Filtering by Tag: Critique on how temples move faster than their shadows

Alex Mirutziu's performative oeuvre on show at National Museum of Contemporary Art Bucharest

Added on by Alex Mirutziu.

No Blood Bank Included

SOLO EXHIBITION

as part of BIDFF (Bucharest International Dance Film Festival) in partnership with the Performing Arts Programme of the National Museum of Contemporary Art, curated by Ioana Paun

@THE NATIONAL MUSEUM OF CONTEMPORARY ART, BUCHAREST (MNAC)

Exhibition visiting dates/hours |  SEPT 9 - OCT 1| 12 PM - 8 PM (regular museum ticket)

 

 

- all photos by Alex Mirutziu with the exception of the last  6 in line, bearing the copyright of Doria Photography.

Alex Mirutziu

As long as against an artwork we position ourselves frontality, we tend to do so brutally charged and equally emotional. The works in the exhibition are impossible to be perceived frontally, be it visually or multi-sensorially, but only by detour, alas slowly digesting it to the point of loosing oneself. My most recent works move away from the logic of ‘me’ - ‘here — ‘the rest’ - outside, and deal with uncertain dimensions which exhibits one/other meaning as well as with links of co-existence between multiple presences, approaches or appearances of the individual and of the world in which he/she belongs that cannot ever run out of steam.

Even when ‘here’ and ‘now’ structure our understanding, these are contaminated by an act of re-installment, or re-demarcation of the creative act. Demand joining efforts, multiple foldings.I insist in creating a climate that brings forth the likes of something to be later metabolised. This selection of works are part of such a mechanism of making meaning from proximity. I’m not interested in approaching this mechanism in a critical way, rather the contrary, due to the fact that critique entails a sort of way of looking at the object from the outside, short-circuited by spilling consciousness. It has not been proved that such a way of accessing reality has ever had enough stamina to be able to arrive at the end of a demonstration.

For complete list of films follow the link: http://www.bidff.ro/alex-mirutziu-en

Many thanks for the thought and energy that went into production and instalment to: Simona Deaconescu (Artistic Director of BIDFF), Anamaria Antoci (Festival Manager), Irena Isbasescu (International Relations), Emilia Paunescu (Production Manager) an all the BIDFF team which made this show possible and for Ioana Paun, chief curator of performative arts at MNAC for her  quick-thinking and functionalist approach. 

 

Alex Mirutziu in Flash Art No. 277, March/April 2011 // REVIEW by Anne Martens

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Flash Art International is out with two covers: a special project by James Franco and Francesco Vezzoli, and Natalie Portman wearing Rodarte's Black Swan costume.

Highlights from the news section: interviews with Rasha Salti and Haig Aivazian—respectively curator (with Susan Cotter) and associate curator of Sharjah Biennial 10—and with the curatorial team of "Open House," 3rd edition of the Singapore Biennale; curator Lauren Ross and Alexander Ferrando on the opening of the second segment of Manhattan's 'open-air museum,' The High Line; Nicola Trezzi and Amy Mackie on her recent appointment, and plans, as Director for Visual Art at the New Orleans Contemporary Arts Center; Director Mark Sladen interviewed by Maria Kjær Themsen on the re-opening of the Copenhagen's Kunsthal Charlottenborg and its spring program; Michele Robecchi on the competition for the acquisition of the 880-square-meter munition depo, finally won by The Serpentine Gallery; Antonella Massari talking to Giancarlo Politi about Unicredit Group's involvement with contemporary art; Paul Chan discussing his endeavors in the publishing realm; Carsten Höller in an interview by Alessandra Olivari that locates his recent project JapanCongo within the artist's latest artistic production; the first of Donatien Grau's series of interviews with gallerists, this time devoted to Yvon Lambert.

Features:

"Art and show business are organized around differing cores of transparency and opacity." (David Robbins).

David Robbins' "High Entertainment" introduces this issue's leitmotiv, analysing how differently the media culture's star model performs within the two contexts.

In "Going to the Oscars" Francesco Vezzoli meets and talks to James Franco in a conversation that brings to the fore their common interest in a "contemporary practice that seems to once again embrace fictionalized realities and to realize complex fictions," as Klaus Biesenbach, in his brief introduction, emphases.

Donatien Grau discusses Lady Gaga's definition of her own practice as one of "pop performance art" via connections to—and cross-references with—personalities such as Terence Koh and Francesco Vezzoli, Marina Abramovic and Andy Warhol.

Maurizio Cattelan meets Laura and Kate Mulleavy of Rodarte in an interview that recounts Californian atmospheres, stirs family memories and pays homage to the designers artistic collaborations and inspirations.

Also featured:

"The Responsive Eye," where Carsten Nicolai revisits the 1965 Museum of Modern Art exhibition that appeared to have set the "perfect conditions to explore and share a type of art that engaged audiences in optical reactivity," and became known as the "height of the Op Art wave."

Karlyn De Jongh, initiator of "Personal Structures: Time-Space-Existence," contributing a feature on Keith Sonnier that is structured around the two key components of his work since his start in the late '60s: light and space.

The vocabulary of classical modernism (Constructivism, Suprematism, Minimalism) that permeates the art of Katja Strunz, as the subject of an interview with the artist by Gesine Borcherdt.

Alejandra Aguado in an interview with Argentinian artist Jorge Macchi about the relationships of his practice to literature and journalism as well as on the abundant presence of references to religion and Christianity.

Teheran-born, The Hague-based artist Navid Nuur, who speaks to Christine Macel about the layered and modular nature of his work that, often at a very late moment in time, assembles ideas and "archived" material that find its precise and final meaning in a found context's specificity.

This issue's "Spotlights" are: "Move: Choreographing You" by Eliza Williams; "Katarzyna Kozyra: Casting" by Kamila Wielebska; and "Francis Alÿs: A Story of Deception" by Pierre-Yves Desaive.
This issue's "Brand New" artists are: Petrit Halilaj, interviewed by Laura Cherubini; Aki Sasamoto, interviewed by Mary Rinebold; Paloma Polo, interviewed by Emma Brasó; and Dor Guez, interviewed by Galit Mana.

This issue's reviews include: Stephen G. Rhodes, Jesse McCloskey, Mona Vatamanu and Florin Tudor, Nigel Cooke, Alex Mirutziu, Never The Same River, Mat Collishaw, Martin Creed, You and Now, Ėtienne Chambaud, Stephen Shore, Josephine Pryde, Those Ghosts, The Nose of Michelangelo, Pablo Pijnappel, Sigurdur Gudmundsson, Sara Ramo, Vangelis Gokas, Tobias Zielony, Mimmo Jodice, Claire Fontaine, Ravi Agarwal.

www.flashartonline.com

Francesco Scasciamacchia and Alex Mirutziu delivers textualities on "Re-enactment and Interpretation: problems of Authorship and of Negotiation with Museums" // this wednesday in London

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On March 30, 2011, Francesco Scasciamacchia, contemporary art curator, will deliver a speach on "Reenactment, reinterpretation or representation? The problem of event oriented art within the contemporary museum", with contribution from Alex Mirutziu.

Francesco Scasciamacchia (Italy, 1982) obtained his Master of Science in Arts Management at Bocconi University in Milan. He worked during these years for public and private art institutions such as, DOCVA-Viafarini, Milan; MART-Museum of Modern and Contemporary Art, Rovereto, Italy, and Arnaldo Pomodoro Foundation, Milan. Recently he worked as news editor for the contemporary art magazine, Flash Art for which he is continuing to contribute as a London correspondent.

On this occasion Alex will talk about "Critique on how temples move faster than their shadows", presented in Los Angeles last December, at Mihai Nicodim Gallery. He wil also introduce his upcoming performance piece called ACTION IS GUILT - method to Rourke, intricate piece that touches on the notion of action in relation to performance, working with articulations and half articulations of what we understand as action as a form of knowledge.

Mihai Nicodim Gallery presents for the first time my work in the US - solo exhibition and performance initiated in Lisbon, this December

Added on by Alex Mirutziu.

CRITIQUE ON HOW TEMPLES MOVE FASTER THAN THEIR SHADOWS

December 11, 2010 – February 4, 2011

Mihai Nicodim Gallery, Los Angeles is pleased to announce the first solo exhibition and performance in the US of artist Alex Mirutziu.

Alex Mirutziu is a Romanian artist whose practice extends over a wide range of media and activities, including: writing, photography, media-critical video installations and performance as well as various critical and curatorial projects. His work endows social processes with ephemeral emergence as main constructs in an attempt to reconfigure the relation between information and form, psychophysical language and content, challenging origins and meaning. His most recent work implies a recuperation of the subject between structured death and migration of suffering.

The exhibition opens Saturday, December 11, 2010 at Mihai Nicodim Gallery, 3143 S. La Cienega Blvd, Los Angeles, CA 90016, with a live performance of the artist that starts at 7 PM.

Venue: Mihai Nicodim Gallery

3143 S. La Cienega Blvd

Los Angeles, CA 90016

T: 310.838.8884

www.nicodimgallery.com