Filtering by Category: "Sabot Gallery"

A few grams of red, yellow, blue - New Romanian Art at CCA Warsaw

Added on by Alex Mirutziu.


KILKA GRAMÓW CZERWONEGO, ŻÓŁTEGO, NIEBIESKIEGO. Nowa sztuka z Rumunii / A FEW GRAMS OF RED, YELLOW, BLUE. New Romanian Art from CSW TV on Vimeo.


"KILKA GRAMÓW CZERWONEGO, ŻÓŁTEGO, NIEBIESKIEGO."


"KILKA GRAMÓW CZERWONEGO, ŻÓŁTEGO, NIEBIESKIEGO."
Nowa sztuka z Rumunii.

Artyści: Apparatus 22, Anca Benera & Arnold Estefan, Irina Botea, Mihuț Boșcu Kafchin, Cătălin Burcea, Mircea Cantor, Radu Cioca, Radu Comşa, Adrian Ghenie, Maxim Liulca, Ioana Nemeş, Alex Mirutziu, Anca Munteanu Rîmnic, Ciprian Mureşan, Vlad Nancă, Cristian Rusu, Şerban Savu, Răzvan Sădean, Mona Vătămanu & Florin Tudor

Wystawa towarzysząca: "Álmoskönyv" według projektu Victora Mana
Artyści: Ștefan Bertalan, Nagy Albert, Incze Ferenz, Miklóssy Gábor, Kancsura István, Fülöp Antal Andor, Victor Man, Anna-Bella Papp, Zoltán Huszárik

Otwarcie wystawy: 10 marca 2014, godz. 18.00
Wystawa trwa do 8 czerwca 2014
Kurator: Ewa Gorządek
Galeria 2

Performance: Alex Mirutziu we współpracy z Eliasem Merino "Scotopolitic Objects #2 na pięciu performerów i elektroakustyczne impromptu"

Koncert: Karpov not Kasparov.




romanian version bellow

A few grams of red, yellow, blue. 
New Romanian Art.

Artists: Apparatus 22, Anca Benera & Arnold Estefan, Irina Botea, Mihuț Boșcu Kafchin, Cătălin Burcea, Mircea Cantor, Radu Cioca, Radu Comşa, Adrian Ghenie, Maxim Liulca, Ioana Nemeş, Alex Mirutziu, Anca Munteanu Rîmnic, Ciprian Mureşan, Vlad Nancă, Cristian Rusu, Şerban Savu, Răzvan Sădean, Mona Vătămanu & Florin Tudor

Opening of the exhibition: March 10, 2014 at 6 p.m.
On view through: June 8, 2014
Curator: Ewa Gorządek


Exhibition opening performance: Alex Mirutziu in collaboration with Elias Merino "Scotopolitic Objects #2 for five performers and electroacoustic impromptu" and a concert by Karpov not Kasparov

An exhibition "A few grams of red, yellow, blue. New Romanian Art." with a comprehensive presentation of the latest works from Romanian artists of the younger generation, whom since the mid-2000s have begun to manifest their presence in the art scene, locally as well as on an international scale. This thirty-something generation grew up under communism, witnessed the breakdown and collapse of the system, coupled with experiencing the violent invasion of consumer culture in an indigenous society. Consequently, it is through this peerless perspective that the artist’s formulate their thoughts and comments on the observed changes.

These artists mainly originate from two centres, Bucharest and Cluj-Napoca, although in contrast, some of them have been living outside of the country for some time. The exhibition’s leading theme is artistic reflection on contemporary Romania, its present - closely linked to recent history - as well as building its identity, both the individual and collective. These themes are evident in the works of young Romanian artists on various levels of critical discourse: relationship to the past, artistic tradition, or undertaking current social problems. The works are characterized by a strong conceptual basis, and each of the artists, in their own way, deconstructs the ideas and phenomena that interest them. Their works combine the authenticity of artistic decisions with the conscious use of selected media, such as painting, video, sculpture, performance, and installation. The Romanian contemporary art scene is not homogeneous, instead, occurring parallel to one another are the many trends and references to different traditions in it. However, this exhibition depicts a fairly clear picture of the current Romanian artistic practices.

A separate project will be shown within the frames of the main exhibition, whose curator is artist Victor Man. In a distinctively arranged gallery space, Victor Man will present the works of, amongst others, Anna-Bella Papp, Stefan Bertalan, as well as the film "Szindbád" by Zoltán Huszárik. In his show, Man unites artists from different generations and ushers in a strong accent with the use of a film from the Hungarian director, taking into account the complex relationships in the perspective of multiculturalism that is characteristic to this region of Europe.


Partners: City of Warsaw, Rumuński Instytut Kultury, Sofitel Warsaw Victoria, Epson

Wine on the vernissage sponsored by: Vinarte

CCA media patronage: TOK FM, Elle Decoration, Harper's Bazaar, KMAG, Aktivist, Warsaw Insider, Hiro, Stolica, Label Magazine, artinfo.pl, PURPOSE



www.csw.art.pl



romanian version

A FEW GRAMS OF RED, YELLOW, BLUE 
expoziție de artă nouă românească la Varșovia
10 martie – 8 iunie 2014
Centrul pentru Artă Contemporană Zamek Ujazdowski
Curator: Ewa Gorządek

Evenimentul A FEW GRAMS OF RED, YELLOW, BLUE, pregătit la Centrul pentru Artă Contemporană Zamek Ujazdowski din Varșovia, va fi cea mai mare expoziție de artă contemporană românească organizată în Polonia, o manifestare de o anvergură și valoare speciale, care face onoare deosebită culturii române și instituțiilor care o reprezintă. Pentru a lua parte la ea au fost invitați artiști ai tinerei generații, care începând din anul 2000 au început să-și manifeste foarte pregnant prezența pe scena artistică, locală și internațională. Generația creatorilor români cu vârste de 30-40 de ani s-a maturizat în perioada comunistă, a fost martoră a descompunerii și căderii sistemului, a resimțit invazia bruscă și efectele culturii de consum în societatea românească; toate acestea le-au furnizat artiștilor o perspectivă specială, din care abordează reflecția artistică și formulează comentarii pe tema schimbărilor observate.

Creatorii aleși provin în principal din două centre culturale, București și Cluj, cu toate că o parte din ei locuiesc deja de ceva vreme în afara țării. Tema principală a expoziției este reflecția artistică asupra României contemporane, asupra prezentului ei, strâns legat de istoria recentă, de asemenea construirea identității, atât individuale, cât și colective. Aceste motive sunt vizibile în creația tinerilor artiști români la diferite niveluri ale discursului critic: raportarea la trecut, la tradiția artistică sau abordarea problemelor sociale actuale. Creația acestor artiști este caracterizată de o atitudine conceptuală puternică, în timp ce fiecare dintre ei, în felul său, demonstrează ideile și fenomenele care îl interesează. Lucrările lor îmbină autenticitatea deciziilor artistice cu maturitatea operării cu limbajul mediului ales - pictură, sculptură, instalație, performance, video.

(http://www.icr.ro/varsovia/evenimente-9/a-few-grams-of-red-yellow-blue-expozitie-de-arta-noua-romaneasca-la-varsovia.html)


În perioada 10 martie – 8 iunie 2014, Centrul pentru Artă Contemporană Zamek Ujazdowski va găzdui cea mai mare expoziție de artă contemporană românească organizată de-a lungul vremii în Polonia, A FEW GRAMS OF RED, YELLOW, BLUE, o manifestare de o anvergură și valoare speciale, care face onoare deosebită culturii române și instituției care o reprezintă în capitala poloneză – Institutul Cultural Român de la Varșovia. Pentru a lua parte la expoziție au fost invitați artiști ai tinerei generații, care începând din anul 2000 au început să-și manifeste foarte pregnant prezența pe scena artistică, locală și internațională. Generația creatorilor români cu vârste de 30-40 de ani s-a maturizat în perioada comunistă, a fost martoră a descompunerii și căderii sistemului, a resimțit invazia bruscă și efectele culturii de consum în societatea românească; toate acestea le-au furnizat artiștilor o perspectivă specială, din care abordează reflecția artistică și formulează comentarii pe tema schimbărilor observate.

Creatorii aleși provin în principal din două centre culturale, București și Cluj, cu toate că o parte din ei locuiesc deja de ceva vreme în afara țării. Tema principală a expoziției este reflecția artistică asupra României contemporane, asupra prezentului ei, strâns legat de istoria recentă, de asemenea construirea identității, atât individuale, cât și colective. Aceste motive sunt vizibile în creația tinerilor artiști români la diferite niveluri ale discursului critic: raportarea la trecut, la tradiția artistică sau abordarea problemelor sociale actuale. Creația acestor artiști este caracterizată de o atitudine conceptuală puternică, în timp ce fiecare dintre ei, în felul său, demonstrează ideile și fenomenele care îl interesează. Lucrările lor îmbină autenticitatea deciziilor artistice cu maturitatea operării cu limbajul mediului ales – pictură, sculptură, instalație, performance, video.

Lista artiștilor ale căror lucrări vor alcătui ampla expoziție de la Varșovia, curatoriată de Ewa Gorządek, îi cuprinde pe: Anca Benera & Arnold Estefan, Apparatus 22, Mihuț Boșcu Kafchin, Irina Botea, Cătălin Burcea, Mircea Cantor, Radu Cioca, Radu Comșa, Radu Cioca, Adrian Ghenie, Maxim Liulca, Ioana Nemeș, Alex Mirutziu, Anca Munteanu Rîmnic, Ciprian Mureșan, Vlad Nancă, Cristian Rusu, Șerban Savu, Răzvan Sădean, Mona Vătămanu & Florin Tudor.

Spațiul Castelului Ujazdowski va găzdui, de asemenea, o expoziție conexă, concepută de Victor Man, purtând titlul Álmoskönyv/Cartea visului, cuprinzând lucrări ale artiștilor Ștefan Bertalan, Nagy Albert, Incze Ferenz, Miklóssy Gábor, Kancsura István, Fülöp Antal Andor, Anna-Bella Papp, Zoltán Huszárik.

Vernisajul evenimentului din 10 martie, conceput extrem de original și spectaculos, va fi marcat de o desfășurare de forțe impresionantă - invitarea majorității artiștilor și a unor manageri de galerii din România, care îi au în portofoliu pe artiștii prezentați, organizarea unei recepții și a unui concert susținut de trupa românească de muzică electronică Karpov not Kasparov (Eduard Gabia & Valeriu Borcos). Un alt element inedit din deschidere va fi performance-ul conceput de Alex Mirutziu în colaborare cu artistul Elias Merino, cu titlulScotopolitic Objects #2 pentru cinci performeri și un impromptu electroacustic.

Expoziția va fi deschisă publicului până în data de 8 iunie a.c. și va reprezenta un element central al programului varșovian din Noaptea Galeriilor 2014 (17-18 mai). Amplul eveniment este unul dintre proiectele majore pregătite de Institutul Cultural Român de la Varșovia în 2014.

Pending Works & Bureaucratic Objects - book launch

Added on by Alex Mirutziu.
INSIDE:

Comprehensive conceptual frame of Pending Works as well as Bureaucracy of Objects with references to works from 2010 to the present. Insights into TAH29 - The Artist and Himself at 29, with studio photos from Sweden, and the archives of GAM - Galleria d’Arte Moderna di Milano.

______ published by Sabot











Sabot gallery owner check-points her vision in C-Print

Added on by Alex Mirutziu.


_________With art spaces across Europe currently showcasing Romanian art and with a bunch of young artists, many of which are based in the city of Cluj-Napoca, are gaining notoriety internationally, C-print had a talk with Daria Dumitrescu, founder and director of Galeria Sabot, about running a gallery anything but conventionally under the keynotes of abstraction, collision and incongruence.

(excerpts)

C-P: Galeria Sabot has a very interesting statement on its website which I'm interpreting as an ambition to do things differently, beyond the traditional practices of a contemporary art gallery. In your words, how you describe the focus of the gallery?

D.D: Out of focus, divergent, and highly observant. Good peripheral vision and a third eye for overviews. Both thesis and antithesis... The product of a self-generated intellectual controversy. In one word, I would describe it as non-linear.

C.P: The gallery is housed inside an old factory, The Paintbrush Factory, turned collective space for contemporary art alongside a few other galleries such as the previously mentioned Plan B, as well as other art initiatives and numerous artist studios. I'm thinking it must be quite an exciting enivornment to be operating a gallery in. Could you tell us a bit more about the premises.

D.D: We found this rundown factory at the beginning of 2009. I needed a place for Sabot, and two artists (Ciprian Mureșan and Radu Comșa) were in search of studio spaces. After deciding to rent half of the second floor of this former factory, we teamed up for renovation. The most relevant part of the artistic community in Cluj joined us by the end of the same year – and this turned the whole thing into an exciting venture. Today I still believe this is the right place to run a gallery in Cluj.


C-P: You are currently exhibiting Alex Mirutziu with a show titled "Each thought's an instant ruin with a new disease". I read somewhere that Mirutziu has been labeled "l'énfant terrible of his generation". Could you tell us a about this current exhibition and what earns him this label?

D.D: Mirutziu was my first choice for Sabot. A brilliant, flamboyant mind, juggling an overdressed aesthetic and an exquisite imagery. At the beginning of his career, he was oscillating between being critically queer, performing gender, and questioning the power systems and their bearing on ideology, language, and discourse. Not difficult to imagine that the Romanian scene was not prepared to embrace this approach… And I’m wondering if things seem easier now, when Mirutziu pushed his long-term engagement with performance and media critical installations even further: into the Internet of things, high-end technology, post-language, and beyond. His current show is a mise-en-scène based on the artist’s philosophical notations. An artist book elaborating on his object-oriented research will be launched at the exhibition's finissage – compulsory reading for any ‘label designer’ around!


Alex Mirutziu does All Hollow fast and ready interview

Added on by Alex Mirutziu.




N.N., UNTITLED

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?
Accuracy.
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?
Myself.
Did they say you had natural talent in art school?
Yes.
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?
Porosity.
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?
Absolutely.
Would you under any conditions accept to show your works under anonymity?
I did that this year.
ssss
“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”?
Who?
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?
Often.
What’s better: your art on a tote bag or on a notebook?
Tote bag.
Look or look at me?
Look.
What rhymes with art? The Louvre or The Commune?
Louvre.
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..?
Candy.
 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?
Many.
How did your gang initiation go?
What gang?
What should burn first: Christie’s or the Parliament?
Christie’s.
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?
None.
Can art be collective again?
It always been collective.
How do you feel as a capitalist entrepreneur?
Masterful.
*
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?
Often.
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