, “dialogueis never destined to end differences; on the contrary, dialogue takes placein diversity, that is to say, with frontiers”.

Marking a high point in this series of events, the United NationsWomen’s Guild once again demonstrated its dynamic qualities. In additionto the now traditional Bazaar, which is a manifestly successful

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multicultural event, the Women’s Guild organized an auction of a numberof paintings for humanitarian aims under the direction of Simon de Puryand with the artistic participation of Ms. Nane Annan. The tapestries ofMadeleine Laübli-Steiner, together with the very refined ceramic figuresby Claude Presset Albana, were also presented in the context of the Bazaar.All these activities are evidence of the constant concern of the Women’sGuild to promote a multiethnic cultural climate within the Palais desNations, to which the Permanent Missions to the United Nations readilyrespond.

The range and variety of all these exhibitions are reminiscent of anopen fan showing its multiple coloured facets. In all, thirty-five exhibitionsof paintings, eleven of photographs, five of sculptures, two of engravings,two of ceramic figures, one of tapestries and one of architecture took place.

The range of subjects has broadened and become more diversifiedthan in previous Years. Artistic forms are finding it easier to combine, artassociations are being created and short cultural events covering individualcountries are being organized; an international cultural reality, defining anunusual type of forum for dialogue, is taking shape.

The UNOG Library, which coordinates cultural activities, hasorganized or supported a variety of exhibitions , based either on its owncollections of documents or archives or on clearly enunciated intellectualor artistic curiosities. Its exhibitions have included Sergio da Silva’sphotographs on water, engravings by Courbet presented by the GustaveCourbet museum in

Ornans, the personal archives of Prince Firouz Nosratdoleh, Persiandelegate to the League of Nations in 1919-1920, the illustrated history ofthe French language by the OIF, the watercolours by Patricia Sperje, theceramic figures by Liliane Stücki, the architecture of libraries by AlvarAalto and participation in “the spirit of Geneva in the service of peace” bythe unique exhibition of archives entitled “From the League of Nations tothe United Nations”.

A high point of the series of events organized by the PermanentMissions or by the UNOG itself has been an exhibition entitled “Trésorsde la collection des œuvres d’art de l’Office européen des Nations Unies àGenève, de la SDN à nos jours” and held in the Palais des Nations. It wasdesigned to reveal the artistic wealth of UNOG and to launch the referencebook entitled “Representing humanity: UN Art Collection in Geneva”.

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Finally, within the framework of the United Nations Year ofDialogue among Civilizations, UNOG has associated itself withexhibitions taking place in the city of Geneva reflecting the multiculturalspirit of this exceptional Year. Four exhibitions of this kind were selected:an exhibition of photographs by a Nigerian artist, J.D. Okhai O’Jeikere,together with an exhibition of photographs of hairstyles by the fashionphotographer Elfie Semotan, at the Museum of Modern and ContemporaryArt (MAMCO); “Ostia, the port of ancient Rome” and “Reflections of theDivine” at the Art and History Museum; and “Feathers, ferns, flowers andlacquerware from the Japan of the Meiji and Taisho periods in the Baurcollections”.

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II. Concert at the United Nations

Ten concerts were held at the United Nations during 2001. They wereorganized by the Permanent Missions to the United Nations Office atGeneva and offered a world-wide panorama representing the art of thedifferent countries. The following, in chronological order, were theconcerts organized:

2.1. Permanent Mission of the People’s Republic of China to the UnitedNations and other international organizations in Switzerland

• Concert by the “Milky Way” Youngster Television Art Group.This children’s choir is very famous in China and Asia. Today itconsists of some 300 members, practising disciplines such aschoral singing and the dance, theatre and opera. Its chief conduc-tor is Nie Zhongming, President of the Chinese Choral Associa-tion; he was assisted at this event by Zhao Renjie, Vice-Presidentof the Yanian Musicians’ Association. Date: 22 January 2001

Place: Assembly Hall, Palais des Nations

2.2. As part of the programme for the Year of Dialogue amongCivilizations, a concert was organized by Prestige Artists Geneva inconjunction with All Blues.

• That concert brought together the American bassist Ray Brown,the Jamaican pianist Monty Alexander and the young Americanguitarist Russell Malone. The trio gave a performance in the Vic-toria Hall, Geneva.Date: 5 April 2001Place: Victoria Hall, Geneva

2.3. The National Orchestra of Iran and the Geneva Chamber Orchestragave a joint concert in the Victoria Hall with the sponsorship of thePermanent Mission of the Islamic Republic of Iran to the United

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Nations and other international organizations in Geneva and theGeneva Diplomatic Club.

• The National Orchestra of Iran was conducted by FarhadFakhreddini. It played in particular works by Hossein Alizadeh,Habibollah Salehi, Mohammed Sarir and Darvish Khan; theGeneva Chamber Orchestra played music by Haydn; and the twoorchestras played together Iranian and Western pieces withDaniel Klajner, the conductor of the Geneva Chamber Orchestra,conducting.

Date: 2 July 2001

Place: Victoria Hall, Geneva

2.4. Permanent Mission of Israel to the United Nations Office and theSpecialized Agencies in Geneva

• Sivan Silver and Gil Garburg gave a concert for two pianos in thePalais des Nations. The two musicians, born in 1976 and 1975respectively, played works by Serge Rachmaninoff, FelixMendelssohn, Robert Schumann, S. Natra and Maurice Ravel.

Date: 3 May 2001

Place: Assembly Hall, Palais des Nations

2.5. Vladimir Spivakov Internation Philanthropic Foundation, presentedby the Permanent Mission of the Russian Federation to the UnitedNations Office and other international organizations withheadquarters in Geneva

• This musical concert introduced the new generation of musiciansof the 21st century, represented here by Nikolai Altynov (violin),Galina Avdonina (piano) and Dimitri Kuznetsov (saxophone).They played works by Tchaikovsky, Tsimbalist, Prokofiev,Medtner, Avdonina, Mussorgsky and Stravinsky.

Date: 5 October 2001

Place: Palais des Nations, Hall 14

2.6. Permanent Mission of the Republic of Armenia to the UnitedNations Office and other international organizations in Geneva, withthe support of the Geneva Diplomatic Club.

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• This concert was given in celebration of the 10th anniversary ofthe Republic of Armenia. It was conducted by Aram Ghara-bekian. The programme consisted of works by Beethoven,Mozart, Mirzoyan, Hairapetian and Schubert.Date: 21 October 2001Place: Victoria Hall, Geneva

2.7. Permanent Mission of Tunisia to the United Nations Office atGeneva and specialized agencies in Switzerland. This concert wasorganized by Prestige Artists Geneva.

• This concert, which borrowed from both jazz and Arab tradi-tional music, was given by Anouar Brahem, a Tunisian musician,and his group. Anouar Brahem plays the oud, a traditional instru-ment now found in many countries. He was accompanied by Bar-baros Erkösi, a Turkish clarinettist of Gypsy origin, and LassadHosni, a percussionist who plays the bendir and the darbouka.Anouar Brahem was a pupil of the master Ali Sriti, with whomhe acquired a far-reaching knowledge of intellectual Arab music. Date: 16 November 2001Place: St. Gervais Temple

2.8 Permanent Mision of the Republic of Kazakhstan to the UnitedNations Office and other international organizations in Geneva

• Jania Aubakirova, winner of the Grand Prix of the MargueriteLong and Jacques Thibaud international competition in Paris,gave a piano recital at the Palais des Nations. She played a selec-tion of works by Frederic Chopin. Since 1983 she has been ateacher at the Kurmangazy international conservatoire of Kaza-khstan. Date : 29 November 2001Place: Palais des Nations, Hall 14

2.9 Permanent Mission of Malta to the United Nations Office andspecialized agencies in Geneva

• During the Malta week which took place in the Palais desNations from 28 November to 2 December 2001, two Maltese

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orchestras–the Nicolo Isouard Philharmonic Society and theSanta Marija Philharmonic Society–gave a joint concert in thepresence of the President of the Republic of Malta. The pro-gramme included works by Niccolo Isouard, Charles Camilleriand Giuseppe Verdi. The conductors of the two orchestras wereEmmanuel Spagnol and Paul Busuttil respectively. Date : 29 November 2001Place: Assembly Hall, Palais des Nations

2.10 Permanent Mission of Romania to the United Nations Office andspecialized agencies in Switzerland

• A concert of Christmas carols was organized with the artiste Ste-fan Hrusca. The historical and folk traditions of Maramures, innorthern Romania, were memorably illustrated by the artiste,who admirably succeeds in combining Christian spirituality withthe artistic dimension of life. Date: 7 December 2001Place: Palais des Nations, Hall 14

In addition, the Orchestre de la Suisse romande gave its traditionalconcert in the Victoria Hall in Geneva on the occasion of the 56thanniversary of the signature of the United Nations Charter.

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III. Cultural talks

The United Nations Office at Geneva organized a series of talksdesigned to showcase thinking on dialogue among civilizations.Philosophers, writers and artists from all over the world were invited togive talks or to take part in discussions on the subject of the United NationsYear or on their own literary or artistic activities having a bearing on thedifferent cultural activities proposed.

The talks presented during the Year were as follows:

3.1. On 7 May 2001 the United States Embassy in Berne proposed anoriginal talk entitled “Timeless images: arts and traditions ofAmerica through the ages”. Two very different writers took thefloor on the subject of the American Indians, their approach andtheir identity; Ambassador J. Richard Fredericks acted asmoderator.

Tony Berlant, an American artist and a specialist in American art,spoke in particular of Mimbre pottery, the Kachina statuettes of the Hopiand Navajo blankets. He described the veneration of the Indian tribes forthe universe and man and the scale of their exchanges across the enormousspace which America had developed into. Tony Berlant is the co-author of“Walking Beauty: the Navajo and their Blankets” and the co-founder ofthe Mimbre Foundation, which specializes in the study of the old Mimbrecivilization of south-western America.

Yves Berger, a French novelist and director of the Bernard Grassetpublishing house in Paris, explained how fascinated he was by the NorthAmerican minorities. He described how dream and work had becomeintermingled in his mind in a single passionate quest for the Indian, thepeculiar nature of the Indian and the “Indies”. His writings, such as “LeSud”, “Le Fou d’Amérique”, “Les Matins du nouveau monde”, “La Pierreet le Saguaro” or “L’attrapeur d’ombres”, radiate a love for travel and hisconstant celebration of the vast American plains. The latest edition of his

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book entitled “Les Indiens des plaines” is a lyrical celebration of the SierraNevada and the Rocky Mountains.

Date : 7 May 2001

Place: Palais des Nations, Hall XII

3.2. The Permanent Mission of Germany to the United Nations Officeand other international organizations in Geneva invited UrsulaZeller to give a talk on Käthe Kollwitz and Otto Dix. The talkprovided an introduction to the “Art against Wart” exhibitionorganized in the Palais des Nations with material from the Leagueof Nations archives.

Ursula Zeller is the Conservator and Chief of the Arts Department ofthe Institute for Foreign Cultural Relations in Stuttgart. She has publisheda number of articles and books on contemporary art and has organized anumber of exhibitions by German artists. In 1991 she took part in theimportant exhibition on Otto Dix, organized in the Berlin National Galleryand the “Galerie” in the city of Stuttgart.

Date: 19 June 2001

Place: Palais des Nations, Hall XII

3.3. The Geneva office of the International Organization of LaFrancophonie presented a talk by the Ivorian novelist AhmadouKourouma. The core subject of the talk–magic and literature inAfrica–gave rise to a substantial exchange of views between thespeaker and his listeners on the subject of African literature and itsinsertion into the multicultural dialogue.

“Les soleils des indépendances” appeared in 1968. At first it wasrejected on account of its bold treatment of the French language, happilyadapting it to the rhythms of Malinké, and its vitriolic recounting ofAfrican history during the 1960s. “French, he said, is a plural language.We former African colonials have inherited it; but we must establish ourown territory within it so as to be able to express our own feelings andreality”. He was awarded the Inter book prize in 1999 for his “En attendant

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le vote des bêtes sauvage”; he has now won the Laureate of the Goncourtdes Lycéens and the Prix Renaudot for “Allah n’est pas obligé”.

Date: 21 June 2001

Place: Palais des Nations, Hall XII

3.4. The Permanent Missions of France and Japan to the United NationsOffice and the international organizations in Geneva organized anexhibition of works of Setsuko and Harumi as a tribute to Balthuson 3-28 September 2001.

To introduce this exhibition a talk by Jean Leymarie on Balthus’s artand his century was organized. The talk, entitled “Balthus entre la Suisseet l’Extrême Orient” (Balthus between Switzerland and the Far East),provided an overview of Balthus’s work, covering its essential themes andtracing both his geographical journeyings and his artistic development.

Jean Leymarie was an assistant at the Louvre Museum andsubsequently Conservator at the Grenoble Museum. He taught for 12Years at the Universities of Geneva and Lausanne. He went on to becomedirector of the National Museum of Modern Art in Paris and then of theEcole du Louvre before succeeding Balthus as director of the Academy ofFrance at the Villa Medicis in Rome.

He has written a number of books on ancient art, but the greater partof his work is about contemporary art, ranging from Balthus to Tal Coat.He is an unsurpassable guide to 20th-century art.

Date: 3 September 2001

Place: Palais des Nations, Hall XII

3.5. With the support of the Permanent Mission of the LebaneseRepublic to the United Nations Office at Geneva and the specializedagencies in Switzerland, a talk by the Lebanese novelist Rachid-el-Daïf was organized in the Palais des Nations.

Professor of language and literature at the University of Beirut,Rachid-el-Daïf is a notable writer in the Arabic language. He is a novelistas well as a poet. His best-known work is certainly “Passage aucrépuscule”, from which a film was made by the Swiss director SimonEdelstein. Author of “L’Insolence du serpent” or “Les Créatures de

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l’ombre” and of “Cher Monsieur Kawabata” and, more recently,“Learning English”, Rachid-el-Daïf has also written more scholarly workson rhetoric, linguistics and literature, as well as compilations of poetry,such as “L’été au tranchant de l’épée”.

Date: 10 September 2001

Place: Palais des Nations, Hall VII

3.6. The Permanent Mission of Chile to the United Nations Office atGeneva and other international organizations in Switzerland paidtribute to Pablo Neruda on the occasion of the 30th anniversary ofhis receipt of the Nobel Prize for Literature.

To introduce the exhibition on the work of Neruda organized in theUNOG Library, Volodia Teitelboim gave a talk on the works of PabloNeruda and his influence on the art of his time.

Volodia Teitelboim–writer, journalist, literary critic and politician–was both a literary critic and a notable author. His biography of PabloNeruda, published in Madrid in 1984, has been translated and published ina number of countries. He is well known as a biographer of GabrielaMistral, Vicente Huidobro and Jorge Luis Borges. He has also writtennovels such as “Hijo del salitre”, published in 1952, and memoirs such as“La guerra de Chile y una que nunca existió” on the Pinochet period.

A rigorous observer of his times, Volodia Teitelboim has a specialplace in Chile’s cultural life.

Date: October 2001

Place: Palais des Nations, Hall VII

3.7. The Permanent Mission of Malta to the United Nations Office andother international organizations in Geneva proposed a shortMaltese exhibition entitled “Malta, Crossroads of Civilizations”from 26 to 30 November 2001. It offered an opportunity to draw theattention of the Swiss and international public to the role of theuniversity in contemporary society.

Professor Roger Ellul-Micallef, Rector of the University of Malta,gave a talk on “The university: a mirror of civilizations; its past, presentand future”. He is the author of some 50 publications on medicine and

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pharmacy and has a notable experience of university history and ofdevelopments in studies undertaken in a European context.

Date: 28 November 2001

Place: Palais des Nations, Hall VII

3.8. The Permanent Mission of Finland to the United Nations Office andother international organizations in Geneva, in cooperation with theGeneva Haute école spécialisée and the UNOG Library, organizedan exhibition on the libraries built by Alvar Aalto.

Vilhelm Helander, an architect, professor, teacher and architecturalcritic, was invited to give a talk on the architecture of Alvar Aalto, andparticularly on the creation of the libraries he built in Finland, which aresome of the most original in the world.

Vilhelm Helander is a professor of history of architecture at theTechnological University of Helsinki, a member of the board of the AlvarAalto Foundation and a specialist in architectural restoration. He wasresponsible for the restoration, among other buildings, of the NationalMuseum of Helsinki, Helsinki Cathedral and the fortress on the island ofSuomenlinna.

Date: 6 December 2001

Place: Palais des Nations, Hall VII

3.9. The Permanent Mission of Switzerland to the internationalorganizations in Geneva and the Permanent Mission of the People’sDemocratic Republic of Algeria to the United Nations Office atGeneva and the international organizations in Switzerlandcooperated in the presentation of a highly original exhibitionentitled “Saint Augustin: Africanité et universalité: Augustin enterre d’Islam” (Africanity and universality: St. Augustin Islamiclands).

Before the exhibition opened, a round-table discussion entitled“Dialogue between civilizations: Saint Augustine in Algeria” took placewith Daniel Rochebin, a journalist, as moderator. Among other things, itrecounted the proceedings of a symposium held in Algiers in April 2001.It was organized by Pierre-Yves Fux, of the Foreign Affairs Department inBerne. The participants were Abderrahmane Djelfaoui, an Algerian writer

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and journalist; Charles-Henri Favrod, a Swiss writer, journalist andhistorian; Michael von Graffenried, a photographer; and OttoWermelinger, professor at the University of Fribourg and the person incharge of the scientific aspects of the symposium and the exhibition asmounted both in Algiers and in the Palais des Nations.

Date: 10 December 2001Place: Palais des Nations, Hall XI

These nine talks, of highly varied profiles and definitions, wereorganized in conjunction with the other cultural events. They constitutedoutstanding manifestations of study, research, literature and art. Thisoriginal group of cultural presentations formed the basis of a first cycle oftalks - an experiment which will be repeated in the Palais des Nations; theyhave the merit of bringing civil society face to face with internationalpolitical thinking by throwing a completely new light on it.

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IV. Film festivals

The cinema’s contribution to dialogue among civilizations liesessentially in its view of events. François Truffaut wrote: “I love thecinema because it is prosaic; it is an indirect and secret art; it conceals asmuch as it reveals”. This is what we attempted in 2001 - to reveal hiddensources in cultural differences, in Africa and Iran in particular.

Special place was given to three festivals; the Festival of IranianContemporary Cinema, which took place in the Palais des Nations inDecember 2001, and two Genevese festivals of a highly multiculturalnature–the North-South Media Festival and the Black Movie Festival.

4.1. Festival of Iranian Contemporary Cinema (10-14 December 2001)

The Iranian public had its first experience of motion pictures in 1905.By the end of the 1960s several Iranian filmmakers had succeeded inproducing unconventional films which for the first time offeredcommentaries on Iranian society.

During this period Iranian films began to achieve note atinternational festivals. Some filmmakers produced their first films–mainlyshort ones–at the Institute for the Intellectual Development of Children andYoung Adults. After the Islamic Revolution in February 1979, the Iraniancinema underwent radical change. The authorities, aware of the fact thatsociety needed an active film industry, decided to create a cinemafoundation to provide support and inspiration for both artistes and viewers;thus the Farabi Cinema Foundation was established in 1983.

The annual Fajr film festival, initiated by the Foundation in 1983,provided an opportunity for critics and filmgoers to see and evaluate thefilms produced during the Year and for the Iranian film industry tointroduce itself at various prestigious international film festivals.

The Iranian filmmakers of that time performed pioneering work byintroducing a human dimension into a dehumanized society, earning thepraise of a wide international audience. The contemporary Iranian cinema

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draws extensively on the values of its rich national culture and has solidlinks with that culture.

One of the noteworthy features of the Iranian film industry is theprominent role that women play in it. They have proved equal, and evensuperior, to men, not only as actors but also as directors, producers, cameraoperators and editors.

Another noteworthy aspect has been the spectacular development ofthe cinema for young viewers. If one considers the number of Iranian filmswhich have received awards or been nominated for prizes one is struck bythe number of films featuring children and young people and describingvarious aspects of their existence.

The salient features of most of these films is simplicity of content,honesty of acting and ability to connect with their international audience.

During this exceptional festival six films were presented:

• To be or not to be, by Kianoosh Ayari. This film was made in1998 and received the Best Screenplay Award at the 22nd CairoInternational Film Festival and the Best Film Award at the 2ndZanzibar Film Festival in 1999. The principal actors are AsalBadiie, Farhad Sharifi, Hossein Ilbeidi, Maryam Bubani, Nur-Ali Lofti and Lorik Minasiyan.

• The Pear Tree, by Dariush Mehrjui. This film, made in 1998,received the Best Film Award at the 2nd Zanzibar Film Festivalin 1999. The principal actors are: Homayun Ershadi, GolshifteFarahani, Mohammad Reza, Shaban Noori, Nematollah Gorji,Jafar Bozorgi, Maryam Majd and Maryam Moqbeli.

• The Girl in the Sneakers, by Rasoul Sadr-Ameli. This film,made in 1999, has won a number of awards: Special Mentions atthe 50th Berlin International Film Festival in 2000 and the ThirdOlympia Children Film Festival in the same Year; the BestActress Award (to Pegah Ahangarani) at the 23rd Cairo Interna-tional Film Festival in 1999 and other highly honourable awardsat different Iranian festivals. The principal actors are PegahAhangarani, Majid Hafizadeh, Akram Mohammadi, AbdolrezaAkbari and Mahmoud Jafari.

• Maternal Love, by Kamal Tabrizi. This film was made in 1998.The awards it has received include the Best Film Award at the

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4th Seoul International Family Film Festival (Seoul, 1999) andsecond prize at the Focus op den Zuiden Film Festival in Bel-gium in 2000. The principal actors are Fatemeh Motamed Aria,Hossein Soleimani, Golshid Wqbali, Jamshid Esmailkhani andMohammad Davudnejad.

The leading actress, Fatemeh Motamed Aria, was present at thescreening. She was able to make useful and interesting observations onIranian cinema, the role of women and the actual making of the film.

• Cloud and the Rising Sun, by Mahmud Kalari. This film wasmade in 1998. It won the Best Film Award at the 14th Mar delPlata International Film Festival in Argentina in that Year. Theprincipal actors are Amir Payvar, Mohammad Reza, Sharifi-Niya and Farshid Dehkhoda.

• Kandahar, by Moshen Makhmalbaf. This film was made in2001; it has been a great success with the public and has won anumber of awards, including the Jury Prize at the Cannes Inter-national Film Festival in 2001, the Federico Fellini Honor fromUNESCO in Paris in the same Year and the Best Actress Awardat the Nouveau Cinema Festival in Montreal. The principalactors are Niloufar Pazira, Hassan Tantai and Sadou Teymouri.

The director of the film, Moshen Makhmalbaf, was present at theinauguration of this exceptional festival and at the screening of the film.He took the stage to present it within the framework of the Iranian filmindustry and the current international context.

These six films, in Persian with English subtitles, were screened inthe United Nations cinema (Hall XIV). The festival was organized by thePermanent Mission of the Islamic Republic of Iran to the United NationsOffice and other international organizations in Geneva with the assistanceof the Cultural Activities Committee and the UNOG Library. AnotherIranian film festival is planned for 2002.

4.2. The North-South Media Festival

The North-South Media Festival was founded in Geneva in 1985 byJean-Philippe Rapp of Television Suisse Romande, Jacques Forster, thendirector of the Geneva Graduate Institute of Development Studies andcurrently Vice-Director of the ICRC, and Philippe Grandjean, a journaliston the Journal de Genève newspaper.

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The Festival was created 18 Years ago with the primary aim ofpromoting better circulation of documentary films on North-Southrelations and disparities among cultures and has steadily developed eversince. It currently conducts three competitions for the three principalmedia (television, radio and the printed Press); all relate to developmentissues, freedom of expression and human rights.

It seeks to promote more careful examination and thinking with theaim of improving the quality of information about the world and the majorissues of our time. Today it is an essential meeting-place for journalists andfilmmakers throughout the world and a point of contact between today’splayers and tomorrow’s partners.

During daytime hours between 26 and 30 March 2001, over 80selected documentaries from over 40 countries were shown free of chargeat the Television Suisse Romande building. In the evenings there wererepeat showings of a special selection of these films at the CAC Voltairecinema in the Maison des Arts du Grütli in Geneva.

On Friday, 30 March 2001, from 8 p.m, until midnight, an awardsceremony took place at the CAC Voltaire cinema, where the public wereable to see the award-winning films from the 2001 Festival.

Dates: 23-24 March 2001: media symposiums at the GraduateInstitute for Development Studies;

26-30 March 2001: North-South Media Festival (screeningof films)

Places: Daytime hours: Television Suisse Romande building(2 screens)Evenings: Maison des Arts du Grütli, Geneva

4.3. Black Movie Festival

This festival, which was first held 10 Years ago, seeks to reflectGeneva’s multicultural character. In 1999 the organizers decided tobroaden the range of films on show to include the three “southern“continents–Africa, Asia and South America. This Year the festival tookplace between 30 March and 8 April 2001. The film programme wasdivided into three sections: a thematic section dealing with the world ofwomen in the South; an African section; and a section devoted to Blackmusicals shared between Geneva, Paris and Milan, the result of a

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cooperative effort between Black Movie, the Racines Noires Festival andthe Festival Cinema Africano.

In agreement with the organizers, the United Nations Office atGeneva decided to include the thematic section on women in theprogramme for the Year of Dialogue among Civilizations. Everybodyknows the major role which women play in the South. “As potentialmothers, women are in a situation in which the tug-of-war betweentradition and modernity has a particular impact. They are seen, in parts ofthe world with widely differing cultures, as guardians of the home andsupervisors of family stability. What are their aspirations? And whatdegree of freedom do they have?” Carefully selected films from differentbackgrounds and geographical regions were shown in four cinemas inGeneva.

Dates: 30 March - 8 April 2001

Places: Saint Gervais, Geneva (2 screens)Places: Sputnik, L’UsinePlaces: Scala

These two Genevese festivals, with which UNOG associated itself in2001, have given the public an opportunity to view original experimentscelebrating each Year, in their own special ways, continuous forms ofdialogue among civilizations.

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V. Theatrical expression in the service of dialogue

The Year 2001 was an exceptional one for theatrical expression,which appeared in the Palais des Nations for the first time. This originalsegment of dialogue among civilizations rested on the presentation of textsselected and performed by Geneva’s Théâtre Saint-Gervais and its artisticdirector Philippe Macasdar. This theatre is a kind of research centre inGeneva where texts by authors of different origins and languages andbelonging to a wide range of cultures and civilizations can be presented -a kind of United Nations of the theatrical world, in fact..

In 2001 an unusual “conversation” was performed in the Palais desNations by two actors from the Notoire company, directed by ThierryBedard. They presented a text by Hans Magnus Enzensberger entitled“Eloge de l’analphabétisme” (In praise of illiteracy), adapted for the stageby Thierry Bedard (in: “Médiocrité et folie”, Paris, Gallimard, 1991).Reflecting on the disappearance of the written word and the need for wordsat all, Enzensberger ended his “conversation” with the following words:“Literature will continue to flourish for as long as it keeps a measure ofendurance and cunning, the ability to concentrate itself, a degree ofobstinacy and a good memory”. Howard Marshall was the performer inthis extraordinary transposition; he placed the techniques of the theatre atthe service of a brilliant text in which provocation served as a backcloth tothe demand and need for literature as a societal battlefield.

The Théâtre Saint-Gervais and its director Philippe Macasdar alsopresented a number of forms of textual expression, and in particular a textby Arrabal entitled “Le fou rire des lilliputiens” (The uncontrolled laughterof the Lilliputians) and a musical show “Si bémol” (B flat), a cantata byGiovanna Marini, performed by the Théâtre Vidy-Lausanne E.T.E. .

This unique experiment deserves to be followed up by thepresentation of other texts drawn from different languages and cultures,thus bringing to our attention forms of civilization which will gain frombeing once again evoked and rethought, or even actually revealed, in aninternational context.

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VI. Cultural publications by UNOG in 2001

In 2001 UNOG published two books on the architecture of the Palaisdes Nations and its collection of works of art. The first is entitled “Histoireet architecture du Palais des Nations, 1924-2001” and the second“Representing humanity: UN art collection in Geneva”. These two works,of a mutually complementary nature, are United Nations publications andare on sale at the United Nations bookshop at door 40.

6.1. History and architecture of the Palais des Nations, 1924-2001

This book was published in June 2001. The author, Jean-ClaudePallas, is the former Chief of the Buildings, Engineering and CustodialSection of UNOG. It consists of 432 printed pages and is illustrated bynumerous photographs either produced from the UNOG archives or takenby the Heritage and Sites Directorate of the Canton of Geneva.

This extremely exhaustive work is divided into four parts. Part I ishistorical in content. It covers the period from the birth of the League ofNations and the International Labour Organization until theirestablishment in Geneva. It also recounts the purchase of the HotelNational, which became the Palais Wilson and the first headquarters of theLeague of Nations from 1920 to 1936 and the rental of halls in Geneva forthe annual assemblies. The need to build a special edifice adapted to thegrowing needs of the League of Nations implied the organization of anarchitectural competition, with all the attendant risks and the establishmentof the necessary administrative and technical bodies. Part II containsdetailed descriptions of all the reception areas, conference and readingrooms, offices, halls and other sites in the Palais des Nations. Part IIIdescribes the two enlargements of the Palais. The first, which was carriedout in 1950-52, stemmed from the decision to locate the headquarters ofthe World Health Organization in Geneva. One of the proposals, by thearchitect Jacques Carlu, consisting of a 100-metre tower, raised a hue andcry among Geneva’s citizens. The second enlargement (1968-1973)resulted in the construction of the E building. Part IV describes the “publicareas” of the Palais–the different restaurants, bars, cafeterias, etc., for the

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staff, the delegates and the Press–and the changes made in them over theYears. The book ends with a number of portrayals of the Palais on thepostage stamps of the United Nations Postal Administration and the Swisspostal service.

This history of the Palais des Nations from 1920 to the present dayby itself constitutes a rich tapestry of Geneva and international affairs. Itshows the international premises in Geneva from the Salle de laRéformation and the Hotel Victoria to the National Hotel. It describes howin 1924 the international panel of architects laid down the specificationsfor a new working space and how the international architecturalcompetition of 1926-27 led to the selection of a “consensus” design,rejecting the Le Corbusier-Jeanneret project as too modern. In addition, itgives particular attention to the artistic decoration of the rooms: the Nabistapestries for the Assembly Hall, José Maria Sert’s frescoes for the CouncilChamber, Leleu’s Art Déco Salon français, the Cingria stained-glasswindows for the Press Bar. All these are more than just images; they areliving tableaux providing a background to conference activity, giving it aninternational identity of a European office which has left its mark on the20th century.

The book was published with the participation of the SwissConfederation and the Heritage and Sites Directorate of the Canton ofGeneva.

6.2. Representing humanity: UN Art Collection in Geneva

This book (502 pages) was published in September 2001. It wascompiled by Anneleen de Jong, the coordinator of cultural activities in theUNOG Library. Anneleen de Jong is an art historian; she studied thehistory of art and literature at the University of Leyden (Netherlands). Itcontains a large number of photographs taken by Luca Carmagnola andillustrations taken from the League of Nations archives.

The introduction by Anneleen de Jong describes with clarity thehistory of the collection–the first 10 Years; the construction of the Palaisdes Nations; the collection during the time of the United Nations; and therecent Years (1990-2001), the start of a long process of change.

The body of the book consists of an organized description of theworks of art donated successively to the League of Nations and the UN byMember States and of a number of decorations or objects acquired by the

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organizations at the time of their establishment in Geneva. Thus thepresentation of the different themes reflects the history of the Palais desNations and the moments in its history associated with the most significantworks–in a word, it offers an artistic environment unique of its kind. Thereare cartoons and portraits dating from the time of the League of Nations byPetrovic, Derzo and Kelen, Alois Derzo, Rolf Roth and also Violet Oakley,Erna Plachte, Marie Scheikevitch and Edmond Xavier Kapp. The sectionon engravings presents the major works of Käthe Kollwitz and Otto Dix aswell as engravings by Marija Mucenice, Janis Tidemanis, Richard Zarius,Niklaus Strunke, Nikolajs Riske, Karlis Krauze, Bruno Jaunsems andBodham Nowak. The majority of these engravings illustrate the horrors ofwar. The portraits and busts of Woodrow Wilson, Aristide Briand, Sir EricDrummond and Fridtjof Nansen are milestones in the internationalmemory.

This remarkably presented book goes on to describe individual worksby artists ranging from Rafael Canogar to José Guenero. The great effortsmade by Member States on the occasion of cultural events of various kindsenable us to appreciate the number and variety of the donations made toUNOG. The recent works by Robert Rauschenberg, Jochen Gerz, ErnstNeizvestny and Clemens Weiss will be appreciated. The Nabis movementand Sert will not be forgotten. One will study Campigli with care and bemoved by Henrik Sørensen or Cingria.

Every space in the Palais des Nations is today a cultural site whichdeserves attention and study. This book bears witness to those favouredmoments and to the contributions of Member States to making the Palaisdes Nations into a reference centre in which politics and culture are closelyintermingled.

The book was produced with the participation of the Canton ofGeneva, the Rapin Fund and the Permanent Missions of Germany and Italyto UNOG.

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VII. Donations of works of art to UNOG in 2001

During 2001 a wealth of artistic donations were received fromMember States. Over 20 works, from 11 countries–Chile, China, Cuba,Hungary, Italy, the Republic of Korea, Malta, Moldova, Mongolia,Portugal and the Russian Federation–were received by UNOG.

Three French artists–Mahin, Mme. Stücki and M. Breniaux–madeindividual donations; Ms. Fung, a UNOG official, also made a donationfollowing her exhibition of paintings. All in all, 14 sets of paintings,sculptures, a photograph, a symbolic object, a gift of books and a gift ofhistorical archives were received. A total of 20 artists made gifts toUNOG; some of them (such as Mahin, Patricia Sperje, Umberto Albaneseand Abdalijeva Bahti) gave several works.

Most of these works were included in “Representing humanity: theUNOG art collection”. They are placed at different sites in the Palais desNations, either in the new building close to the art gallery or in the oldbuilding at sites which are gradually being cleared for them. Some of themhave been placed in meeting rooms and form part of the decorations there.

Policy regarding gifts of works of art is governed by a number ofbasic rules, which at a later date will be refined and communicated to thePermanent Missions. The basic principle is that a donation or gift may notinfringe upon the integrity of a State or be displayed in an offensivemanner. Nor is there any obligation to display them permanently or at anyparticular place within the Palais des Nations.

A study is in progress to determine how the works can be betterdistributed throughout the Palais des Nations or in the other UN buildings;it will take into account the possibility of viewing each work in the light ofthe nature of the work itself, the sites available and possible methods ofdisplay. Not all of the approximately 800 items in the UNOG artisticcollection are on permanent display. Some of them are kept in suitableplaces of safety. Others are put on show for fixed periods as part ofthematic exhibitions; this was done during the exhibition of treasures fromthe collection of works of art belonging to the United Nations Office at

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Geneva; from the League of Nations to the present day, held from 10 to 28September 2001.

This active and continually broadening policy of art donations doesmuch to make the Palais des Nations a unique art gallery reflecting theartistic diversity, cultural differences and continuing dialogue amongcivilizations.

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Bahit Abdalijeva (Bahit) was born in Alma-Ata, Republicof Kazakhstan. She obtained her artistic education in Kazakhs-tan, Ukraine and Hungary, where she studied at the Academy ofFine Arts of Budapest.

Bahit's work is remarkable. Influenced both by Sarmato-Scythian and Arab cultures, Bahit expresses her vision of theworld in a language which is both solemn and seductive. Inspiredby classical themes, Bahit wants to guide the viewer towards thesource of mythology, to where the strength of human emotion isshaped into history. Tempted to be drenched by beauty, Bahitgoes beyond the audience’s expectations. The body of work exhi-bited at the Palais des Nations from 6 to 16 of August 2001,revealed a duality between the graphic works of an erotic charac-ter and the serenity of the paintings. Yet for Bahit sensuality

represents the elegance of a hidden beauty. Bahit is a courageous artist with a lot of talent. She mastered the painting technique and her

expression is especially strong when she follows her own imagination. Even if in some of herworks the influence of Gustave Klimt is evident, it is clear that soon she will distance herselffrom this teacher to follow only her own lead.

The four works which she has donated to the UnitedNations Office at Geneva illustrate the diversity of her œuvre.The work “Present” shows us a symbol of friendship betweentwo persons, wearing clothes of luxurious textiles. The meaningof this material splendour in Bahit's imagination can be explai-ned by the significance she gives to ancient religious rituals, inwhich outward appearance plays an important role. In religiousrituals, it is not only colours, but also geometrical ornamenta-tion that establish a link between the profane and the supernatu-ral worlds.

Another very important painting in the œuvre of this Kazakh artist is “Fallen Angel”, whichexpresses a strong sense of Pietas, of empathy, something often missing in contemporary art.One could say that Bahit’s work belongs to an international “periphery”, characterized by theways it maintains locally defined details, but at the same time is global in the sense of acceptinginfluences from other cultures sharing similar values. If there is a Kazakh specificity in the workof Bahit, it is in the faces of the women and in the folkloristic textiles and colour combinations.More global, one could say, comes out of the will to show a cohesion between the part and thewhole, between the human being and its environment, between the I and the other, always affir-ming the interdependence of humanity to its surroundings. More concretely this can be seen inthe female figures forming an integral part in Bahit’s imagery, leaving no difference betweenform, subject and arabesque adornment, while raising female nudity to the prototype of universalbalance.

Bahit Abdalijeva

Fallen Angel, no date, oil on canvas, 50 x 41 cmPresent, no date, oil on canvas, 88 x 100 cm

Khalia (Oriental sweetness,) no dateoil on canvas, 70 x 49 cm

Double, 2001, oil on canvas, 100 x 70 cmDonated by the artist, 2001

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Umberto Albanese (b.1950) does not paint toplease the viewer; rather, he understands him. Both acardiologist and a painter, Albanese explores the linkbetween the skin and the flesh, the being and the heart.His paintings, and even more the ideas behind them,inspire poetic language. In the catalogue that accompa-nied his exhibition at the Palais des Nations in February2001, the texts, written by art critics and friends, arehighly lyrical. Most of them describe how Albaneserepresents the invisible of the inner world, pointing tothe origins of symbolism, and referring subtly to PaulKlee. Albanese explains that one of his main sources ofinspiration is the way people look at his work. His moti-vation is that of someone who believes that human suf-fering has an inner cause, and depicts the complexity and darkness of this suffering by usinga background of deep shades of blue and purple. On this background he either etches ordraws symbols, mostly triangles, squares and stripes. The yellow spot that appears in mostof his works symbolizes hope, the light that announces the end of pain.

Albanese does not look to other artists to discover what or how to paint. His expe-rience as a medical scientist gives him enough material to work with. Central to life, andthis is where he sees the link between his art and his profession as a cardiologist, is the heart,both the physical and the spiritual centre of the body. Thus it is not surprising that the heart,in its symbolic form, often appears in his work.

It was only after a long period of inner struggle that the artist was able to make theselyrical abstract paintings. While working in a figurative style over a long period, paintingbeautiful landscapes and still lifes, Albanese started to search for an art form that would gobeyond reality, and be intuitive and simple. By distancing his work from the figurative hetried to find an expression for his inner world. Only then, he has explained, was he able toexpress his compassion for humankind. Today, the complete absence of the human form inhis work is the result of his conviction that the representation of the physical form alludesto reality, but has no deeper spiritual meaning. As he puts it:

The symbols and archetypes often look at me and lead me into the inner folds of mysoul. They recall most hidden emotions and suggestions. They translate and trans-mit the purity of the mind as well as the sensations of a universal language: thatof the human soul, free of any dead weight and hypocrisy.

Umberto Albanese

2000« Il Viaggio di Orfeo »

Acrylic on medium density(100 x 100 cm)

SignedDonated by the artist in 2001

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On November 15, 2001, the Government of Mongolia presented a friendship bowl to theUnited Nations Office at Geneva. With this donation, the Government of Mongolia wanted tocelebrate the country’s fortieth anniversary as a Member of the United Nations. This wonderfulpiece of craftsmanship now embellishes the third floor of the E-building. During the dedicationceremony for this gift, a performance of traditional Mongolian music and dance was held andgave a more complete perspective of the cultural richness of Mongolia. Both this event and themore permanent donation contributed in a superb manner to the activities that were organizedwithin the framework of Dialogue among Civilizations.

The offering of a silver bowl has been a sign of friendship and hospitality as well as ofpeace, tranquillity and prosperity among Mongolians for many Years.

Inspired by Tibetan Buddhist culture, Mongolian art is known for its fine decoration ofmetal accessories and symbolic and religious objects. On the friendship bowl, made in traditionalMongolian style out of pure silver and jade, are depicted the Mongolian State symbol“Soyombo” and the United Nations logo. The Soyombo symbol is the opening symbol of theSoyombo alphabet, which was created in 1686 by the famous Mongolian monk and scholarZanabazar. Modelled after the Lantsa-Dewanagari script, it can represent Mongolian as well asTibetan and Sanskrit. The script has failed to establish itself for everyday use and survivesmainly in the form of inscriptions on prayer mills and temples. The Soyombo symbol becamethe national symbol of Mongolia and, as such, can be found for instance on money, stamps andofficial documents.

The silver friendship bowl further depicts the “four friendly animals”: elephant, monkey,rabbit and pigeon, which originate from a Mongolian folktale carrying the meaning of friendshipand mutual assistance. This iconographic element is typical of Mongolian art in which zoomor-phic ornamentation plays an important role.

M. Baatarjav

2001“Mongolian silver bowl”

Jade and silvert(Height 35 cm)

Donation by the Government of Mongolia on the occa-sion of the 40th anniversary of membership to the UN

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Ubaldo Bartolini, born in Montappone(Italy) in 1944, is known for his mysteriouslandscapes. Inspired by the Romantic Move-ment, and its instigator Caspar David Friedrich(1774-1840), Bartolini has found an artistic lan-guage that evokes a voyage into the unconsciousmemory. Bartolini turned away from Concep-tual art and its rationally-based abstraction, toenroll in the Italy-based Anachronist Movementof the 1970s and 1980s. The Anachronists areoften related to the 1978 events that launched the

entire discourse on reality, identity, history, and art history. The Anachronists reactedagainst the theoretical and artistic movements hidden under the dogma of a secularised con-temporaneity. The Anachronists expressed their desire for precision and used time as a reci-tal of which the artist became the author; a character found between lived experiences,dreams and his own imagination.

“Winter Wanderers”depicts a mountainous scenery in which the viewer is located atthe edge of a rift under a cloudy and moving sky. Bartolini takes the viewer into this Arca-dian landscape, which embodies the hermetism of nature causing the irremediable solitudeof being. The oniric landscape, inundated by this void, becomes the main witness of the tra-gic destiny of man, and the dream, where the images happen regardless of the inversion oftime and space, becomes the meeting point of variety shapes of the soul. With regard to thepainting “Winter Wanderers”, the artist wrote the following:

Gli andanti specie d’inverno sono quelli che vanno senza risparmiarsi, vannopur non avendo obbiettivi attraenti, vanno attraverso un paesaggio poco rassi-curante dove l’unica certezza sono i loro passi di fronte alla tragica esperienzadel vivere.(Those wandering in winter are those who won’t spare themselves since they go

without certainty of any goal, crossing a landscape which is all but reassuring. The only cer-titude they have is each step toward the tragic experience of life.)

Bartolini has exhibited his works several times in major shows of Italian contemporaryart, all of which had a different character. He started exhibiting at the Venice Biennial in1974, participated in 1985 in “A New Romanticism: Sixteen artists from Italy” at the Hirs-hhorn Museum and Sculpture Garden in Washington D.C.. He exhibited his work on seve-ral occasions with the Italian Anachronists, such as in the 1984 show entitled “La persis-tenza del mito nella pittura e nella scultura degli anni otanta”, Centre communale di cultura,Valenza (Italy). In 2000, the Year Rome had important celebrations for its anniversary, hiswork was shown at the IX Biennial of Sacred Art, and also at at “Novecento: Arte e Storiain Italia”, the major retrospective of twentieth century Italian art.

Ubaldo Bartolini

1997“Winter wanders”

Oil on canvas(70 x 140 cm)

Donated by the Government of Italy in 2001

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Pawl Carbonaro (1948) was born in Malta as theson of painter Hugo Carbonaro. Pawl Carbonarostudied in Florence at the Académie des Beaux-andat the Graphic Art Center Santa Reparata. Ever sincehis artistic career has been defined by his affiliationwith Italy, its regional cultures and its wonderfulland- and seascapes. Carbonaro has always beenmuch of a traveller, sketching his impressions onpaper as in an eternal dialogue between man andnature. In his landscapes he goes beyond detail andstraight into the essence of panorama; that which hasonce caught his eye. In many cases the painting does not parallel a photographic reproduc-tion of the spot, but is more of an abstraction of his observation. With time this has beenfurther developed and his work is becoming minimalist in its use of colour and paint, whileone might say the concept would remain expressive as it was. Foremost in his art is the pro-cess of giving up, slowly and reassured, to the mood of the moment.

The work “La Cittadella” was shown at the exhibition “Malta: Crossroads of Civiliza-tions”, which was held at the Palais des Nations in November 2001. This exhibition gavean overview of contemporary Maltese artists and featured three works by Carbonaro. DenisVella, from the Museum of Fine Arts in Valletta, curated the exhibition. In a recent publi-cation on the artist, Vella described Carbonaro’s work as follows:

“The ‘typical’ Carbonaro painted landscape, having evolved organically since the1970’s, can now truly be said to have developed its own recognizable characteristics,and the process is in constant renewal. He gladly acknowledges an early debt to AfroBasaldella and Nicolas de Stael, both of whom had a formative role in his appraoch tocomposition and space.”

(Pawl Carbonaro. The landscapes (1999), p.91)

In his approach to painting Carbonaro is much indebted to printmaking, a techniquehe became acquainted with at the Santa Reparata Graphic Art centre in Florence in 1981.Printmaking is a technique in which spontaneity and gesture are in many ways replaced byan economy of lines and a calculated approach. In most graphic techniques, it is throughthe play of tension and release that emotion is evoked. Today, Carbonaro is one of Malta’sbest known artists in this field.

Vella concluded his text on Carbonaro with the remark that the artist’s passion forlandscapes comes out of his strong ties to nature. Therefore, Vella said, we should under-stand that these landscapes are mere “elements of a protest-cry in his persistent recall of allthat is still pure and unspoilt” (p.95)

Pawl Carbonaro

2001“La Cittadella”Oil on canvas(56 x 75,5 cm)

Donated by the Government of Malta in 2001

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Sandro Chia, born in Florence in 1946, is one of themost famous Italian contemporary artists. In the 1970s hewas part of the avant-garde of Italian figurative art, whichwas directly linked to the movement known as Transavan-guardia. In the 1980s he was characterised as “néo-expres-sionnist” and in the 1990s as “classical expressionnist” Inhis work he uses lively colours in spontaneously outlines offorms. He is known to have defended the general return topainting. The themes of his work are centered aroundGreek and Roman mythology. In his paintings but also inhis mosaics the themes may even be considered archaic,

even if they are presented in a contemporary setting defined by its use of colour and the hybridityof the representation following an iconography in which all canonical rigidity seems to beabsent. Antiquity however has taught him to use a bidimensionality for both composition andfigures suggesting timelessness and a certain static and non-human allure.

The mosaic in the UNOG collection is a good example. On a green, red and orange bac-kground, it depicts the scene where Odysseus, hero of the epic Odyssey, returns to Ithaca, hisnative land, after having been absent for over 19 Years. In spite of the long absence and the dis-guise Odysseus is wearing, in order to keep his return secret, his white dog Argus recognizesOdysseus immediately. Argos jumps up to his master to express his joy, and dies afterwards.The story of Argus symbolizes fidelity into death.

Sandro Chia has participated in the exhibition Il Mito e il Classico nell’arte contempora-nea italiana 1960-1990, which took place in 1995, and which underlined the come-back of a cer-tain classicism and indicated the importance of mythology in Italian contemporary art. The exhi-bition showed different forms of integrating these ancient themes into modern representation. Itrevealed the distance that exists between Antiquity and our era in which Antiquity is a historicalperiod, the visibility of which is hidden behind the outer walls of the museums.

This timespan does not allow more than an imaginary return, hence reaffirms the impor-tance of knowledge about an Antiquity where visual language and poetry were very much inte-grated into daily life, while being based on universal themes.

Currently living and working in New York, Sandro Chia also is inspired by contemporaryAmerican mass culture and its collective and media directed conscienceness.

Chia studied at the Art Institute and the Academy of Fine Arts in Florence from 1965 to1969. In Rome, where he lived during the 1970s, he identified with the artists of the movementArte Povera and the Conceptualists. It was also in Rome that he first started exhibiting his work.In the early 80s he directed his work towards a more figurative approach, while meeting withartists such as Cucchi, Clemente, De Maria and Paladino. With them, he set himself in theTransavanguardia movement. In 1982, he participated in Documenta VII in Kassel, Germany.In 1984, he had a major retrospective of his graphic works at the Metropolitan Museum in NewYork. In 1993, a second retrospective was held at the National Gallery in Berlin. In 1997, heorganized an anthology at the Galleria Civica de Sienne and the Palazzo Sforzesco de Milan. In2000, a mayor exhibition of his mosaics took place at the Galleria Civica in Ravenna, antiquecity known for its early Roman mosaics.

Sandro Chia

2000Sans titreMosaic

Donated by the Government of Italy in 2001

42

The work of Elvio Chiricozzi is based on the humanform which he tries to represent in such a way as toextract its beauty. By doing so, Chiricozzi distances him-self from contemporary art in which the human body isoften depicted as distorted, and even as degenerated. Inthe temptation to integrate the visual into the virtual, arthas lost its role of revering the human body, nor does itshow any more the links between man and the universe,an idea which was fundamental to that aesthetics.

Through the perfection of form and composition,Chiricozzi tries to go back to this aesthetics of life whereman is the measure of all things. It follows a classicaldefinition of beauty which has played an important rolein twentieth century art, even if this was true in a conti-nuous fight between attraction and reaction.

In Né cielo né terra, a man is seen jumping from hisfeet into emptiness, his head looking down. Surrounding him, one can see his almost ghostlyshadow in a movement that precedes the jump, arms opened towards something in the infinite.A synthesis of two images is an invitation to free oneself into the happiness of being; the energyof the impulse leading to movement is implied within the human body. This freedom of move-ment is expressed a second time, as a wink, by the stroboscopic vision of a passenger on the left,who is a true being existing outside the painting.

One could say that the painting is about repetitive states of perfection; referring to the uomouniversalis. The central character takes up all of the “ontological” part of Chiricozzi’s work. Inthe work Né cielo né terra, the importance of representing the human body in art is questioned,and especially the representation of its beauty and that of the eternal paradigm of our vision ofthe world. Regarding beauty as a concept, Elvio Chiricozzi haswritten the following poem:

Elvio Chiricozzi, born in Vitriol in 1965, lives and worksin Rome. He has presented his works on several occasions inone-man shows in Rome, all of which he gave a meaningful titleto, such as: Né cielo né terra (1998, Gallery Il Politico),L’Invenzione del pudore (1999, Studio Andrea Gobbi), Miapparisti vestita (2000, Gallery A.A.M), and La leggerezza(2000, Gallery Teatro India). In 1996 he participated in theQuadrennial of Rome, and since 1986 his works have been dis-played in more than twenty group exhibitions, both in Italy andabroad.

Elvio Chiricozzi

1999« Né cielo né terra »

Oil on canvas(269 x 189 cm)

Donated by the Government of Italy in 2001

43

Alexander David was born in Moscow in 1962. He studied at the Institute ofArts in Chisinau between 1977 and 1988, where he specialized in painting. Today helives and works in Moscow. The oil paintings of Alexander David fall into two cate-gories; examples of both his styles were exhibited at the Palais des Nations from 9 to20 April 2001.

In David’s paintings of daily life and landscapes, mainly Moldovan, the basis ofthe images is contrasts of light and shadow and the use of opposing colours. Theseworks, according to David, parallel the way that human beings perceive the world asmade up of dualities.

David’s other paintings, complementary to those of the first style, also portraythe landscapes of Moldova, where the painter was brought up, and which he hasdescribed as gentle and supportive. These works are almost monochromatic, consist-ing entirely of different shades of red, with orange tints. Perception here is translatedinto sensations of warmth and cold, into primary life experiences. In these paintings,hundreds of tubes of paint are applied to the canvas in very heavy strokes, the lifts ofthe brush creating a texture that reveals form only when viewed from a distance; thusthe images within these “red paintings” are hidden within this primary perception.

The idea of painting in this way came to David in the course of reflections uponthe unborn child, living in its mother’s womb and still unaware of the outside world asa construct of contrasts and difficulties. The prenatal stage, symbolized in theconstantly reiterated theme of motherhood, will remain forever linked to man’sconsciousness. David’s need to paint two complementary versions of our daily per-ception of reality might have its source in a personal melancholia hidden within thepainter himself.

Alexander David

1998« L’arbre de vie »

Oil on canvas(116 x 120 cm)

Donated by the Government of the Republic of Moldova, 2001

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Xu Chao, bearing the artist name Xu Dongdong, was born in Bei-jing on 14 May 1959. He studied traditional Chinese painting underLiu Haisu, Wu Zuoren and Liu Kaiqu, and completed his studies at theAcademy of Fine Arts in Beijing in 1981. In 1986 he started hisresearch into the modernity of Chinese art with the publication of thebook “Collected paintings and poems by Xu Dongdong”, in which hepaid tribute to the Chinese and Western artists who inspired him. Thisbook was an important step forward in his attempt to prepare art cri-tics to the reception of an art form combining traditional Chinese artwith forms and colors borrowed from European Modernism.

Xu is an artistic representative of the actual transformations ofhis country. Detached from Chinese avant-garde artists and theirsometimes well-pronounced revolutionary motives, Xu searches toassert his ties to the history and cultural heritage of his country. In

1990 he started the project “Following the steps of Xu Dongdong”, which involved an exhi-bition of one hundred works, which travelled to ten cities in China; a project sponsored bythe Chinese Ministry of Culture.

In 1997, Xu began his actual undertaking “The world of Xu Dongdong”; an interna-tional exhibition project leading to the main institutions in the United States of America andEurope, demonstrating the fruits of his search for a Chinese modernity. An elaborate cata-logue of all his works, entitled correspondingly, accompanied the exhibition.

It is within the framework of this last project that the works of Xu Dongdong wereexhibited within the Palais des Nations in Geneva in 2001. This exhibition, held during theYear of Dialogue among Civilizations, inspired the artist to donate one of his works, Listento a spring song amid melting snow; an excellent example of the way Xu tries to forwardhis message. The painting depicts trees in bright colours against a background of mountainscovered in snow. The dominant colour is blue, symbolizing, as the artist explained, “theunity of the elements so difficult to conceive”. The lively colours of the trees signifies abreak from traditional Chinese art in which a preference exists for monochromes. Thesebright colours testify influence of western art, but moreover symbolize the spring in whichthe modernity of Chinese art finds itself, as the slowly melting snow in this painting alsoindicates. A story which for Xu Dongdong seems to be autobiographical.

Xu Dongdong

1999“Listen to a spring song amid melting snows”

Propylene on paper(198 x 106 cm)

Donated by the artist in 2001

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The work of Jeong-Ae Ju is a message of peace. Ju was born in South Korea in 1962, andstudied oriental art in Seoul, Chinese culture in Taipei and visual arts in Paris. In December2000 she had a solo exhibition in the Palais called The paradise regained, which consisted oftwo parts. In one part she showed colourful paintings of flowers and trees depicting paradise;in the other were circular textile forms with buckle prints of the words “peace” and “love” indifferent languages. The artist explained that the paradise paintings refer to the dream, to a pas-sive consciousness of the innocent and the ethereal. They are based on a Taoist sense of unity.

The artist’s more recent work, which occupied the second part of the exhibition, came outof the awareness that change does not come from the dream alone, but that action is needed. Soshe decided to make works that inspire activity. She wrote the following lines:

“With my painting I express my vision of paradise, not as something ethereal, but ratheras pictures anchored in the concrete, in the present time, and that concern man and theentire planet. To reach the essential, I smoothly abandon the oblong classic format for cir-cular shapes, rounds, more imprinted of harmony and purity, evoking the cosmos and theuniverse. By a work of meditation on ‘love’ and ‘peace’, the research of paradise makesitself more symbolic and more spiritual. The repetition in buckle of the words ‘love’ and‘peace’ expresses a message without end, like the chorus of an eternal song. The use ofluminous letters and spangles illuminates and wakes the mind up, while inciting to medi-tation. An important place is also granted to all colours whose variety marks a symbol ofequality.”The work Peace and Love that she has donated to the UNOG belongs to these more recent

works. She uses denim to call upon the young generation, symbolizing contemporaneity.Denim, she explained, is a democratic textile that goes beyond class distinction since it is usedby everyone. The colour blue is the colour of equality. In the centre of the work there is a com-pact disk with a photograph of the President of North Korea and the President of South Korea.The historical event of their encounter is for Ju a message of happiness with which she wouldlike to congratulate her country.

Jeong-Ae Ju

2000“Peace and Love”

Textile, mixed media(Diameter 158cm)

Donated by Government of Korea in 2001

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Galina Koulaeva is an autonomous artist living and working in Siktivkar, Rus-sian Federation. If her work is folkloristic, it is of a high level, joining together a formof precious craft and the representation of popular themes. The craft she employs con-sist of a technique to attach little pieces of straw to the canvas. In her work straw isused to highlight certain aspects of the painting, and in some paintings is even orna-mental. With this technique–for which the artist owns a patent–she creates a kind ofillusionism which perfectly fits her goal of giving a more spiritual meaning to herpainting. The exhibition at the Palais des Nations showed very fine examples of thistechnique, like, for instance, the work entitled “Stephan Permsky”.

Galina Koulaeva explained that it takes her several months to complete onepainting, an that it took almost twenty Years to establish this collection of 38 paintingswhich was exhibited in Geneva. The Palais des Nations is therefore very proud to havebeen donated one of these works, entitled

“The Sanctuary”. This painting depicts a coastal region with a rocky landscapein which a sanctuary can be identified with the sculpted head of a goddess forming theentrance to a cave. The sanctuary in this painting is imaginary, and, as the artistexplained, symbolizes the need of humanity to silently refuge into nature and contem-plate one’s inner life. For Koulaeva, life reaches depth by the exercise of meditationand by a conscience of cosmic correlations. For the artist, a sanctuary does not onlyrepresent a place of worship for a specific religion, but rather a common spiritual cen-tre for contemplation where thoughts are directed towards the enlightening creationsof nature, as well as to the inventions of humanity, here symbolized by the ship.

Galina Koulaeva

2001“The Sanctuary”

Oil on canvas and application in straw(70 x 135 cm)

Donated by the artist

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La serpiente representa el mal y la paloma el bien. Pin-tar una paloma dentro del huevo de una serpiente es algo asícomo una paradoja o la expresión de un sueño o una esper-anza o quizás una alusión a cosas que pasan en la vida (ver-daderas “serpientes” que paren “palomas” o viceversa) yque a veces no notamos. En cuanto al color que distingue ala paloma sucede muchas veces que se utiliza el blanco comosimbolo de paz, pero en este caso la elección se hizo pen-sando en lo inusual de una paloma negra.

[The snake signifies the bad, and the dove the good. Torepresent the dove inside a snake’s egg is either a kind of paradox or the expression of a dream;let’s say an elusive evocation of events passing through existence. (true “snakes” giving birth to"doves", and vice versa), and which we often do not notice. It happens frequently that we usewhite as an emblematic color for the dove and as a symbol of peace; in this case the choice wasmade, unusual as it is, to depict a black dove)

The work of Juan Moreira can be understood best against its own cultural horizon. Born in1938 in Cuba, Moreira combines a syncretistic iconography with forms rooted in a Caribbeanfolklore, giving his painting a strictly metaphorical touch.

One could characterise Moreira’s art as a form of magic realism or real maravilloso, a nameused by Alejo Carpentier to distinguish European from Latin American surrealism. Art for Mor-eira is an indispensable instrument of culture which, by its very essence could never be concep-tual. Art finds its source in the human need to express individual creativity. Art is revealing innerlife; it helps to better perceive the reality of things and to develop the self (ego). If in Moreira’sart there is an allusion to the world of spirits, it is only because it co-exists with the invisible andhidden aspects of daily reality.

But these characteristics do not really exhaust the true art of Juan Moreira. A conscientiousartist, he struggled most of his life in order to create an original style and pictorial language, opento dialogue with Cuban artists from the past. For example Wifredo Lam (1902-1982). Throughsimple forms and dark colors Moreira expresses the wish to see beyond - but not necessarilybeyond reality-, and to always keep a critical eye; such we can see in his description of the work"El Huevo de la serpiente". The confrontation of the artist with his art seems to orient itself, asis the case with most artists of importance, towards an elaborate synthesis of technical anticipa-tion and coincidence.

Moreira prefers to integrate the coincidence within his creative process and to stay close tothe work in order to avoid any contradiction between the artist and the final product.

Juan Moreira studied at the San Alejandro School of Fine Arts in Havana, Cuba, where heobtained his degree in 1963. He started exhibiting in the 1960s but his true début was made withthe illustrations of the Cuban edition of El Quijote [Don Quixote], in 1972 for which he obtainedthe first prize for graphic design at a Havana art show. His work has been exhibited all over theworld, in over fifty group shows of Cuban art, and his paintings are part of the permanent col-lection of, among others, the National Museum of Fine Arts in Havana and the Museum of theAmericas in Managua (Nicaragua). In 1988 he received the National Culture Distinction ofCuba.

Juan Moreira

1996“El huevo de la serpiente” (The origin of the snake)

Acrylic on canvas(98 x 130 cm)

SignedDonated by the Government of Cuba in 2001

48

Le tableau Europe is a variation on The Card-sharpwith the Ace of Diamonds (1635) by the French artistGeorges de La Tour (1593-1652). This painting by LaTour depicts a bourgeois scene: around a card-table areseated a woman wearing a hat who is flanked by a tur-baned servant offering her a glass of wine. The womanseems to be rather distracted by the servant, while ayoung man to the right is very concentrated, hiding twocards behind his back and obviously winking to theviewer. In the painting Europe one observes the samearchetypes, but the “cheater”–wearing a cylindrical hat–does not cheat. Juxtaposing these characters, a young

boy comes about to remind the players of other values much more authentic than those of thegame of chance. The child thus points at the lovely landscape which can be observed through thetwo windows. Behind the man on the left, a deep hallway can be seen leading mysteriously to adoor at the end.

Contradictory to the painting by La Tour, in the work of Margherita de Pahlen, the cardsare not hidden but lie visibly, and the protagonist (Europe) will not be distracted either by theservant or the wine. The players in this work are pensive. Europe in the centre of the table wearsa necklace with pearls and a pendant in the form of the Orthodox Cross. In a gesture so typicalfor Christian iconography, she blesses the man to her right who is, as can be deducted from hiscloth, representing the Roman Catholic Church. With this sign she expresses the wish to over-come the schism between the Eastern and Western churches. The person to the left, representingthe East, is smoking a pipe and holds in his left hand the most important card of the game, thejoker. At his side is depicted the head of a wolf, whose eyes give the viewer an observant look.

The message of this painting is evident. Europe, uniting around the same table the East andthe West, observes historical and cultural differences and tries to open the dialogue betweenthem as to ensure their indispensable union. The absent mind however seems to suggest thatEurope is trying to lead this game towards a non-win situation, signifying the true unity of a com-mon spirituality, which will only emerge from a true reflection of what Europe is really about.

The work of Margherita Agnelli de Pahlen is directly inspired by orthodox art and iconog-raphy, which also provided the fundamentals of late medieval and early Renaissance art in theWest. In the East the icon is considered the only “true” image and the image of true faith, and allreligious art is highly influenced by the different liturgical traditions. For Margherita de Pahlentrue art follows the beauty similar to that which the hermit encountered in the desert. Mother ofeight children, the artist dedicates herself to painting when possible. Married to Count SergeïSergeïevitch de Pahlen, an Orthodox Russian, she resides in various European countries, and herfamiliarity with the diversity of different European cultures and landscapes filters through in herwork. Margerita Agnelli de Pahlen started painting in Rome in 1974 at a private school, followedlessons at the workshop of Georges Drobotte who initiated her into religious art. She has madea crucifix in the church of the Monastery San Serafino in Pistoia. Besides painting she also writespoetry, and in 1996 she published a first volume entitled Cénere [Ashes].

Margherita Agnelli de Pahlen

1998“Europe”

Oil on canvas(114 x 146 cm)

SignedDonated by the Government of Italy in 2001

49

Between Nations and the people/Between Peace and war/Between famineand welfare/Between me and you/One is waiting for … good … peace …something crucial/Something has … FALLEN/Between marble reliefsand the cracked oils/Between the gold grounds and the cloistered rooms/Between an ancient goddess and you/Something could happen … some-thing suprising/One has been waiting for Years … centuries/Somethinghas … FALLEN. …

The sculpture by Oliviero Rainaldi, donated by the Governement ofItaly in 2001, is entitled Caduti. It represents a female figure, essentiallynude, without arms, feet or face except for a suggestive nose and chin.The form is very smooth, and seems to be echoing an inner source oflight. The body is assuming a sweet sensuality. This form, introverted inits very essence, is part of a series bearing the same title. It is a variationon the theme of human essentialism. Rainaldi has searched to clarify,but especially to purify the representation of the human being to unravelits capacity as confessor. He manages to approach the human “being” byemploying a creative procedure which was described by Peter Weier-mair, in his profound analyses of Rainaldi work, as spiritualizing“heads-become-minds”. In his quest for a purified form Caduti evokesthe fresco painting by Masaccio in the Brancacci Chapel of the SantaMaria del Carmine in Florence, depicting the Exclusion from Paradise(1427-1428).

This concern about depth is welcome in the art world as an exampleof a come back of the sacred in contemporary art. The sacred here is notlinked to a specific religion nor is it an illustration of canonic texts. In the

art of Rainaldi it has more of an appearance, fallen from the sky, and rather rooted in a certainhumanism. Rainaldi creates forms which open themselves to the light which overflows theplaster; a fragile material withstanding the very instant of creative unity.

Oliviero Rainaldi, born in 1956 in Caramanico (Italy), works and lives in Rome. He hasexhibited his work since the 1970s and 80s, mainly in Italy. It is only in the 90s that his seriesCaduti starts to travel, first within Italy, mainly in the Fabjbasaglia Gallery in Rimini in 1999,but also in other countries. The series has been exhibited at shows in Florida, Antwerp, Cologneand London. Rainaldi has participated in many group exhibitions, among which should be men-tionned for the Year 2001: Cento artisti rispondono al Papa, Stauros Museum in San Gabriele ;Shapes of Mind, National Museum in Jakarta, Indonesia ; Segni de Pace, Archeological Museumof Palestrina, Italy ; L’altra metà del cielo, Modern Art Gallery in Bologna, Italy.

Oliviero Rainaldi

1998“Caduti [Fallen]”

Plaster(Height 220 cm)

Donated by the Italian Government in 2001

50

Luo Shiwu is a Chinese artist working and living in the pro-vince of Jiangxi. This province has been known for its tradition inChinese ceramics ever since the Han dynasty, and has developedthis craft into the famous Chinese porcelain of the Ming and Qingdynasties. The province has a rich source of very fine kaolin, andone of its main cities, Jingdezhen, is known as the “Capital of Cera-mics”. Today the city houses one of the most important ceramicresearch institutes, as well as many factories and a ceramicsmuseum.

Luo Shiwu studied traditional Chinese art, and specialized inceramics and calligraphy, which he studied under Fu Zhou-Hai,

one of China’s greatest modern calligraphers. Luo Shiwu has a great sense of harmony, and histechnical skills enable him to give a personal touch to this traditional way of painting. The exhi-bition of his works at the Palais des Nations, held from the 6 to the 21 of December, presentedus with an overview of the variety of his art, including calligraphy, ceramics and beautifullydetailed watercolour paintings. In all of his works, as the artist explained, there is a message onbeauty as a source of harmony.

The work “On the table” was donated by the artist after the exhibition. It is a painting inChinese ink and represents a cabbage and plate of red peppers on a table, with on the wall a pain-ting of bamboo. The modesty of the subject is characteristic of Chinese traditional art in whichmeaning is conveyed by what is not represented, by void. A blank space occupying the center ofthe painting invites the viewer to employ its own imagination on what lies beyond the represen-tation itself. As a hint, sometimes the calligraphy of a poem or the title of the work are given. Inthis particular painting one should also notice the use of red in combination with the traditionalbrown and black ink.

Luo Shiwu’s strong feeling for aesthetics comes through in the words he wrote to accom-pany this painting:

“The ultimate objective for an artist is to present the innermost feelings of his soul throughhis works. Personally, agitation and pretensiousness never appeal to me. I am attracted ins-tead by all that is associated with tranquility and harmony. In “On the table”, I seek to por-tray the purity of mind by means of presenting a commonplace object through simple sket-ches and in plain colour. The apparent simplicity of the motif belies intense feelings of theartist. It conjures up in a direct and powerful way a mood of tranquility, which, I believe,is the very basis of an enriching and fruitful life.”The exhibition at the palais des Nations was organized by the Club du livre chinois, in coo-

peration with the Association Suisse-Chine, who already had organized an exhibition of worksby this artist. An article, published on the front page of “Jiangxi Daily”, December 9, 2001,reported on the exhibition at the Palais des Nations. It mentioned the success of the exhibitionwhich was opened by the Chinese Ambassador to the United Nations in Geneva, as well as bythe President of the Suisse-Chine Association. It further mentioned that the 38 Years old artisthas now been working as a professional artist for over ten Years, and that he has had six soloexhibitions outside China, in the USA, in Japan and in Switzerland.

Luo Shiwu

2001“On the table”

Painting in Chinese ink and calligraphy on paper inscribed (in calligraphy): "On the table", drawn in the first Year of the 21st century by Luoshiwu in Da Cheng

(60 x 62 cm)Donated by the artist in 2001

51

Mahin Shoja-Dupuis (Mahin) is a painter, born inLorstan in the Islamic Republic of Iran. Today she livesand works in Paris. She has exhibited her work in Iran inthe 70s, in Germany in the 80s and in Tunisia, France andSwitzerland in the 90s. With the exhibition of her works inthe UNOG library from 11 to 28 September 2001, for thefirst time the artist has presented her collection of worksentitled “Woman and birds”. This collection was develo-ped specially for this exhibition and was inspired by thou-ghts on peace and freedom. In her speech during the inau-guration of the exhibition, Mahin explained that freedom islinked to “feelings of purity and visions of utopia whichfollow the well-balanced complicity between the bird andthe female nude, since freedom does not go along with theseverity of borders, division of the elements, inertia of the

establishment, or human selfishness.” “The actual vision of the world” the artist continues,“the political agitation, the upcoming quest for power and the ensuing conflicts, (…) havestopped me in my course and forced me to slow down. Rather than working on the notionof peace, I thus decided to contemplate freedom for a while, and then, once I would havebetter assimilated the mechanism of peace, go back to this theme with renewed strength andconviction.”

Mahin’s support of the work of the UN was symbolized byher donation of the painting “Woman and birds” as well as a seriesof sketches the painting was based upon. These small drawingsand watercolours show us in what way theartist has been searching for an expressionwhich is calm and that can best convey herutopian considerations; her dreams aboutfreedom and peace. They also exemplifyto what extent Mahin is a dedicated artistwho has a lot to offer.

Mahin Shoja-Dupuis

2001“Woman and birdsÏ

Oil on canvas(73 x 92,5 cm)

Donated by the artist in 2001

52

Sergio da Silva, born in Turcifal, Portugal in 1955, is a photographer of reflections:reflections of the world in the water, creating beautiful combinations of forms and colours,and reflections on the fundamental beauty of the element itself.

Water is a mirror of the world, not only of people, but of all that is alive. The image inthe mirror comes not to command, but is constantly there, changing with the light to othervisions of reality that have an effect upon our emotions. In a double meaning, waterfunctions as a mirror, first by reflecting images of the physical world in its surface, but alsoby reflecting in its condition a subtler state of the world. The pollution of a river indicatesthe values that the world holds, as the images reflected in it will all be troubled. The mes-sage of da Silva’s photographs, therefore, is to point to the importance of clean water. Thepositive meaning of water comes back in religion and mythology, where water is used as asymbol of purity and purification.

The photograph L’eau, miroir du monde shows a reflection of the flags of the coun-tries participating in Expo ’98 in Lisbon. The central theme of this exhibition was “oceansas patrimony for the future”. This photograph was exhibited, along with other magnificentphotographs by da Silva, in the exhibition L’eau, miroir du monde, held in the Library ofthe United Nations Office at Geneva, from 15 January to 9 March 2001.

Sergio da Silva

1998« L’eau, miroir du monde »

Photograph printed on canvas(132 x 97 cm)

Donated by the Government of Portugal, 2001

53

The work “Old Chinese painting” was renamed Soul Art after the exhibition of worksby Fung Sou (FUNG) at the Palais des Nations in August 2001. Soul Art was the name ofthe exhibition, and as the artist later realized, the very essence of her work. Educated inwatercolour techniques and calligraphy, Fung learned about the way the brush is put on thecanvas, and to see painting not as a means to an end, but as an end in itself. The paintingsby Fung are energetic, they combine colours applied in brushstrokes allowing ongoingmovement and continuity. She approaches the canvas like a sea of colour in which all mat-ter has disappeared, something which seems to please her. In 1972 Fung continued her artstudies at the Ecole des Beaux Arts in Paris, but it took 20 Years before she started to workagain as an artist. Fung has been an international civil servant since 1978, and working atthe Palais des Nations might have influenced some of her ideas about what art should belike. Today she is very conscious of the need to replace emptiness by colour and movement.Subject, as she once said, is but a pretext, meaning is in the true emotions which follow; themovement of soul coming out of it.

Fung Sou

2001“Soul art” (Old Chinese painting)

Oil on canvas(94 x 121 cm)

Donation by the artist in 2001

54

The exhibition “Recollection of places” has shown us the Chi-lean and the Swiss landscapes through the watercolours of the Chi-lean artist Patricia Sperje. The exhibition, in the framework of theYear of Dialogue among Civilizations, took place from 11 June to31 August 2001 in the Cyberspace of the UNOG library.

The title of this exhibition is significant. It offers us reflec-tions on the function of landscape as a genre in art. The landscapeas an image, as a work of art, when placed inside a house or hungon a museum wall, bring us visual or imaginary experiences, andreminds us of our bond to nature. The visual experience neverrepeats itself but it is through the intermediary of memory thatonce-lived sensations reappear. It is memory itself that is responsi-ble for the melancholy that derives from the landscape, even whenit concerns an unknown but recognizable landscape. It is related to

the perpetual paradox of a humanity enclosed by natural surroundings, which it desires to getcloser to, but which it is destined to be excluded from. It is not surprising therefore that theRomantic Movement of the 19th century placed its focus on landscape. Romantics saw in naturea superb force, overwhelming the human being whom they represented in consequent propor-tion. They believed divine laws to be inscribed in nature, which consequently enlightened theimagination of many artists. Patricia Sperje’s definition of romanticism is a modern one, thehuman being is therefore absent of her landscapes. So distinctive of the art of our time in whichthe viewer is considered to stay an outsider and offer his "seat", so to speak, to the authenticationof the artist. The artist, in return, asks the public to surrender and, in the case of Sperje, the vieweris gently taken by the hand, to partake in this delighted account.

Sperje’s love for her home country is not only shown in her landscapes but also in theaccompanying poems by Pablo Neruda and Gabriela Mistral. The work which the artist hasdonated to UNOG is entitled “Andean track" and was accompanied by the following poem:

FloresAcuérdate, me crié

con más cerros y montañasque con rosas y clavelesy sus luces y sus sombrasaún me caen a la cara.

Los cerros cuentan historiasY las casas poco o nada.

G.M.

(FlowersRemember that I grew up/with more hills and mountains/than with roses and marigolds/and itslights and shadows/are still falling on my face/The hills tell their stories/and the houses few ornone.)

Patricia Sperje

2001« Andean track »

Watercolour(74 x 55 cm)

Donated by the artist in 2001

55

Liliane Stucki is an artist of Swiss origin who studied in Lyon and at the Ecole des Artsdécoratifs in Geneva. From 3 September to 19 October, she exhibited her more recentsculptures in ceramic in the glass cases of the Cyberspace of the UNOG library. On thewalls were shown photographs of the Tuareg and the desert. Testifying a distant friendship,the exhibition was entitled: “The tradition of sand. Ceramics “The Blue Earth” by LilianeStucki.”

The ceramic works by Liliane Stucki follow in a sublime manner the tough characterof the desert, where only the wind can make decisions as everything may just shift away.The land of travellers par excellence, the desert is a place of transit, letting man find andlose his way. Protected by draped textiles, often dyed with natural blue and black tints, theTuareg are among the rare peoples that settled in the desert. It might be said that theirstrength of resistance and continuation is emblematic. Liliane Stucki has tried to expressthe uniqueness of these people whom she only knows through photographs. She tried toapproach the world of the desert by transforming clay into earthenware, covering it withwonderful cobalt enamels only emerging under high temperatures. Her artistry brings upthe encounter with the people of the desert, evoked just by an outline or the occasional sha-dow of these invisible men.

The work donated by Stucki to UNOG is especially linked to the works mentionedabove through its ecological quality. The artist is deeply conscious of the issues involvedin safeguarding our Planet, and in her work she only uses environmentally-friendly mate-rials, such as non-toxic enamels. In Terra mia she shows us the eruption of the Earth, likea naissance, and sheltered by hands. The title implies that each one of us should feel directlyconcerned by this work.

Liliane Stucki

1993-94« Terra Mia »

CeramicDonated by the artist in 2001

56

VIII. Opening the Palais des Nations to cultural activities

8.1. The cultural passport

Cultural activities at the Palais des Nations are primarily intended forpersons authorized to enter the building or who work there–as one mightexpect, Permanent Missions to the United Nations, conference delegatesand international civil servants. Cultural events are organized by MemberStates wishing to display the artistic life of their countries. There are twopossible ways of arranging secure access to these events. Firstly,particularly important events can be staged in town. Discussions are takingplace with the cultural authorities of the Canton of Geneva, which havemade attractive proposals for the loan of an exhibition hall in a house inGenthod. Secondly, selective access to the Palais des Nations can begranted, through the intermediary of associations already manifestlyinvolved in international life or for interested individuals, by issuing acultural passport governed by a few clear rules.

The rules and procedures governing the issuance of a UNOG culturalpassport are as follows:

General provisions

A cultural passport is hereby instituted, giving access to the Palaisdes Nations under the following conditions:

• The passport grants access to

–exhibitions held in public areas

–cultural events other than those for which a specific invitation isrequired)

–the bookshop, souvenir shop and philatelic sales counter

–the Library

–the restaurant and cafeteria.

57

• Passport-holders may be accompanied by members of their fam-ilies or by a single guest, for whom they shall be responsible andstay with throughout the time they are in the Palais des Nations.

• The passport may not be used in lieu of any other United Nationsidentity document in cases where special accreditation isrequired.

• While in the Palais des Nations, passport-holders undertake toobey the instructions of the security guards.

• Passport-holders may at times be denied access or asked by theSecurity Service to leave the premises immediately, withoutexplanation.

How to apply

• All applications for a cultural passport must be addressed to theChairman of the Arts and Exhibitions Committee at the UnitedNations Office at Geneva.

• The Chairman will pass the application, whether granted ordenied, to the Pass and Identification Unit, Villa des Feuillan-tines, 13, avenue de la Paix, 1211 Geneva 10.

• All enquiries relating to an application should be made to thePass and Identification Unit, no earlier then five working daysafter submission of the application. The applicant must then gothere in person to complete the necessary formalities (registra-tion, photograph, etc.).

• Passports will be valid for one Year. Applications for extensionmay be submitted following the above procedure.

• Applications for the issuance or extension of a cultural passportmay be denied without explanation.

• Current passports may be withdrawn on the same terms.

By the end of the Year 2001, 300 cultural passports had been granted;this will foster the greater accessibility to which the Office attaches theclosest attention. Two associations have benefited: the Diplomatic Club ofGeneva and the Forum suisse de politique internationale. With effect from

58

1 January 2002 a new opportunity has been opened for interestedindividuals. The latter may apply, either by letter or by completing theappropriate form, to

The Chairman of the Cultural Activities CommitteeUnited Nations Office at GenevaPalais des NationsLibraryOffice B.361211 Geneva 10

8.2. The Culture Kiosk

The Geneva Welcome Centre’s “Culture Kiosk” was officiallyinaugurated at door 6 of the Palais des Nations on 22 November 2000. It isrun by the Centre d’accueil de Genève internationale (Geneva WelcomeCentre) and has been open since 1 November 2000 from 9 a.m. to 5 p.m.

The aim of this new cultural service is to “make the internationalpresence in Geneva more open by anchoring it more firmly amidst themany cultural activities that take place in the city and the Lac Lémanregion, so as to stimulate give-and-take between the international and localcommunities”. It serves as an information desk at which conferencedelegates and, more generally, international civil servants and diplomaticstaff can obtain information on the plays, concerts and cultural eventsbeing staged in Geneva and Switzerland and reserve tickets through theon-line Billetel electronic system, which gives information on placesavailable.

This highly successful cultural service is not just a conveniencedestined for the international community. It is also a means of comingtogether, a link between the culture on offer in Switzerland andinternational multilateral undertakings and an information centre ontourism in Switzerland. It seeks to forge tighter bonds betweenSwitzerland and the United Nations, to create new synergies, to involve theinternational community more closely in the life of Geneva and to keep thepeople of Geneva themselves better informed about international life. Thisunusual kiosk is now in full swing and is a unique site for culturalexchanges which contribute significantly to life at the Palais des Nations.

Address: Palais des Nations, door 6Fax.: 022 918 02 79Tel.: 022 917 11 11

59

IX. Implementation of the archive reform

Since June 2000 the Registry, Records and Archives Unit of theUNOG Library has been responsible for the handling of both the archivesof the League of Nations and the current and historical archives of UNOG.In 2001 it began the methodological introduction of archive reform in thedifferent departments of UNOG.

The reform has two aims: first, to permit harmonization of thehandling of current files in order to increase the efficiency of the work ofthe departments; and secondly, to preserve the institutional memory of theOrganization by facilitating the regular collection of documents ofhistorical value. In addition, monitoring the life-span of files should permita more rational management of space within the Palais des Nations.

To that end circular IC/Genève/2001/55 dated 26 November 2001defines the functions and responsibilities of the Registry, Records andArchives Unit to be followed by Secretariat units and members of theSecretariat in the maintenance, transfer or destruction of their archives. Italso states the guidelines applicable to the consultation of United Nationsarchives by officials of the Organization and by the public (see below).

Specifically, the Unit is establishing, department by department,plans for the classification of files (both paper and electronic) togetherwith conservation schedules which will permit the establishment of strictrules concerning the length of time a file may be retained and its treatmentat the end of its administrative life–destruction or permanent preservationas an item of historical heritage. The Economic Commission for Europehas set up the first site for the implementation of this reform

At the same time a study is being conducted into the current situationwith regard to the treatment of electronically created documents. The aimis to introduce the technical measures which will permit the application ofthe classification and conservation procedures described above toelectronic archives in a standardized fashion in all departments.

60

Two other projects concerning archives were launched in 2001:

• to meet the needs of the International War Crimes Tribunal, theautomated description of the body of archives of the UnitedNations peacekeeping forces in the former Yugoslavia in accor-dance with the ISAD-G archive description standard was begun;

• one of the most valuable collections of League of Nationsarchives–the Nansen collection, concerning refugees between1919 and 1946–s currently being microfilmed. The project isbeing financed by the Norwegian “Fritt Ord” foundation andsupported by the Norwegian National Archives. At the same timea new description of the collection in line with the ISAD-G stan-dard is being established. Access to this information by research-ers will thereby be greatly facilitated.

All these activities, together with the projects planned forimplementation in 2002 (computerization of the management anddescription of the historical archives, digitalization of part of the Leagueof Nations archives, etc.) are designed to introduce a system of archivemanagement in UNOG which will not only comply with internationalprofessional standards but also address an increasingly widespread public,especially thanks to the new technologies.

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84

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all

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022)

917

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11

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Mus

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Mus

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69

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Ven

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H.E

. Mr.

Kse

nofo

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13

12

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Art

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917

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nne

Sal

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17 5

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1202

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eva

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: (0

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799

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1

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el. (

022)

799

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all

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19 8

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022)

917

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all

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917

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Mrs

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ions

1211

Gen

eva

10T

el. (

022)

917

30

50F

ax. (

022)

917

01

58

"Tre

asur

es o

f the

Col

-le

ctio

n of

the

Wor

ks o

f A

rt o

f the

Uni

ted

Nat

ions

O

ffice

at G

enev

a, fr

om

the

Leag

ue o

f Nat

ions

up

to th

e pr

esen

t"

Uni

ted

Nat

ions

Offi

ce a

t G

enev

aLi

brar

y

Ms.

de

Jong

Tel

. (02

2) 9

17 4

1 83

E B

uild

ing,

2nd

floor

and

A

ssem

bly

Hal

l

73

Dat

esSp

onso

rAr

tists

Org

aniz

ers

Con

tact

sV

enue

11-2

8S

epte

mbe

rU

nite

d N

atio

ns O

ffice

at

Gen

eva

Libr

ary

Pal

ais

des

Nat

ions

12

11 G

enev

a 10

Tel

. (02

2) 9

17 3

0 50

Fax

. (02

2) 9

17 0

1 58

"Wom

en a

nd B

irds"

Pai

ntin

gs a

nd D

raw

ings

by

Mah

in

Uni

ted

Nat

ions

Offi

ce a

t G

enev

a Li

brar

y

Mr.

Ala

in V

erm

ont

Tel

. (00

00)

680

74

40 8

7

Mah

inT

el. (

00 3

3) 6

0970

1973

Libr

ary

Leag

ue

of N

atio

ns

Mus

eum

1-12

Oct

ober

Uni

ted

Nat

ions

Offi

ce a

t G

enev

aLib

rary

Pal

ais

des

Nat

ions

12

11 G

enev

a 10

Tel

. (02

2) 9

17 3

0 50

Fax

. (02

2) 9

17 0

1 58

"Leg

ends

, Col

ors

and

Ligh

ts"

Pai

ntin

gs b

y G

uy

Bre

niau

x

Uni

ted

Nat

ions

Offi

ce

at G

enev

a Li

brar

y

Mr.

Guy

Bre

niau

xTT

el. (

00 3

3) 6

810

79

917

E B

uild

ing,

3rd

floor

1-12

Oct

ober

Spa

nish

Boo

k C

lub

Pal

ais

des

Nat

ions

1211

Gen

eva

10B

ure

to E

. 103

0T

el. (

022)

917

48

39

"Trib

ute

to J

osé

Mar

ía

Ser

t"P

aint

ings

Spa

nish

Boo

k C

lub

Mrs

. Sar

a S

anch

ezT

el. (

022)

917

51

43E

Bui

ldin

g,

2nd

floor

1-12

Oct

ober

Per

man

ent M

issi

on

of C

hile

Rue

de

Moi

llebe

au, 5

8

1211

Gen

eva

19

Tel

. (02

2) 9

19 8

8 00

Fax

. (02

2) 7

34 5

2 97

"Trib

ute

to P

ablo

Ner

uda,

Thi

rtie

th A

nni-

vers

ary

of th

e N

obel

liter

atur

e P

rize"

Pho

togr

aphs

by

Luis

P

oiro

t; B

ooks

and

M

anus

crip

t pag

es fr

om

the

Pab

lo N

erud

aF

ound

atio

n of

Chi

le

Per

man

ent M

issi

on o

f C

hile

Mrs

. Ros

setti

Tel

. (02

2) 9

19 8

8 00

Libr

ary

Leag

ue

of N

atio

ns

Mus

eum

74

Dat

esS

pons

orA

rtis

tsO

rgan

izer

sC

onta

cts

Ven

ue

2-12

Oct

ober

P

erm

anen

t Mis

sion

of

Sw

eden

Rue

de

Laus

anne

, 82

1202

Gen

eva

Tel

. (02

2) 9

08 0

8 00

Fax

.(02

2) 9

08 0

8 10

in c

olla

bora

tion

with

the

Uni

ted

Nat

ions

Fre

nch

Ass

ocia

tion,

New

Yor

k

"L'é

nerg

ie a

u fé

min

in"

Scu

lptu

res

by C

écili

a R

odhe

Per

man

ent M

issi

on o

f S

wed

en in

col

labo

ratio

n w

ith th

e U

nite

d N

atio

ns

Fre

nch

Ass

ocia

tion,

N

ew Y

ork

Mr.

Jea

n-P

ierr

e B

ugad

a T

el :

(001

212

) 963

21

59M

rs. C

ecili

a R

odhe

Tel

. (21

2) 6

64 9

8 19

Ass

embl

y H

all

15-2

5 O

ctob

er

Soc

iocu

ltura

l Com

mis

-si

on o

f the

UN

OG

Sta

ff P

alai

s de

s N

atio

ns12

11 G

enev

a 10

Tel

. (02

2) 9

17 5

6 92

"Fro

m 5

to 7

: / T

ea ti

me"

Soc

iocu

ltura

l Com

mi-

sion

of t

he U

NO

G S

taff

Mrs

. Jea

nne

Sal

fati

Tel

. (02

2) 9

17 5

6 92

E B

uild

ing,

2nd

floor

15-3

0 O

ctob

er

Uni

ted

Nat

ions

Offi

ce a

t G

enev

a Li

brar

y P

alai

s de

s N

atio

ns

1211

Gen

eva

10T

el. (

022)

917

30

50F

ax. (

022)

917

01

58

Pai

ntin

gs b

y R

oger

Bon

afé

Uni

ted

Nat

ions

Offi

ce a

t G

enev

a Li

brar

yM

r. e

t Mrs

.Eyn

aud

Tel

. (+3

3) 0

4 94

3268

30

E B

uild

ing,

3r

d flo

or

15 O

ctob

er-

16 N

ovem

ber

Inte

rnat

iona

l Org

aniz

a-tio

n of

La

Fra

ncop

honi

e /

Rev

ue N

oire

Ave

nue

Bla

nc, 4

6 12

02 G

enev

aT

el :

(022

) 73

8 96

66

"Afr

ica

seen

by

itsel

f: 10

0 Y

ears

of

Pho

togr

aphy

"

Inte

rnat

iona

l Org

aniz

a-tio

n of

La

Fra

ncop

honi

e /

Rev

ue N

oire

Mrs

. Cou

libal

yT

el. (

022)

738

96

66A

ssem

bly

Hal

l

75

Dat

esS

pons

orA

rtis

tsO

rgan

izer

sC

onta

cts

Ven

ue

25 O

ctob

er-

23 N

ovem

ber

Uni

ted

Nat

ions

Offi

ce a

t G

enev

a Li

brar

yP

alai

s de

s N

atio

ns

1211

Gen

eva

10T

el. (

022)

917

30

50F

ax. (

022)

917

01

58

"Gen

eva,

a P

lace

for

Pea

ce"

Uni

ted

Nat

ions

Offi

ce a

t G

enev

a Li

brar

y

Mrs

. Bla

ndin

e B

luka

cz-

Loui

sfer

tT

el. (

022)

917

41

89

Libr

ary

Leag

ue

of N

atio

ns

Mus

eum

27 O

ctob

er -

18

Janu

ary

2002

M

aece

nas

Wor

ldP

atrim

ony

Fou

ndat

ion

Her

engr

acht

, 518

1017

Am

ster

dam

T

el :

(003

1) 2

0 63

9 07

47

"Chi

nese

Por

cela

in"

Mae

cena

s W

orld

P

atrim

ony

Fou

ndat

ion

Mr.

Bui

sman

Tel

. (00

31)

20

639

07 4

7Li

brar

yC

yber

spac

e

29 O

ctob

er-

8 N

ovem

ber

Per

man

ent M

issi

on o

f A

rmen

ia

Ave

nue

du M

ail,

28

1205

Gen

eva

Tel

. (02

2) 3

20 1

1 00

Fax

. (02

2) 3

20 6

1 48

in c

olla

bora

tion

with

the

Arm

enia

n G

ener

al

Uni

on o

f Cha

rity

"Arm

enia

n C

onte

mpo

rary

P

aint

ers"

Per

man

ent M

issi

on o

f A

rmen

iaM

r. K

aren

Naz

aria

nT

el. (

022)

320

11

00E

Bui

ldin

g,2n

d flo

or

5-14

Nov

embe

r U

nite

d N

atio

ns

Wom

en's

Gui

ld

Vill

a "L

es F

euill

antin

es"

12, a

venu

e de

la P

aix

1211

Gen

eva

10T

el. (

022)

917

33

86F

ax. (

022)

917

02

26

"Des

ang

es e

t de

la

terr

e"

Tap

estr

y by

Mad

elei

ne

Läub

li-S

tein

auer

and

C

eram

ics

by

Cla

ude

Pre

sset

Alb

ana

Uni

ted

Nat

ions

W

omen

's G

uild

Mrs

. Nor

dman

nT

el. (

022)

749

24

24E

Bui

ldin

g,3r

d flo

or

76

Dat

esS

pons

orA

rtist

sO

rgan

izer

sC

onta

cts

Ven

ue

19-2

3 N

ovem

ber

Per

man

ent M

issi

on o

f th

e R

epub

lic o

f Alb

ania

Rue

du

Môl

e, 3

212

01 G

enev

a T

el :

(022

) 73

1 11

43

Fax

. (02

2) 7

38 8

1 56

"Col

ors

and

Ligh

ts in

the

Wor

ks o

f You

ng

Alb

ania

ns P

aint

ers"

Per

man

ent M

issi

on o

f th

e R

epub

lic o

f Alb

ania

H.E

. Mr.

Kse

nofo

n K

irsaf

iT

el. (

022)

731

11

43

Ass

embl

y H

all

19-3

0 N

ovem

ber

Per

man

ent M

issi

on o

f th

e R

ussi

an F

eder

atio

n A

venu

e de

la P

aix,

15

1211

Gen

eva

20T

el :

(022

) 73

3 18

70

Gen

eral

Con

sula

te o

f th

e R

ussi

an F

eder

atio

n in

Gen

eva

"Rus

sian

Ste

ppe,

H

orse

s an

d W

omen

"S

culp

ture

s by

Hel

ena

Sou

rovt

seva

et V

ladi

mir

Sou

rovt

sev

Per

man

ent M

issi

on o

f th

e R

ussi

an F

eder

atio

n /

Gen

eral

Con

sula

te o

f th

e R

ussi

an F

eder

atio

n in

Gen

eva

Mr.

And

reï S

tuko

vT

el. (

022)

734

79

55E

Bui

ldin

g,3r

d flo

or

19-3

0 N

ovem

ber

Per

man

ent M

issi

on o

f F

ranc

e V

illa

"Les

Orm

eaux

" R

oute

de

Pre

gny,

36

1292

Cha

mbé

sy

Tel

: (0

22)

758

91 1

1an

d P

acifi

c A

rt

Inte

rnat

iona

l

"The

Wor

ld is

bor

n fr

om

the

Ligh

t"P

aint

ings

by

Léon

Zan

ella

Per

man

ent M

issi

on o

f F

ranc

e / P

acifi

c A

rt

Inte

rnat

iona

l

Mr.

Dav

id H

aïk

Tel

. (31

0) 3

60 7

015

E B

uild

ing,

2nd

floor

26-3

0 N

ovem

ber

Per

man

ent M

issi

on o

f M

alta

Par

c du

Châ

teau

-B

anqu

et, 2

6 12

02 G

enev

a T

el. (

022)

901

05

80F

ax (

022)

738

11

20in

col

labo

ratio

n w

ith th

e F

orei

gn A

ffairs

Min

iste

r of

Mal

ta

"Con

tem

pora

ry A

rt o

f M

alte

"P

aint

ings

and

S

culp

ture

s

Per

man

ent M

issi

on

of M

alta

H.E

. Mr.

Mic

hael

Bar

tolo

Tel

. (02

2) 9

01 0

5 80

Ass

embl

y H

all

77

Dat

esS

pons

orA

rtis

tsO

rgan

izer

sC

onta

cts

Ven

ue

3-11

Dec

embe

r S

ocio

cultu

ral C

omm

is-

sion

of t

he U

NO

G S

atff

Pal

ais

des

Nat

ions

1211

Gen

eva

10T

el. (

022)

917

56

92

"Tra

vel a

roun

d th

e W

orld

"S

ocio

cultu

ral C

omm

is-

sion

of t

he U

NO

G S

taff

Mrs

. Jea

nne

Sal

fati

Tel

. (02

2) 9

17 5

6 92

Ass

embl

y H

all

5-30

Dec

embe

r P

erm

anen

t Mis

sion

s of

S

witz

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nd, o

f Alg

eria

an

d th

e U

nive

rsity

of

Frib

urg

"Afr

ican

ity a

nd U

nive

r-sa

lity

of S

t Aug

ustin

"P

hoto

grap

hs b

yM

icha

el v

on G

raffe

nrie

d

Per

man

ent M

issi

ons

of

Sw

itzer

land

, of A

lger

ia

and

the

Uni

vers

ity o

f F

ribur

g

Mr.

Pie

rre-

Yve

s F

uxT

el. (

031)

322

30

97E

Bui

ldin

g,

2nd

floor

6-21

Dec

embe

r C

hine

se B

ook

Clu

bP

alai

s de

s N

atio

nsR

oom

C.3

2812

11 G

enev

a 10

Tel

. (02

2) 9

17 3

0 80

Pai

ntin

gs b

y Lu

o S

hiw

uC

hine

se B

ook

Clu

bM

r. W

u Ju

nT

el. (

022)

917

41

05E

Bui

ldin

g,3r

d flo

or

6 D

ecem

ber-

31 J

anua

ry 2

002

Per

man

ent M

issi

on o

f F

inla

ndR

ue P

ré-d

e-la

-B

iche

tte, 1

1211

Gen

eva

20T

el. (

022)

919

42

42F

ax. (

022)

740

02

87in

coo

pera

tion

with

the

Alv

ar A

alto

Fou

ndat

ion

and

the

Hau

te é

cole

d'

arts

app

liqué

s of

G

enev

a

“Alv

ar A

alto

A

rchi

tect

ure

to r

ead"

Per

man

ent M

issi

on o

f F

inla

nd /

in c

oope

ratio

n w

ith th

e A

lvar

Aal

to

Fou

ndat

ion

and

the

Hau

te é

cole

d'a

rts

appl

iqué

s of

Gen

eva

H.E

. M. H

utan

iem

iT

el. (

022)

919

42

42

Mr.

Pie

rre

Ala

in G

iess

erT

el. (

079)

62

90 2

37

Mr.

Jac

ques

Aym

onT

el. (

022)

731

37

57

Libr

ary

Leag

ue

of N

atio

ns

Mus

eum

18 D

ecem

ber-

18

Jan

uary

200

2 P

erm

anen

t Mis

sion

of

the

Rus

sian

Fed

erat

ion

Ave

nue

de la

Pai

x, 1

5 12

11 G

enev

a 20

T

el.

(022

) 73

3 18

70

Fax

. (02

2) 7

34 4

0 44

Pai

ntin

gs b

y G

alin

a K

oula

eva

Per

man

ent M

issi

on o

f th

e R

ussi

an F

eder

atio

nM

rs. G

alin

a K

oula

eva

Tel

. (00

7) 8

212-

273-

194

Ass

embl

y H

all

78

PL

AN

NE

D C

AL

EN

DA

R O

F E

XH

IBIT

ION

S, 2

002

Dat

esS

pons

orA

rtist

sO

rgan

izer

sC

onta

cts

Ven

ue

1st-

25 J

anua

ryP

erm

anen

t Mis

sion

of

the

Rus

sian

Fed

erat

ion

Ave

nue

de la

Pai

x, 1

5 12

11 G

enev

a 20

Tel

. (02

2) 7

33 1

8 70

Fax

. (02

2) 7

34 4

0 44

Pai

ntin

gs b

y G

alin

aK

oula

eva

Per

man

ent M

issi

on o

f th

e R

ussi

an F

eder

atio

nP

erm

anen

t Mis

sion

of

the

Rus

sian

Fed

erat

ion

Tel

. (02

2) 7

33 1

8 70

Ass

embl

y H

all

1st-

25 J

anua

ryM

aece

nas

Wor

ld

Pat

rimon

y F

ound

atio

nH

eren

grac

ht, 5

1810

17 A

mst

erda

mT

el. (

00 3

1) 2

0 63

9 07

47

" C

hine

se p

orce

lain

"T

he M

aece

nas

Col

lec-

tion

of C

hine

se E

xpor

t A

rmor

ial P

orce

lain

Mae

cena

s W

orld

P

atrim

ony

Fou

ndat

ion

Mr.

Bui

sman

Tel

. (00

31)

20

639

07 4

7Li

brar

y,

Cyb

ersp

ace

1st-

31 J

anua

ryP

erm

anen

t Mis

sion

of

Fin

land

Rue

Pré

-de-

la-B

iche

tte, 1

12

11 G

enev

a 20

Tel

. (02

2) 9

19 4

2 42

Fax

. (02

2) 7

40 0

2 87

in c

oope

ratio

n w

ith th

e A

lvar

Aal

to F

ound

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n an

d la

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te E

cole

des

ar

ts a

ppliq

ués

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lvar

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to :

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hite

ctur

e to

rea

d "

Per

man

ent M

issi

on o

f F

inla

nd /

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ar A

alto

F

ound

atio

n / H

aute

E

cole

des

art

s ap

pliq

ués

H.E

. M. H

utan

iem

iT

el. (

022)

919

42

42

Mr.

Pie

rre

Ala

in G

iess

erT

el. (

079)

62

90 2

37

Mr.

Jac

ques

Aym

onT

el. (

022)

731

37

57

Libr

ary,

Leag

ue o

f N

atio

ns

Mus

eum

8-23

Jan

uary

Per

man

ent M

issi

on o

f th

e R

epub

lic o

f Geo

rgia

Rue

Ric

hard

Wag

ner,

112

02 G

enev

aT

el. (

022)

919

10

10F

ax. (

022)

733

90

33

Pai

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Permanent Missions which participated in the cultural activities of the United Nations Office at Geneva in 2001

The following Permanent Missions contributed to the culturalactivities of the United Nations Office at Geneva in 2001:

Albania

Armenia (Republic of)

Belgium

Chile

China (People?s Republic of)

Cuba

Cyprus

Finland

France

Germany

Hungary

Iran (Islamic Republic of)

Israel

Italy

Japan

Kazakhstan (Republic of)

Korea (Republic of)

Lebanon

Malta

Moldova

Mongolia

People’s Democratic Republic of Algeria

Portugal

Romania

Russian Federation

Saudi Arabia (Kingdom of)

Senegal

Sweden

Switzerland

Tunisia

Turkey

Ukraine

United States of America

91

Permanent Missions which participated in the cultural events at the United Nations Office at Geneva from 1993 to 2001

AlbaniaArgentinaArmenia (Republic of)AustraliaAustriaBahreinBangladeshBelgiumBhutanBosnia-HerzegovinaBrazilBulgariaCamerounCanadaChileChina (People?s Republic of)ColombiaCosta RicaCroatiaCubaCyprusCzech RepublicDenmarkEcuador

EgyptEstoniaEthiopiaFinlandFranceGabonGermanyGhanaGreeceGuatemalaHungaryIcelandIndiaIran (Islamic Republic of)IraqIrelandIsraelItalyJapanKuwaitKazakhstan (Republic of)Korea (Republic of)KuwaitKyrgyzstan

92

Latvia

Lebanon

Lithuania

Luxembourg

Madagascar

Malaysia

Malta

Mexico

Moldova (Republic of)

Mongolia

Mozambique

Nepal

Netherlands

New Zealand

Norway

Oman

People’s Democratic Republic ofAlgeria

Peru

Philippines

Poland

Portugal

Romania

Russian Federation

Saudi Arabia (Kingdom of)

Senegal

Slovak Republic

Slovenia

South Africa

Sovereign Military Order of Malta

Spain

Sri Lanka

Sweden

Switzerland

Thailand

Tunisia

Turkey

Uganda

Ukraine

United Kingdom of Great Britainand Northern Ireland

United States of America

Venezuela

Yugoslavia

Zimbabwe

93

UNITED NATIONS OFFICE AT GENEVA

Guidelines for the Cultural Activities Committee of theUnited Nations Office at Geneva

The Cultural Activities Committee of UNOG is an advisory bodyestablished by the Director-General to consider proposals for culturalactivities submitted to the Organization. It deliberates and exercises itsauthority independently of any previous examination by other similarbodies within the United Nations system. Its decisions are guidedessentially by the rules and criteria set forth below, which apply to allcultural proposals:

1. General principles relating to the organization of exhibitions

The organization of exhibitions is governed by three considerations:

(a) exhibitions mounted at the Palais des Nations must be consistentwith the nature, goals and objectives of the United Nations in both formand substance;

(b) the subject of the exhibition must be international or universal, inkeeping with the main fields of activity of United Nations bodies;

(c) exhibits must not contain anything apt to offend the sensitivitiesof Member States.

2. Specific principles relating to the organization of exhibitions

1. Any proposal to mount an exhibition shall be communicated tothe Chairman of the Cultural Activities Committee, who shall make arecommendation for approval by the Director-General. A written requestfrom the competent authority concerning the exhibition shall reach theChairman of the Committee at least three months before the proposed date

94

of the exhibition. It must be accompanied by a complete description of thecontent of the exhibition.

2. Apart from exhibitions planned and organized by the UNsecretariat or its staff associations, specialized agencies or other UnitedNations institutions, the Committee will only consider proposals submittedby Member States through the intermediary of their Permanent Missions.To that end the latter shall submit requests in writing under their ownauthority and responsibility.

3. No proposal submitted by an art gallery owner shall be taken intoconsideration without prior sponsorship in writing by a member Statethrough the intermediary of its Permanent Mission.

4. In the case of artistic exhibitions proposed by the Socio-CulturalCommission, only works by artists who are staff members of theOrganization may be displayed in the Palais des Nations.

5. Exhibitions proposed by book clubs approved by the staffrepresentatives and relating to the literature and general aspects of theculture of the linguistic group concerned shall also be authorized. Theseartistic exhibitions must be coordinated with the Socio-CulturalCommission and the staff representatives.

6. Decisions by the Cultural Activities Committee shall be final.The Committee shall be entitled to inspect the works submitted forexhibition and to amend or reject, in whole or in part, those which in itsview are not compatible with the requirements set forth earlier.

7. The Committee shall decide what space shall be allocated for anexhibition and how long it shall last, subject to the availability of anappropriate venue and scheduling requirements.

8. The arrangements for the organization of an exhibition shall becoordinated by the Cultural Activities Committee in consultation with theInformation Service, the Conference Services Division, the Division ofAdministration and the Office security services.

9. The entity proposing the exhibition shall be responsible fortransporting, setting up, taking down and packing the exhibits and for anyspecial arrangements (mountings, lights or other installations, servicesand/or equipment or material) which the Organization is unable to furnish.All costs, including those of security, maintenance and cleaning, shall beborne by the exhibitor.

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10. The United Nations can accept no financial responsibilityarising out of the installation of exhibitions or presentations. The UnitedNations will accept no liability for damages or compensation to any thirdparty resulting directly or indirectly from exhibitions or presentations.

11. Exhibition organizers’ attention is drawn to the followingpoints:

(a) all exhibition installations must be undertaken in conformity withthe standards laid down by the United Nations;

(b) organizers must take out specific insurance against damage, theft,fire and other hazards for the entire period during which exhibits are onOffice premises;

(c) the United Nations will not permit storage of an exhibition on itspremises outside the official period of the exhibition, including the periodsof setting up and taking down).

3. Security at receptions, concerts and other cultural events at the Palais des Nations

3.1. Access to the Palais des Nations

• In principle, only holders of United Nations identity cards or ofcartes de légitimation issued by the Swiss Federal Department ofForeign Affairs and their spouses are allowed to enter the Palaisdes Nations for receptions, concerts and other cultural events.Organizers may on their own responsibility invite named indi-viduals, a list in alphabetical order of whom must be given to theSecurity and Safety Section at least two days before the event.The security services reserve the right to refuse entry withoutexplanation. Guests must enter through the Pregny gate.

• Permission to enter does not in principle imply the right to enterin a vehicle if the person concerned does not normally have thatright. Exceptions to this rule may on request be made for some orall of the guests. A list giving the make and licence plate numberof each vehicle shall be handed in. A request may be denied with-out explanation. Where appropriate, denial must appear on thelist against the names of guests who do not belong to the categoryof entitled persons.

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3.2. Reception of invitees at the Palais

• The role of the security officers at the Pregny gate is confined toverification. Organizers may on request send representatives towelcome their invitees. The presence of representatives is highlydesirable to provide for the eventuality that persons not on theguest list arrive at the entrance gate and are refused entry.

3.3. Security at the event

• The Security and Safety Section has sole competence on UnitedNations territory. It will decide on the number of guards neces-sary to maintain a reasonable standard of security during theevent and the period during which they will be present. Itreserves the right to increase the planned number of guards with-out prior notice if circumstances so require.

• In cases of receptions or meals organized on weekdays and pro-vided by the Palais restaurant services, the cost of security isautomatically included in the cost of the meal up to a maximumof 400 guests.

• In all other cases the organizers must meet in person with theSecurity and Safety Section to provide details of the event inorder to permit an accurate estimate to be made of the require-ments and the measures to be planned. Not until that meeting hastaken place can final approval for the holding of the event begiven.

• In every case the organizers must inform the section of the pos-sibility of attendance by a VIP or any other person whose pres-ence may necessitate special security measures. Private protec-tion agents are not permitted.

3.4. Costs

• The entire cost of security measures resulting from the organiza-tion of an event must be borne by the organizers. To that end theymust give us an account number or sign a statement undertakingto bear those costs.

97

4. Clause prohibiting commercial exploitation of works of art in thePalais des Nations

Authorization to use halls and other premises in the Palais desNations is governed by the provisions of Information Circular No. IC/Geneva/3991 of 5 November 1993.

The attention of artists and organizers is particularly drawn to thefollowing commercial clause, with which they undertake to comply:

The use of premises within the grounds of the Palais des Nations ispermitted solely for purposes in conformity with the aims and objectivesof the United Nations as defined in the Charter and may not have anycommercial nature. Thus organizers/artists:

• may not levy any entrance charge or enrolment fee on partici-pants;

• shall refrain from all promotional or sales activities during theperiod of the event;

• shall refrain from mentioning any financial sponsoring by a com-mercial enterprise, where such exists.

These guidelines laid down by the UNOG Cultural ActivitiesCommittee may be amended in the light of the activities proposed. Inparticular, they will be spelt out in greater detail in cases of donations ofworks of art and the organization of other cultural events. All organizersand artists must undertake to comply with them and subscribe to theseprinciples before organizing any exhibition or cultural event in the Palaisdes Nations.

98

Archives and Records Management of the United Nations Office at Geneva (IC/Geneva/2001/55)

1. Pursuant to IC/Geneva/4612 of 13 September 2000 (on thereorganization of the archives service in the United Nations Office atGeneva) and ST/AI/326 of 28 December 1984 (on the United Nationsarchives), this circular outlines the role of the UNOG Registry, Recordsand Archives Unit (RRA) in records management and archives and restatesrules to be followed by Secretariat units and members of the Secretariatwith respect to their responsibilities in the maintenance, transfer anddisposition of the archives and non-current records of the United NationsOffice at Geneva. It also explains the guidelines concerning internal andpublic access to the United Nations archives.

I. Responsibilities of the UNOG Registry,Records and Archives Unit

Overall responsibilities

2. RRA will assume the leading role in records management andarchives within the United Nations Office at Geneva. It is responsible forestablishing policy and guidelines in accordance with internationalstandards for records and file management and liaises with the Archivesand Records Management Section (ARMS) at Headquarters to establishcommon standards for the maintenance, preservation, description, anddisposal of, and access to, the archives and non-current records as well asfor the preparation of finding aids for these. The United Nations recordsinclude all documentary materials (excluding United Nations documents),regardless of their physical type (paper, electronic records, films, maps,treaties, journals, photographs, sound recordings, etc.), received ororiginated by the United Nations or by members of its staff which need tobe preserved for their administrative, legal, historical or informationalvalue.

99

File plan (classification plan, retention schedules) and transfer of records

3. In cooperation with UNOG Secretariat units, RRA will developfile plans which will determine the archival value of their records as wellas establish their retention and transfer schedules to RRA. RRA will beresponsible for cataloguing and indexing records which are of archivalvalue and for arranging transfers of non-current records to its storagefacilities. It will also provide a secured storage environment for the UnitedNations archives.

4. ARMS at Headquarters has developed retention schedules forrecords common to United Nations offices, accounting records in theFinance Manual, departmental schedules for both the Office of InternalOversight Services/Audit and Management Consulting Division (OIOS/AMCD) and the Office of Central Support Services/ARMS. Theseretention schedules can be consulted on the Headquarters Intranet http://www.un.org/Depts/archives/index.html.

5. A memorandum will be distributed to all Secretariat units aroundApril each Year to make a survey on the quantity of records (in number offiles or in linear metres) to be transferred to RRA in the Year.

6. Instructions on how to arrange for the transfer of records to RRAcan be found on the UNOG Intranet (http://157.150.71.85/) under the item"Library/Archives".

Disposal authorization

7. United Nations records shall be inviolable and may not beremoved from any United Nations premises or destroyed without specificwritten authorization from the Chief, RRA.

8. Records for which a limited preservation period is establishedwill be destroyed with the agreement of the originating office and theChief, RRA when they reach the end of the preservation period. The Chief,RRA shall determine which records have sufficient historical or othervalue to warrant their continued preservation as the archives of the UnitedNations as well as determine the disposal of non-current records that haveno further administrative, legal, historical or other informational value.

100

Conditions of access

9. RRA shall make available archives and non-current recordsunder the following conditions:

(a) Members of the Secretariat may have access to archives andrecords necessary to the conduct of their official business, except to thosesubject to restrictions imposed by the Secretary-General or the originatingSecretariat unit;

(b) The public

i(i) For archives and records which are already in the custody ofRRA:

May have access to archives and records which have beenreviewed and processed by RRA. An agreement has beenobtained from the originating office, if such office still exists, tomake the records available to the public;

(ii) For new accessions:

May have access to (1) archives and records that were accessibleat the time of their creation; (2) those which are more than 20Years old and not subject to restrictions imposed by theSecretary-General; and (3) those which are less than 20 Years oldand not subject to restrictions imposed by the Secretary-General,on condition that the originating office has given written consentfor access;

(c) Records upon which the Secretary-General or his authorizedrepresentatives have imposed restrictions may be declassified at any timeby the same authority. Records that remain restricted when transferred toRRA will be declassified subject to a declassification review when 20Years old. Those remaining restricted after 20 Years shall undergo furtherdeclassification review at five-Yearly intervals.

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II. Responsibilities of Secretariat units at theUnited Nations Office at Geneva

Transfer of non-current records

10. Prior to transferring their records to RRA, UNOG Secretariatunits shall prepare them in accordance with the procedures established bythe Chief, RRA. Established procedures and transfer forms are to be foundon the UNOG Intranet (http://157.150.71.85/) under the item “Library/Archive”".

Disposal

11. UNOG Secretariat units may destroy records in accordancewith the established file plan which determines the preservation period ofspecific records. In default of such a plan, UNOG Secretariat units shallnot dispose of records in their possession without the written authorizationfrom the Chief, RRA. The latter may require that samples of the recordsproposed for disposal be sent to her/him for review prior to authorizingdisposal.

III. Responsibilities of members of the UNOG Secretariat

Legal title to records

12. All records, regardless of physical form, created or received bya member of the UNOG Secretariat in connection with or as a result of her/his official duty within the organization are the property of the UnitedNations.

Inviolability of records

13. Prior to separation from the United Nations, members of theUNOG Secretariat shall make arrangements for transferring to RRA,records which are in their possession and not retained for their successorand shall not remove any records from the United Nations premises. TheChief, RRA or her/his representative may inspect all records of a memberof the UNOG Secretariat prior to separation from service. Members of theUNOG Secretariat to be separated are entitled to have a reasonable numberof unrestricted documents in their possession copied at their own expense

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and to retain their private papers which have no connection with theirofficial work with the United Nations.

Contacts

– Blandine Blukacz-Louisfert, Chief, Registry, Records andArchives Unit, Office B.328, extension 74189

– Esther Trippel-Ngai, Chief, UNOG Registry, Records andArchives Sub-Unit, Office PN 080, extension 72634

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UNOG CULTURAL ACTIVITIES COMMITTEE

Chairman:

Mr. Pierre Pelou — Chief Librarian(Tel. 022-917 30 50, Fax : 022-917 01 58)

Vice-Chairman:

Mr. Karsten Herrel — Chief, General Services(Tel. 022-917 25 00, Fax : 022-917 00 16)

Other members:

Mrs. Blandine Blukacz-Louifert – Chief, UNOG Registry andArchives Section

Mr. Anis Chibli – Chief, Buildings, Parks and Gardens Unit

Mr. Sergio da Silva – Editor, Tech-News

Miss Anneleen de Jong – Cultural Activities Coordinator

Mrs. Marie-Josée de Saint-Robert – Chief, Terminology and Technical Documentation Section

Mr. Roland de Stickere — Chief, Security and Safety Section

Mr. Ruggero Gruet — Chief, Buildings and Technical Services Section

Mrs. Aleth Guillaume — Responsible for cultural pages on the Internet site

Mrs. Marie Heuzé – Director, Information Service

Mrs. Nathalie Leroy – Chief, Data Processing Section in the Library

Mrs. Béatrice Ory – Projects Assistant

Mr. Mehmet Tekyildiz – Assistant, Support Services

Mr. Mehmet Ülkümen – Chief of Protocol

Secretary – Mrs. Ginette Courault

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The Cultural Activities Committee is responsible for evaluating allproposals emanating from Member States, the Socio-Cultural Commissionof the UNOG Staff Council, and United Nations Departments. It draws upand enforces its own guidelines, establishes the calendar of exhibitions andmakes the preparations for exhibitions to take place. It is also responsiblefor evaluating all proposed donations of works of art by Member Statesand for seeing to their installation and display. It also rules on concerts, thedecoration of rooms and, more generally, cultural and artistic life in theUnited Nations Office at Geneva.

Printed at United Nations, GenevaGE.02-00176–February 2002–5,000

UN/LIB/2002/10