Filtering by Tag: Alex Mirutziu

Alex Mirutziu will perform at Warsaw Gallery Weekend 2019

Added on by Alex Mirutziu.

For the ninth consecutive year, private art galleries across the city invite you to experience Warsaw Gallery Weekend. From September 20–22, galleries across Warsaw (as well as several from Gliwice, Katowice and Poznań) offer an exciting program of exclusive exhibitions and events by both Polish and foreign artists, spotlighting what is trending in the Polish art scene – and all with no admission fee.

The extensive program of the Warsaw Gallery Weekend includes a lineup full of artist and gallery owner meetings, activities and events, concerts and discussions, and nine accompanying exhibitions presented in cooperation with partner institutions and galleries.

There will also be the introduction of a new initiative – the Central European Art and Collectors Summit – a gathering of artists and collectors from the region of Central and Eastern Europe. There will be a discussion panel and several performance shows, as well as a visit from our guest of honor Grażyna Kulczyk, who will present the self-funded Susch Museum.

SATURDAY 21 September 2019 | 7 p.m.

Central European Art and Collectors’ Summit
Performance program: Zuzanna Bartoszek, Andro Dadiani, Alex Mirutziu, Voin de Voin

Palace of Culture and Science Kisielewski Hall
pl. Defilad 1

Supported by The ING Polish Art Foundation and Adam Mickiewicz Institute

Outset Residency has supported “Gaining in a State of Debt”, Alex Mirutziu`s first solo show in Israel

Added on by Alex Mirutziu.


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Alex Mirutziu (1981, Romania) was a guest of Outset Bialik Residency during March 2019. During his residency Mirutziu prepared his solo exhibition “Gaining in a State of Debt”, presented at The Center for Contemporary Art, Tel Aviv, curated by Nicola Trezzi.

“Gaining in a State of Debt” is 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.

Alex Mirutziu in comprehensive survey of queer art publication

Added on by Alex Mirutziu.

“In the work of Romanian artist Alex Mirutziu the self portrait expresses his view of social reality in all kinds of symbolic ways. In Self-portrait at 32 (2014) two video screens show footage of abandoned buildings covered with vegetation. The artist regards this work as a metaphor for homosexuality in his country and had dedicated it to outcasts. His work reflects his love-hate relationship with his country of origin, but this is provocative when one considers that in his opinion history "has been muscled up and hijacked for generations until it became a monster, especially in post-revolutionary Romania. Art is therefore a protest for Mirutziu.”

Notes:

  1. Roxana Sima, 'Pessimisms for Export', 26.8.2015 revista artă.ro/pessimisms-for-export

  2. George Robescu, 'Alex Mirutziu is not your personal art Taylor's, 24.6.2013 artsy.net/article/georgerobescu-alex-mirutziu-is-not-your-persinal-art

Fragment taken from “Queer!? Visual Arts in Europe”, Anton Anthonissen, Evert van Straaten, Publishers Waanders Uitgevers, Zwolle [catalogue], 2019, p. 315

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‘The Unnerving Inches of Being’ - Alex Mirutziu's Solo Exhibition at SABOT Gallery, Cluj

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The Unnerving Inches of Being

May 31 - July 10, 2019

Opening: Friday, May 31, from 7pm

SABOT

Centrul de Interes  [4th floor]

Str. Fabricii de Chibrituri 9A, Cluj-Napoca

Opening hours: Tue – Sat, 4pm - 7pm

Photo: Alex Mirutziu

Photo: Alex Mirutziu

Photos: YAP Studio

‘The unnerving inches of being’ concludes few years of research on the work of novelist and philosopher Iris Murdoch and the different methodologies she employed to create meaning. Preceded by Between Too Soon and Too Late, which took place at Delfina Foundation in 2018 (Mirutziu’s first solo exhibition in the UK), ‘The unnerving inches of being’ brings together a series of works informed by Murdoch’s writings and further reflects on the notion of time and space in relation to meaning.

Extending over a wide range of media and activities, including sculpture, drawing, poetry, and performance, as well as critical and curatorial projects, Mirutziu’s practice questions the way we create meaning to interpret the world around us. Highly intellectual, inspired by philosophy, literature and design, the artist explores the inadequate use of objects, language, and the body as tools of communication, confronting us with “dislocated modes of arrival at meaning.”

Taste-Art! A Multi-Sensory Evening of Eastern European Gems

Added on by Alex Mirutziu.
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When: Thursday 16 May 2019, 7-9pm. Doors open at 6:30pm.

Where: Romanian Cultural Institute, 1 Belgrave Square, SW1X 8PH, London, UK

Free entry. Please confirm your attendance on EVENTBRITE.

”We join forces with Romanian Cultural Institute in London for a sensational evening of immersive art and music to celebrate Contemporary Lynx Magazine’s latest issue. The event brings together Romanian performance artist Alex Mirutziu and Polish visual artist Piotr Krzymowski, who will be presenting their latest projects. The evening will be rounded off with a live DJ set offered by Adrian Magrys of Lanquidity Records, who will be playing Eastern European vibes from vinyl.

The event is organised jointly by Contemporary Lynx and the Romanian Cultural Institute, with the support of the Embassy of the Republic of Poland in London and the Polish Cultural Institute. Part of the Polish Heritage Days Festival.

The new issue of Contemporary Lynx Magazine – 1(11)/2019 – focuses on art that impacts all our five senses and its interaction with the viewer. The first step into sensory experience is the lenticular wobbling jelly cover, designed by Sam Bompas and Harry Parr. The issue also includes an article written by Alex Mirutziu, about the vibrant art scene of Cluj-Napoca – a city in central Romania.”