Bio

Alex Mirutziu's (b. Romania) practice extends over a wide range of media and activities, including sculpture, drawing, poetry and performance as well as critical and curatorial projects. 

In his work he expands on the notions of approximation and proximity in connection to time, dislocating modes of arrival at meaning. In his practice he seeks to facilitate a body as ‘turbulent performative occasion’ drawing on the poetic of homelessness, invisibility and beyond, to suspend the set-ups of doing, un-doing, thinking and un-thinking. Alongside himself at 29 he activates within a collective who’s modus operandi is retroactive irony.

As part of his theoretical practice the artist frequently lectured on performance (Royal College of Arts, London, Von Kraal Theatre, Estonia, Konstfack, Stockholm, Bezalel University of Art and Design, Tel Aviv) and collaborated with artists/writers/musicians/designers/philosophers among which, Grit Hachmeister (DE), Elias Merino (ES), Graham Foust (US), Graham Harman (US). His works were shown at Power Plant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapest, Center for Contemporary Art and National Museum, Warsaw, Museum of Contemporary Art, Bucharest, and in 2015 he represented Romania at Venice Biennale.

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Alex Mirutziu este un artist care, prin performance, instalații sau text, e preocupat de maniera în care spațiul se reorchestrează în urma unei finalități. Se folosește de design pe care-l instrumentează birocratic și adaptează evenimente personale și istorice strunite de o arestare philosofica escortată de onestitate. A creat un colectiv, TAH29, cu un hiper-obiect, mai precis, cu el însuși la vârsta de 29 de ani și activează des în această structură. Dincolo de activitatea sa artistică, Mirutziu e interesat și de practicile teoretice, colaborând cu diferiți artiști, scriitori, muzicieni, designeri sau filosofi străini sau instituții de prestigiu, precum Royal College of Arts, London, Von Kraal Theatre, Estonia, Konstfack, Stockholm, Bezalel University of Art and Design, Tel Aviv.

"Asemeni modelului de gândire al lui Alexandru Dragomir care își asumă mai întâi practica de a înțelege ce e cu el și cu lumea în care trăiește, mă angajez în a metaboliza o problematică, în a-i găsi armătura. Sunt conștient că întreprinderile mele în diverse forme (scrieri, obiecte, acțiuni vii) sunt o idealizare arbitrară a realității. Funcționez în paradigma lumea ca sumă de probleme, în postura unui lucrător lingvistic. Mă intersează un soi de înțelegere cu condiția asumării eșecului de a înțelege. Sunt un artist în contra - timp, conștient că încerc să dau un sens existenței lucrurilor când e prea târziu. Profesia mea e cea a unui delimitator."

 

TAH29

The Artist and Himself at 29 is a transhistorical genome and hyper-object which operates and co-activates humour and retroactive-irony as a way to approach the site of change and agency in the present. One of its lines of enquiry has to do with the notion of closure and with Sartre’s finished product theory which looks at the individual as the heterogeneous project of circumstances.The artist Alex Mirutziu is part of this collective  alongside his twenty-nine-year-old-self. TAH29 is informed by a museological activity of the artist, as the most unartistic of anything in existence as he, the artist, is continually in for and filling some other body; an observation which only Keats could have made in a letter to Richard Woodhouse. The collective’s gravitational pull comes from phenomenology of presence and from the notion of a reality without presence developed by Graham Harman.

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The Artist and Himself at 29 (TAH29) e un genom trans-istoric și un hiper-obiect care operează și co-activează umorul și ironia retro-activă ca moduri de abordare a locului schimbării și acțiunii din prezent. Artistul Alex Mirutziu face parte din acest colectiv împreună cu el însuși la vârsta de 29 de ani. TAH29 se definește printr-o activitate muzeologică a artistul care e cel mai inartistic cu putință, atunci când înlocuiește sau intră în pielea altcuiva, o observație pe care John Keats și-a asumat-o pe deplin atunci când își hașurează existența într-o scrisoare adresată lui Richard Woodhouse. TAH29 respiră fenomenologia prezenței și se lasă gravitată de noțiunea filosofului Graham Harman — realitate fără prezență. 


1981

Born in Sibiu, Romania

Lives and works in Cluj-Napoca, Romania

 

STUDIED AT

  • Art University, Cluj-Napoca, Romania

  • University of Fine Arts, Cuenca, Spain

  • University of Huddersfield, Great Britain

 

SOLO EXHIBITIONS

2018

2017

2016

2013

  • Each thought's an instant ruin with a new disease, Sabot Gallery, Cluj-Napoca

2012

  • What is the reality of never?, IASPIS – Lucie Fontaine Studio, Stockholm

2011

2010

2009

2002

  • Marriage or calling for water, Tranzit House, Cluj-Napoca

 

PERFORMANCES

2018

2017

2016

2015

2014

  • Scotopolitic objects#2 for five performers and electroacoustic impromptu (in collaboration with Elias Merino), Center for Contemporary Art, Warsaw

2013

  • Scotopolitic objects#2 for one performer, Sabot Gallery, Cluj-Napoca

  • Improvisation 0 (with Gergo NAGY, Paul Devens, Joris Strijbos), Roodkapje, Rotterdam

  • Camp festival, Tranzit House, Cluj-Napoca

2012

  • Five moments of silence for Pending Work #7, IASPIS – Lucie Fontaine Studio, Stockholm

  • Interview through sculpture (with Razvan Sadean), Spazio Vault, Prato

2011

  • Action is guilt – Method to Rourke, Studio Corte17, Prato

  • History is nothing but muscles in action (with Razvan Sadean), ZDB, Lisbon

2010

  • Critique on how temples move faster than their shadows, Mihai Nicodim Gallery, Los Angeles

  • When love melted cavalries in our hearts, Eira 33, Lisbon

  • Feeding the horses of all heroes, Romanian Academy, Rome

  • Remains of the East (in collaboration with Alina Serban, Angelique Lehman), WUK Theatre, Vienna

2009

  • Ping pong for VIP’s (with Alexandra Pirici), Temps d’Images Festival, Sabot Gallery, Cluj-Napoca

2008

  • Leave Gordon Brown alone, East Street Arts, Leeds / DuveGallery, Berlin / Independents Biennial 08, Liverpool

2007

  • The shipwrecked sailor, Laurence Batley Theatre, director: John Britton, Huddersfield

  • Anatomission, Cum2Cut Film Festival, Berlin

2004

  • 24h donation of sperm, Gallery of Fine Arts University, Cuenca

2003

  • Boys first time, International Festival of French Theatre, Sibiu

  • Sorrows of reconstruction, Tranzit House, Cluj-Napoca

  • Missing song, Festival of the Architect, Cluj-Napoca

  • Gym to muscle lethargy, Gong Theatre, Sibiu

  • Atrocity exhibition, Museum of 1989 Revolution, Timisoara

2002

  • Chemical relaxing (in collaboration with Anca Falamas), British Council, Cluj-Napoca

  • Atrocity exhibition, The Slaughter House, Sibiu / Old Casino, Cluj-Napoca

 

SELECTED GROUP EXHIBITIONS

2018

  • A World Has Still To Be Built | curator: Diana Marincu, Art Encounters Foundation, Timisoara

  • Travelling with a blind map | curator: Flóra Gadó, Kisterem Gallery, Budapest

  • Art on Stage | curator: Hervé Mikaeloff, Central Pavilion, Art Safari Bucharest

  • KEDEM-KODEM-KADIMA | curator: Nicola Trezzi, The Center for Contemporary Art Tel-Aviv

  • Double Heads Matches | curator: Diana Marincu, Zsuzsanna Szegedy-Maszák, New Budapest Gallery, Budapest

2017

  • The Impossible Garden | curator: Liviana Dan, Jecza Gallery, Timisoara

2016

2015

2014

  • A few grams of red, yellow, blue | curator: Ewa Gorzadek, Center for Contemporary Art, Warsaw

  • Through the Collector’s Eye. Works of the Generation 2000 from Cluj in Three Romanian Collections, The Office, Cluj-Napoca

2012

2011

  • Rearview mirror | curator: Christopher Eamon, Power Plant, Toronto

  • Pulse within the veil | curator: Georgiana But, Tranzit House, Cluj-Napoca

  • Beyond the liminal experience | curator: Francesco Scasciamacchia, Spazio Vault, Prato

  • Object-orientation, Cerritos Art Gallery | curator: Joseph Cervantes, Norwalk

2010

  • Self-portraits | Krokus Gallery, Bratislava

  • Il Caos #2, Le Migrazioni | curator: Raffaele Gavarro, Island of San Servolo, Venice

  • Ars homo erotica | curator: Pawel Leszkowicz, National Museum, Warsaw

2009

  • Exploring the return of repression | curator: Razvan Ion, Pavilion—Centre for Contemporary Art and Culture, Bucharest

  • Message in a bottle, The Stanley & Audrey Burton Gallery, Lumen Evolution Festival, Leeds

  • From the periphery | curator: Noa Treister, Dom Omladine, Belgrade

2008

  • Optica, International Festival of Video Art | Paris, Madrid, Gijon

  • Sex in transition | curator: Noa Treister, Kucevo

  • What is white? | curator: Jenny Lee, Piera Ravnikar, Ada Street Gallery, London

2007

  • The eye of the beholder | curator: Liviana Dan, Brukenthal Museum, Sibiu

  • A show that took the place of a star, Showroom Ottakring, Vienna

  • No hope no fear | curator: Alex Mirutziu, Balanta Warehouse, Sibiu

2004

  • Desire in the making | curator: Alex Mirutziu, University of Fine Arts, Cuenca

2002

 

RESIDENCIES AND GRANTS

2018

  • Frac des Pays de la Loire, Nantes - France

2016

  • The Centre For Dying On Stage #3, Cow House Studios, Wexford - Ireland

  • Delfina Foundation, London - England

2015

  • Art Encounters, Timisoara - Romania

2014-2015 

  • IASPIS Konstnärsnämnden, Stockholm - Sweden

2011

  • The Glass Factory Lab, Boda - Sweden

  • Ze Dos Bois, Lisbon - Portugal

2010

  • Eira33, Lisbon - Portugal

2009

  • ColectivA, Cluj-Napoca - Romania

 

PUBLICATIONS

  • Scott, Izabella, ”I'm interested in error, misunderstanding, correction”, interview, Studio International, June 26, 2018

  • Ciobanu, Camelia, ”Alex Mirutziu 'Between too soon and too late' - a window that could take one closer to the essence of things”, Central and Eastern European London Review, May 5, 2018

  • Gado, Flora, ”Dignity to the Unsaid”, Revista ARTA, April 24, 2018

  • Art Encounters, (ed.) Art Encounters Foundation, [catalogue], 2017, p. 214

  • Martina Lolli, 'Comunicare l'esperienza. Alex Mirutziu a Bruxelles' / review / Artribune, October 2017

  • Diana Marincu, 'Being Iris Murdoch. Note pe marginea unei lucrari de Alex Mirutziu', Poesis International, #1(19) / 2017, p.184-186

  • Ruxandra Hurezean ”Cred ca avem nevoie de artisti care au raspunsuri ancorate in realitate”, Sinteza Magazine, #31, August 2016 issue p. 108-111

  • WATCHED! Surveillance, Art and Photography, (ed.) Verlag der Buchhandlung Walther Konig, edited by Louise Wolthers, The Hasselblad Foundation [catalogue], 2016, p. 13, 156-159

  • Diana Marincu, La Biennale di Venezia, All The World‘s Futures, Biennale Arte 2015 [catalogue], p. 141

  • Open House / IASPIS, The Swedish Arts Grants Committee, 2015, p.12-13

  • Through the Collector's Eye / Works of the Generation 2000 from Cluj, [catalogue], 2014, p.48-49

  • Diana Marincu 'The right to opacity', IDEA arts+society, #44, 2014, p.75-79

  • Mirutziu Alex, "Bureaucracy of objects", C-Print - Journal about Contemporary Art, April 24, 2014

  • Ewa Gorzadek, A Few Grams of Red, Yellow, Blue [catalogue], 2014

  • Jane Neal, Art Cities of the Future: 21st Century Avant-Gardes, (ed.) Phaidon, 2013, p. 78-79

  • Judit Angel, European Travellers - Art from Cluj Today, p. 188-191

  • George Robescu, ‘Alex Mirutziu is not your personal art tailor’, All Hollow, winter issue, 2012, p. 92-101

  • Eugenia La Vita, ‘Works and Interview Through Sculpture’ / review / Exibart, March 2012

  • Rearview Mirror: New Art from Central & Eastern Europe, (ed.) Canada Cataloguing in Publication, [catalogue], 2011, p. 66

  • Lamono, #76, 2011

  • Decat O Revista, #6, 2011

  • Mirutziu, Alex, Pending works & Scotopolitic object, June 2011 [catalogue]

  • Muresan Ciprian, Paintbrush Factory: A snapshot, IDEA Art + Society, #36 -37, 2011, p. 62

  • Martens Anne, Alex Mirutziu – Mihai Nicodim / review / Flash Art, March – April 2011

  • Spending time in relation to usage, [catalogue], January 2011

  • Pisano Libero Claudio, ‘Il Corpo Racconta. O tace’, Gli Altri, [newspaper], August 20, 2010

  • Gavarro, Raffaele, ‘Il Caos #2 – Le Migrazioni’, [catalogue], 2010

  • Daria D. Pervain, Marcel Janco, ‘Controversial Customs’, NY Arts Magazine, August 2010

  • Ars Homo Erotica, (ed.) National Museum of Warsaw, [catalogue], 2010, p. 24

  • Gartner, Barbara ‘Watchlist’, Monopol, April 2010, p. 29

  • Duda, Andrea ‘Sunt atras de banalitatea in sine’, Man.In.Fest #1 / 2010, p. 56-57

  • Maertens, Marie ‘L’ecole de Cluj’, Art Press, March 2010, p. 58-64

  • Pschak, Evelyn, ‘Pain ballet and historical passion’, ArtNet, March 3, 2010

  • Tanase, Oana, ‘Some kill their love when they are young’, 24Fun, February 25, 2010

  • ‘Selbstinszenierung’, Prinz, February, 2010

  • Unwin, Richard, City Report: Cluj, Frieze, January 3, 2010

  • Manifest of Flaw, [catalogue], October 2009

  • TICKETOHELL, #1, 2009

  • Exploring the return of repression, [newspaper], 2009, p.23

  • Ion, Razvan, Pavilion #13, 2009 p. 198-207

  • 20×20 magazine, #2, June 2009

  • Treister, Noa, ‘From the Periphery’, [catalogue], 2009

  • Anderson, Vicky, Independents to be bigger than ever, Liverpool Daily Post, September 9, 2008

  • Ravnikar, Piera, ‘What is White?’, [catalogue], 2008

  • Blankpages, #4, 2008, p.6

  • Miliani, Jacopo, DikFagazine #7, SSN 1764-4727 18 PLN 2008, p. 56-66

  • Impulsive Random Platform IRP 8, limited edition of 80, 2008

  • Pisszine #4, 2008

  • So No 8, May 6 -12, 2003