”Gaining in a State of Debt”: Alex Mirutziu`s first solo exhibition in Israel opens at CCA Tel Aviv

Added on by Alex Mirutziu.

Gaining in a State of Debt

Curated by Nicola Trezzi

Dates: March 14 – April 18, 2019

Opening: March 14 at 8 pm

Performance schedule:

March 14, 8 pm (opening)
March 19, 6 pm
March 22, 12 am
April 1, 8 pm
April 10, 8 pm
April 13, 1 pm (closing)

Performed by Oran Barak, Harel Grazutis and Nunzia Picciallo

The Center for Contemporary Art

Tsadok HaCohen 2, Tel Aviv-Yafo, Israel

The Center for Contemporary Art (CCA) presents “Gaining in a State of Debt”, the first solo exhibition by Romanian artist Alex Mirutziu (1981, Sibiu, Romania. Lives and works in Cluj-Napoca, Romania).

Mirutziu’s 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, which is both highly intellectual and deeply physical, he expands the notions of approximation and proximity in connection to time, presenting “dislocated modes of arrival at meaning.” In his modus operandi, he seeks to facilitate the understanding of the body as a “turbulent performative occasion” – drawing on the poetics of homelessness and invisibility. Through his artworks, he looks at ways of suspending the set-ups of doing and un-doing, thinking and un-thinking. Alongside TAH29 (The Artist Himself at 29), he acts within a collective body whose modus operandi is “retroactive irony.”

His exhibition at CCA Tel Aviv features a new performative work, entitled Bottoms Know It, and a compilation of videos that contextualize the new work and at the same time open up new avenues of understanding. Conceived for CCA Tel Aviv and featuring three performers and three props, Bottoms Know It exposes what may come across as being implicit but unnoticed, which is not necessarily a feature of truth-making.

Through the combination of different streams of thoughts and informed by philosophical concepts that are always personalized and freely interpreted, the artist is capable of creating time-based and durational experiences between himself and the viewer, using the artwork – whether in the form of an object or a body (his own or somebody else’s) – as a channel, a catalyst, a sort of remote controller that is linking two individuals, himself and the viewer, possibly located in two different geographical and time zones. However, all the aforementioned notions never come as we usually expect them: “time-based” should be considered according to an unusual notion of time; “durational” should be perceived according to a larger scope of perception. The work of Alex Mirutziu not only makes us think, it also makes us think about the conditions allowing us to think, and un-think, to do, and un-do.

Video program (not on view during the performances):

Doing Sub Thinking, 2018. HD video, video documentation of performance, 10:51 min. Performers: Ekin Bernay, Rowdy_SS, and Jenn Vogtle. Commissioned by Block Universe Festival in collaboration with Delfina Foundation and European Art East Foundation, London. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

But as a document, 2015. HD video, performance to camera, 12:01 min. Performer: Pär Andersson; director of photography: Michael Tomescu. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

Dignity to the unsaid, 2017. HD video, 17:42 min. Word workers: Alex Popa, Irina Sibef, and Cosmin Stănilă; director of photography: Alexandru Don; camera assistant: Victor Merca. Commissioned by Marie-Laure Fleisch Gallery, Brussels. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich.

Stay[s] against confusion, 2016. HD video, 14:53 min. Performer: Joshua Hubbard; director of photography: Kassandra Powell, Loukas Elark. Commissioned by Delfina Foundation, London. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

The gaze is a prolapse dressed in big business, 2018. HD video, 14:37 min. Commissioned by Frac des Pays de la Loire, Carquefou (France). Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]


“Alex Mirutziu: Gaining in a State of Debt” is curated by Nicola Trezzi in close collaboration with the artist. The exhibition is supported by Invitro, the OUTSET Residency in Tel Aviv, and the Romanian Cultural Institute – Tel Aviv. Additional support provided by Galeria Sabot, Cluj-Napoca and TAROM.

”Because Everything… ” brings Alex Mirutziu and Ana Blandiana 'face to face'

Added on by Alex Mirutziu.

Photo: Alina Andrei


”Because Everything…”

”The four poems by Ana Blandiana, “Totul”, “Cruciada Copiilor”, “Delimitari” and “Eu cred”, triggered a similar preoccupation regarding my identity, and that of our nation as a whole. From 2013 in diverse ways and mediums I tried to give an answer to the question of Why? Why we are the way we are?

Thirty-five years after Blandiana’s lucid picture of socialist Romania I arrive in similar spirit with “Because", my own manifest, and as a footnote to the exhibition title I dare add (is too late) but not your ordinary “too late” but the one of Lucian Pintilie” - Alex Mirutziu

The exhibition is part of ”The sphere of points”, a project by Ovidiu Leuce.

On view at White Cuib - Cluj, until 27 February 2019.


”Pentru că Totul…”

”Cele patru poezii semnate de Ana Blandiana, “Totul”, “Cruciada Copiilor”, “Delimitări” și “Eu cred”, au declanșat preocuparea mea față de identitatea proprie și a noastră ca nație. Începând din 2013, în diverse feluri și moduri de lucru am încercat să răspund la întrebarea: De ce? De ce suntem așa cum suntem?

După 35 de ani de la radiografia poporului român în socialism a Anei Blandiana intervin pe o filieră asemănătoare cu manifestul “Because”, iar ca notă de subsol la titlul acestei expoziții adaug (e prea târziu) însă nu orice “prea târziu”, ci cel al lui Lucian Pintilie” - Alex Mirutziu

Expoziția face parte din ”Sfera din puncte”, un proiect de Ovidiu Leuce.

Expoziția se poate vizita până în data de 27 februarie 2019, la White Cuib, Cluj-Napoca.

”Killer WATCHLIST for cool heads. 4 Cluj based artists to watch”, a text by Alex Mirutziu for Contemporary Lynx

Added on by Alex Mirutziu.

In times of a too fast art radar, in times of decreasing attention span and beat-skipping art market an easy stand of what makes and breaks can be a killer. My suggestions will give you at least for a while a break as you deserve it, I’m sure. Keep your head cool and track what these four artists based in Cluj-Napoca, Romania have in store for now but most importantly for the future.


Flaviu Rogojan cuts through the noise in the artistic community he is a part off, instrumenting technological means, from pencil to camera, analogue/digital computer games (GTA-Grand Theft Auto) an ethos which sets him apart in Cluj where he is currently based. We have to admit that when we look at his work we are viewing a technology-mediated portrayal of his thoughts and like Alan Hollinghurst, Flaviu is more excited by the idea of a place than the place itself. This is a modus operandi he uses as a curator for Aici/Acolo (Here/There), a pop-up gallery unique in Cluj. What he is getting at in his works has to do with ‘hidden-spaces’, ‘noise-tunnels’, loopholes, easy to imagine but impossible to access. He does the work for us, generating data, easy access codes (cheat-codes), makes alterations to existent HTML parameters allowing a novice access to these realities. One of them is the so-called ‘blue hell’ from a curated playlist of video anomalies shown in “From Within”, solo show at Pilot project space at Paintbrush Factory, where one of the game characters can break through walls, dive into an endless blue void, an error or breach in the game which unsettles the game’s own trajectory. Worth mentioning is “Tamagotchi life support” from the show De Rerum Natura at Natural Science Museum in Arad (2018), where Flaviu developed coded sequences to independently maintain into ‘existence’ a digital pet, housed in a small egg-shaped computer. The small robots feed it, play with it, take it to the doctor etc. The striking thing is that this device was glass caged along with stuffed birds and their habitat, performing a possible link in the overall evolution on the earth. A technology that in the end fails, part of Flaviu’s intention, but in its failing makes our understanding of the ‘pet’ and the supporting technology more human.


The artist seems to navigate off the radar, pulling you into his work as long as there is a commitment to his subjective time. Norbert’s strength is almost synonymous to silence, a slow rendering of the surface of the work. And it is in this episodic silence that he is most potent. In An Expression of Time I, II, he directs our attention to the back of a silhouette facing the horizon at two visually distinct parts of the day. At first glance, we truly believe that that’s the case. After a second or third reading of the work, helped by inbuilt hints we start to peel off the layers to reveal the actual photographic process as the main character, the tool which generated such an appearance of day and night, hence of passing of time. In doing so he makes our mind recognise its power to imagine what is there and not there, hidden in plain sight. In Glacier (Equilibrium Line Altitude) he again de-tours our attention leaving the viewer in an antechamber, a place of incipient problem-solving. A Nordic phenomenon of managing cascading piles of snow, in the search to find its resting place takes centre stage solely by appearance. In the background, there are marks of indelible reality that cannot be escaped manifested in large scale marks of displaced chunks of ice, sharing their last breaths on paper, the final disappearing act of something we will not remember as being there in the first place.


When confronted with the works of Ovidiu Leuce I don’t care of what I feel, even though sometimes his works enact such possibility. Instead, I want to find out more. They tend to act as extensions of his thinking, moreover is views of who and where he is.  What strikes me is that he thinks of himself as a painter, and fully articulates why so. When asked about his studies in Cluj and Italy he concludes that it was a time of great distress going from traditional training in painting to an experimental focused practice in Rome. Only that he stood firm with painting even though while in Rome he has overcome the canvas and traditional modes of using colour and photography. In “Notes on the melody of things”, a quote from Rilke whom he finds a bond, Ovidiu set’s off in another medium, this time ceramics, imbued with the use of moulds taken from ordinary objects from his surroundings. In a similar vein with Franz West and Nobel Prize winner for literature, Herta Muller, both major influences, he structures these mise-en-scenes with cut-outs, fragments from newspapers, imprints of textures new and old which are then incorporated into his clay objects. He has been looking at the notion of background and foreground in his most recent works questioning their power relation. In his recent collaborative performance at III Convivencias Cerámicas en Onda, Castellón, adjoined by a friend musician, Jósef Iszlai, Ovidiu sketched fragments of a composition of negative and positive spaces on a huge paper sheet on which a superimposed image of the actual wall, the resting place of the final work, eventually vanishes leaving the shapes suspended, historically extraterritorial.


An artist whose longtime commitment to colour, harmony, surface sets him apart from his colleagues of the same generation. Given that, he entertains the idea of elaborate authorships, giving a voice to the onlooker, indirectly pulled into complex choreography of juxtapositions, and fine volumetric shapes, Comsa doesn’t make it easier for the public to stand-by his intellectual preoccupations. Nevertheless one finds a sense of distilled purity, a sense of proportion in shapes and surfaces which surpasses the tendency to overthink what takes place on the canvas. Instead, one is driven towards the sensuous qualities of his colour fields and their slow attachments on the canvas, or other textiles, layer over layer in an apparent brutal overlapping of pigments, which tend to reconcile in the eye of the viewer. Going back to the basic colours and to drawing in an attempt to make sense of his own physical proportion when exercising his works seems to be of interest, an approach which stems from the New York Avant-Garde of the 60’s —the notion that of the making and maybe even the meaning of a painting rests too on the biomechanics of the work’s own build-up, that space in between the artist and the surface. He mixes diluted pigments before-hand, delineating the composition with wax lines to avoid immediate contamination between colour fields, a process he calls synthetic. And if we think of his modus operandi as disputing nature not representing it, it makes sense in this aesthetic, softened by a comfortable scale, proportion and fair balance, which put to rest jolts of alienation and rejection.

Written by Alex Mirutziu

Alex Mirutziu is a Romanian artist who’s practice interrogates the process of how we create meaning to interpret the world around us. Inspired by philosophy, literature and design, he explores the inadequate use of objects, language and the body as tools of communication.

”The sphere of points”, soon at White Cuib in Cluj

Added on by Alex Mirutziu.

The sphere of points / Sfera din puncte

A project by / Un proiect de: Ovidiu Leuce

14 - 20 February: Norbert Filep \ Cristian Opriș
21 - 27 February: Alex Mirutziu \ Ana Blandiana
28 February - 6 March: Delia Maxim \ Ghenadie Popescu
7 - 14 March: Ovidiu Leuce \ Eugenia Pop

White Cuib

str. F.D.Roosevelt, nr. 2/1, 400021 Cluj-Napoca


"I developed the first film. A few images from the holiday camp in Turda. The greatest thing was the continuity. NON STOP. Day – night together. That’s how the sphere appears = THE SOUL SPHERE MADE OF POINTS. The three groups: 4boys A, 4 boys B and the school girls, 4 as well somehow. Then separate individuals, not in relations with the others. And suddenly the whole was complete, shapes in space, what fun we had, what answers we came up with for problems like: myself- the other? The relationships. What can I do alone? I’m working for others and others work for me! It is a reason to love everybody because we never know how, when and who works for us” - Eugenia Pop, letter fragment, 20 July 1999

"Throughout this project four artists are invited to make a gesture of gratitude towards a person who inspired them during their artistic and human growth, who contributed to their way of creating, of thinking, of relating to others and themselves. For a week each participating artist engages in a simple and substantive dialogue with his or her guest; a natural conversation, without elocution, in this public space with an intimate dimension.

A series of exhibitions like the formal expressions of a meeting, of seemingly small and casual events that in time prove to have the force of fertile seeds in a fertile soil. Reflections on the possible transformations born out of encounters, on their capacity to create experiments, to unleash energies, to transform dreams in visions and visions in acts. Creative gestures that emanate the energy of conscious and profound individuals, active participants in the life of the community” - Ovidiu Leuce


"Am developat primul film. Câteva imagini din tabara Turda. Cel mai grozav lucru a fost continuitatea. NON STOP. Zi - noapte împreună. Aşa apare sfera = SUFLETUL SFERA DIN PUNCTE. Cele trei grupuri: 4 băieţi A, 4 băieţi B şi elevele într-un fel tot 4. Apoi indivizii separaţi, scoşi din relaţie cu ceilalţi,- activităţile, pauzele, emoţiile. Şi brusc întregul ce s-a realizat, forme amplasate în spaţiu, cum ne-am distrat, ce răspunsuri au venit la probleme ca: eu- celălalt? Relaţia. Ce pot face singur? Ce fac cu ceilalţi împreună? Muncesc pentru alţii şi alţii pentru mine! E un motiv să iubim pe toată lumea căci nu ştim niciodată cine, când şi cum munceşte pentru noi" - Eugenia Pop, fragment dintr-o scrisoare, 20 iulie 1999

”Pe durata acestui proiect patru artişti sunt invitaţi la un gest de recunoştinţă către o persoană care i-a inspirat pe parcursul creşterii lor artistice şi umane, care a contribuit la modul lor de a creea, de a gândi, de a se raporta la ceilalţi şi la ei înşişi.

Fiecare artist participant realizează, timp de o săptămână, un dialog concret şi simplu cu invitatul său; o conversaţie fără enfază, naturală, în acest spaţiu public cu o dimensiune intimă.

O serie de expoziţii ca expresii formale ale unor întâlniri, ale unor evenimente aparent mărunte şi cazuale care însă au dovedit în timp a avea forţa unor seminţe rodnice pe un pământ fertil. Reflecţii asupra posibilelor transformări născute din întâlniri, asupra capacităţii lor de a creea experienţe, de a descătuşa energii, de a transforma visele în viziuni şi viziunile în acte. Gesturi creative ce emană energia unor indivizi conştienţi şi profunzi, participanţi activi la viaţa comunităţii" - Ovidiu Leuce

Kunsthalle Mulhouse presents ”La Brique, The Brick, Cărămida”: 43 artists, 54 artworks, 2 new productions

Added on by Alex Mirutziu.

La Brique, The Brick, Cărămida

Curated by Ami Barak

Dates: 14 February - 28 April, 2019

Opening: Wednesday, 13 February 2019, 18:30 am

Kunsthalle Mulhouse

La Fonderie - 16 rue de la Fonderie 68093 Mulhouse Cedex

As part of the France - Romania Cultural Season 2019, La Kunsthalle presents ”La Brique, The Brick, Cărămida”, a modern and contemporary art exhibition. The initiative of such an exhibition comes from the collector and benefactor from Timișoara, Ovidiu Șandor, and his desire to share his choices and passion for art in this French city twinned with his, Mulhouse. The opportunity is thus to open the doors on an intimate world, have an insight into the modern and contemporary Romanian narrative and a better understanding of the complex history of this country. This exhibition presents a committed and creative artistic scene from the early 20th century to this day.

The title of the exhibition is borrowed from an emblematic work by Ana Lupaș, an iconic figure of the avant-garde and undoubtedly a major discovery of the greatest museums in the world. It puts one brick after another in a building that is the founding act of a wonderful cultural enterprise.

From Constantin Brâncuși, Andrei Cădere, Ana Lupaș Geta Brătescu and Ion Grigorescu, leading figures in a national pantheon, to Adrian Ghenie, Victor Man, Ciprian Mureșan or Dan Perjovschi and taking into account a whole new generation that will not be long to be discovered outside national borders, the collection shows a high ambition and a strong commitment.

This is also an opportunity to invite two Romanian artists, Pusha Petrov and Alex Mirutziu, to produce and present new works. Both of their projects, produced for the occasion, will join the collection and will strengthen the presence of the young Romanian scene.

List of artists:

Ion Bârlădeanu, Ioana Bătrânu, Marius Bercea, Horia Bernea, Ștefan Bertalan, Ion Bitzan, Constantin Brâncuși, Brassaï, Geta Brătescu, Victor Brauner, Michele Bressan, Andrei Cădere, Mircea Cantor, Roman Cotoșman, Constantin Flondor, Adrian Ghenie, Ion Grigorescu, Marcel Iancu, Pavel Ilie, Mi Kafchin, Ana Lupaș, Victor Man, Hans Mattis-Teutsch, Dan Mihălțianu, Alex Mirutziu, Florin Mitroi, Ciprian Mureșan, Gellu Naum, Paul Neagu, Ioana Nemeș, Miklós Onucsan, Andrei Pandele, Dan Perjovschi, Pusha Petrov, Lea Rasovszky, Diet Sayler, Șerban Savu, Decebal Scriba, Arthur Segal, Sigma, Liviu Stoicoviciu, Mircea Suciu, Doru Tulcan, Andra Ursuța


Ami Barak - Independent curator and art critic based in Paris, Ami Barak initiated numerous projects in France and abroad. Among the recent ones: Role-playing – Rewriting Mythologies – Daegu Photo Biennale, South Korea (2018); Life- A User’s manual – Art Encounters Timisoara Biennale of Contemporary Art (2017); What does the image stand for? – Momenta Biennale of contemporary image Montreal (2017); Julião Sarmento The Real thing – Fondation Gulbenkian Paris, Peter Kogler Next ING Art Center Brussels (2016-2017); Le Salon de Montrouge 61st, 62nd & 63rd editions – Montrouge (2016 - 2018)