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Alex Mirutziu does All Hollow fast and ready interview

Added on by Alex Mirutziu.


By: George Robescu
Alex Mirutziu, “Where is the poem” (left) & “Weight of sleep as temporary sculpture present in flesh of face” (right), 2013 © The Artist & SABOT
Alex Mirutziu / 32 / Sibiu / Artist
How do you wish to die?
In my sleep.
What’s the last show that you saw?
Archimedes. Art and Invention Science — Capitolini Museum, Rome.
Describe a typical day in your life as an artist.
Mostly in front of screens, either of laptop or other devices.
What’s the most indispensable item in your studio?
I guess books, and notebooks. My studio is in my head.
Where are you finding ideas for your work these days?
It’s a mess. From everywhere: a buss stop sticker to anti-philosophy.
Do you collect anything?
Mainly images, that speak to me.
What is your karaoke song?
I don’t do such thing, but I know many David Bowie songs by heart.
What’s the last artwork you purchased?
A limited edition “Venus in Furs” book.
What’s the last great book you read?
The State of things (Office for Contemporary Art – Norway)
What work of art do you wish you owned?
Vir Temporis Acti by Adolfo Wildt.
What (under-appreciated) artist do you think people should know about?
Charlotte Moorman — one of the key figures in the New York Avant-Garde. Her influence in the experimental art is unparalleled but somehow her legacy is overlooked.
What are your hobbies?
Traveling abroad.
What is your present state of mind?
Post-exhibition detachment.
Look at your watch. What time is it?
13:34 Rome time.
Drag every day or only on special occasions?
Not for me.
What turns you off?
Vegetative time.
How about pleasure?
Explain what you do in +/- 100 words
A dancer who walks for a living.
What’s your strongest memory of your childhood?
Going at the cinema with my father.
What jobs have you done other than being an artist?
If I need a job I prefer something that has nothing to do with art.

Alex Mirutziu, “Scotopolitic objects #2″, 2013 © The Artist & SABOT
What is your dream project?
I don’t have one. It’s something that I don’t think about.
What’s the best piece of advice you’ve been given?
Fuck your circumstances.
Know any good jokes?
I’m afraid not.
 What was your first work of art?
Did they say you had natural talent in art school?
What advice would you give to a young person who wants to become an artist?
Polish your ideas kids, you’re gonna need them.
Do you think the art world is dead?
The discussion is maybe — if the art world is still interested in art and not life itself.
Who do you think is the best business artist in the world?
I guess Jeff Koons.
Do you think artists of the future will form companies or go public and sell stock?
Maybe why not.
Do you ever think about politics?
Art degrades into politics. It implies a political way of dealing with ‘art.’
Do you think your work will go up in value when you’re gone?
I don’t really care. To clear the air in some instances maybe, is of interest.
What time do you get up in the morning?
Usually around 10.
What do you do in the morning?
Common things nothing out of the ordinary.
Are rich people different from poor people?
Depends on where you stand. Money empower people, but after all we are on the same foot.
Do you ever feel like an imposter? Why? Why not?
I feel more like a boxer…punching clean an attitude era.
Did you ever feel like giving up on art?
Sometimes I cultivate an indeterminate drift and mock the idea of art.
How do you feel when (if) you discover another artist who does something very similar to your own work?
Look very attentive. Nothing really comes from the same source and develops similarly. Artists may produce similar artworks but their motivation defer.
Do you have the ambition to change things with your work (art, society, people)? Does it seem important to you?
It is important to massage a conceptual locus or to layer a specific field of practice.

Alex Mirutziu, “Architecture for page turn”, 2013, © The Artist & SABOT
How many times did you break up with art?
Honestly – never. It’s an affliction.
Do your works need explaining? Would you like everyone to understand them? Do you think it’s ok to have a target audience?
Explaining an artwork turns it into something else. A way of enriching my practice is to touch places  that only writing with can do.
Is nail art art?
It’s crazy isn’t it. Who knows?
What would your super power be?
Do you really think I would lay it out? Occultation, for the sake of asking the question.
When were you happiest?
This question is damn personal, it will overshadow everything else in a split second, reason why I prefer to keep it to myself.
 What’s your favorite post-gallery bar?
I don’t have one.
What would you do to get it?
The question is to get what? Success? Money? Fulfillment of any sort?
Who’s your favorite living artist?
I have one actually but at this time I rather keep it to myself.
What was your most embarrassing moment?
Forgetting names in conversation, other than that I can’t squeeze anything out now.
What is your favorite word?
What is the worst thing anyone’s said to you?
People are nice to me you know! It’s mutual.
What do you owe your parents?
I prefer not to respond, reason being that it will take too much effort to put it in words.
What does love feel like?
Right now, like an iceberg in pink light.
How do you relax?
Traveling is one way.
What is the most important lesson life has taught you?
Oh, my God! To be patient.
Do you believe in progress?
Would you under any conditions accept to show your works under anonymity?
I did that this year.
“The Artist and Himself at 29 – The urgency of the idea of closure in drawing”,  2013, ©The Artist & SABOT
Do you care about who buys your art? What kind of people, institutions? Would you refuse someone?
My work self-selects in a way its possible buyers. It is radical enough to appeal to whom considers it relevant.
 Do you like artist collectives?
Yes, I am in one.
Does being an artist make you a better cook? A better lover? Does your work influence other aspects of your life?
Not really. On the contrary, it can be a wrecker.
Do think it’s important to be self centered in order to succeed as an artist?
In one way or another, one has to be self-centered.
Would you prefer your art to be timeless or timely?
The patina of time is so beautiful. It informs, it gives place, creates meaning. Therefore timely.
What is the contemporary meaning of the death of art?
Art transition into life itself.
Is Peaches more attractive than Mona Lisa?
They both rock. But Mona Lisa is a score hitter no matter what.
Do you know who said “art is whatever gets you laid”?
What’s your favorite art themed funny shirt?
Have none.
Would you turn down dinner with Marina Abramović because you find her distinctly annoying?
Have no idea if she is annoying. Is she? I wouldn’t turn her down.
Did you ever look at an Arcimboldo painting and got hungry?
Uuu, never.
Did you think that was a happening?
Do you buy postcards at museum stores?
What’s better: your art on a tote bag or on a notebook?
Tote bag.
Look or look at me?
What rhymes with art? The Louvre or The Commune?
Who in the art world deserves most to be punched in the face?
No one really.
What did you ever do to cure loneliness?
Go out.
You have 50 masterpieces of standing male marble nudes. What would you do with them?
They call for an alley to be placed in.
What do you fear more: no reviews or bad reviews?
No reviews.
How much is too much for a painting?
Nothing is to much for any work of art.
I say catastrophe, you say..?
 A can of kerosene is the answer. What was the question?
Something related to Jasper Johns? Hmmm…

Alex Mirutziu, “Where is the poem”, 2013 © The Artist & SABOT
Did you ever write a fan letter to Bryan Cranston? Why not?
Who is this guy?
What program do you use for pirating music?
How did your gang initiation go?
What gang?
What should burn first: Christie’s or the Parliament?
Is there enough art for all the money?
Believe me there is.
For the love of god. Who would buy a diamond skull?
I would. I like that work.
What art themed tattoo would you get?
Do less more.
Would it be better than a diamond skull?
Did you think that was a happening?
Seriously now. What’s the maximum time to spend in a museum?
From morning till dawn.
“Would the fact that Governor Rockefeller has not denounced President Nixon’s Indochina Policy be a reason for your not voting for him in November?”
You must be joking.
When’s the last time you read the newspapers?
I read them quite often.
What did you learn?
When can you go into the supermarket and buy what you need with your good looks? America is this correct? I saved Latin. What did you do?
My good looks got me photographs on the street, hugs of a slut, and occasionally free drinks.
Do you have social disease?
They are not really diseases.
What’s the outside of a gallery?
Another gallery.
What mechanism do you reproduce?
Can art be collective again?
It always been collective.
How do you feel as a capitalist entrepreneur?
What is a curator?
Carer of things.
What to do with the contemporary?
Leave it in the now.
What is the public?
What is the artist?
What is an exhibition?
A gathering of ideas in a specific place.
What about collecting?
Something to think about.

Alex Mirutziu, “The urgency of the idea of closure in drawing”, 2013 © The Artist & SABOT
What is the future of art?
No art.
What is the process?
Being in the project.
What about responsibility?
Responsibility gives stature.
What’s the first artwork you ever sold?
Back in high-school. A couple of paintings.
What project are you working on now?
A sound installation called Scotopolitic objects.
What’s the last show that surprised you? Why?
David Bowie is.
Do you make a living off your art?
What’s the weirdest thing you ever saw happen in a museum or gallery?
Surveillance cameras are weird.
What’s your art-world bête noire?
Don’t have one.
courtesy: The Artist & Sabot
interview: George Robescu

Alex Mirutziu talks in ALL HOLLOW Magazine

Added on by Alex Mirutziu.

The 2012 Winter issue of All Hollow Magazine published by Griffons and Swans appointed George Robescu to curate a dense interview with me looking at the highs and lows of living in Romania to hyperobjects and the secret life of mass. 

_______4. You claim Romania has only given you your place of birth. Is that really all it's done for you? Is there something or someone quintessentially Romanian that you care about?

A yes, full of blood. I believe that Romania's hard-line had lost me a while back. Perhaps it is a pathological anger over Romania that can only be born out of being the villain in a vast smelly ocean, where we cannot but smell our meta-odours. I wanted to breathe different oxygen. My social critique looks way back before the revolution where everything started. I think the generation of my parents for e.g is on the verge of missing the whole point of why they made a revolution in the first place by staying silent towards the past in its relationship to the next generations I think we have a deep problem of formulating our desires. We think there is an outside world that needs adjusting to. I think we left the scar of communism undelt too long, and then we locked it in us, and run away. Maybe an alternative is to co-exist with honesty and forward thinking. 

I am outspoken when it comes to someone I truly care which is my partner and sometimes co-conspirator, Razvan Sadean, who agrees with me on the above. We want more than a deplorable ideology, frigid tradition and damn right cultural primitivism. We want more than a dry discourse lacking room for tolerance and respect for minorities or engaged and argumentative individuals. We started to collaborate for different projects and performances at Barbara Seiler Gallery in Zurich, Ze Dos Bois Art Centre in Lisbon —a legendary art space where in the 90’ body artists like Orlan, or Philip Meste showed their works in Atlantico Festival. 

_______12. How would you describe the local art market? Adrian Ghenie stated that Romanian art is closer to a sociological experiment than to actual contemporary art. Do you agree? 

I think that Romanian contemporary art tries sometimes to open doors where there are none to open. We are talking to much about post- communism, reiterating its blockages when we are in need of a theory of reality. If we continue like that we miss the point completely. Why? Because, 'the only way out is in', is not anymore valid, because there is no outside of us that needs to be fixed in order to move forward. To believe that there is an outside of us means to believe in human supremacy in the world.

_______7. What are your major themes? Which medium would you like to explore further? 

I make art tailored to deal with a problem. My interest is to bring something into the world that doesn't demand from the spectator his understanding, it demands rather his absence, that he not add anything to it. I deal with positions on design, fabrication and occupation of neverhood—the immaterial parameters of design that wants to interact, to come into the texture of now — to design an approach that never was — to design never. 

In 2009 I had the idea of building a collective not an individual practice — with a hyperobject — with myself at 29 years old, and since its making we worked with the idea of the present, reality of never, downcycling this fundamental object, of what's what in 'The Artist and Himself at 29'. The fundamental workings of this collective question the way mass makes reality, the secret life of mass. Whatever it is now, cannot be complete if we don't take in consideration its neverness. Just as the object of the world is always on the project board, never makes this object visible. I want to make a better never, as it is not homeless but deeply in ourselves. Looking at 'Pending works' established as work about scale, far beyond any humanist perception — a hyperobject, too large for the city, news, the geography of where we are. It is simply to big, making it impossible to take in all at once. Pending work is the artist at 29. Pending works change the conversation. Dealing a pending work imply many public appearances considered as zero days. One zero day was Public of Stockholm performing Pending Work #7 at IASPIS, keeping moments of silence for a never happened event asks issues of evidence, evoking the law, the observer's paradoxical situation of observing something that cannot be observed, and contemplated, adding no more silence to all the silence in the object, just because the public is not outside of the work, but in the work. There is simply no away, no public to deal with pending work #7 because time has no public and no events to look not to speak of giving credit to any. All termination points, closures are instantaneous and not ends. Pending work is laboured as being a work that is elsewhere, no pending work is here. It brings to the history of thought rather than preserved as mere aesthetic residue.