Bio

Alex Mirutziu

Alex Mirutziu’s installation based performances and writings question the ways in which the space after something ends is orchestrated. He uses design in its most bureaucratic sense, collecting imprints of personal and historical events, using understanding and sincerity as factors in the materialisation.

He made a collective with a hyper-object — namely himself at 29 – and often operates within this structure. The collectives' modus operandi is retroactive irony.

The artist frequently lectures on performance alongside his current theoretical practice (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), Paul Devens (NL), Elias Merino (ES), Graham Foust (US), Graham Harman (US).  Recent projects have been hosted by ZDB, Lisbon, Power Plant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapest and the Center for Contemporary Art, Warsaw, National Museum, Warsaw, and 2015 Venice Biennale. 


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

"Asemeni modelului de gândire a lui Alexandru Dragomir care își asuma mai intai practica de a înțelege ce e cu el si cu lumea in care trăiește, ma angajez in a metaboliza o problematica, in a-i gasi armatura. Sunt constient ca intreprinderile mele in diverse forme (scrieri, obiecte, actiuni vii) sunt o idealizare arbitrara a realitatii. Functionez in paradigma lumea ca suma de probleme, in postura unui lucrator lingvistic. Ma interseaza un soi de intelegere cu conditia asumarii esecului de a intelege. Sunt un artist in contra - timp constient ca incerc sa dau un sens existentei 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.


The Artist and Himself at 29 (TAH29) e un genom trans-istoric si un hiper-obiect care opereaza si co-activeaza umorul si ironia retro-activa ca moduri de abordare a locului schimbarii si actiunii din prezent. Artistul Alex Mirutziu face parte din acest colectiv impreuna cu el insusi la varsta de 29 de ani. TAH29 se defineste printr-o activitate muzeologica a artistul care e cel mai inartistic cu putinta, atunci cand inlocuieste sau intra in pielea altcuiva, o observatie pe care John Keats si-a asumat-o pe deplin atunci cand isi hasureaza existenta intr-o scrisoare adresata lui Richard Woodhouse. TAH29 respira fenomenologia prezentei si se lasa gravitata de notiunea filosofului Graham Harman — realitate fara prezenta. 


1981

Born in Sibiu, Romania

Lives and works in Romania

 

STUDIED AT

  • Art University, Cluj-Napoca, Romania
  • University of Fine Arts, Cuenca, Spain
  • University of Huddersfield, Great Britain

 

SOLO EXHIBITIONS

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

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

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

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 

2017

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

2016

2015

2014

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

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

  • 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