Filtering by Tag: Diana Marincu

Six Romanian contemporary artists are showcased in ”Manufacturing Nature / Naturalizing The Synthetic” exhibition at Frac des Pays de la Loire

Added on by Alex Mirutziu.

Manufacturing Nature / Naturalizing The Synthetic

Artists: Anca Benera & Arnold Estefan, Nona Inescu, Olivia Mihălțianu, Alex Mirutziu, Vlad Nancă

Curator: Diana Marincu

Residence: September - November, 2018

Exhibition: 17 November, 2018 - 27 January, 2019

The XXXIInd International Workshops of the Frac of the Pays de la Loire are taking place this year as part of the France-Romania 2019 year. Frac invited Diana Marincu to design this new two-month residence with six Romanian artists.

Manufacturing nature / Naturalizing the synthetic” discusses new paradigms in understanding nature and culture, body and technology, politics and landscape. The exhibition and research residency tackles these issues through the works of the invited artists Anca Benera & Arnold Estefan, Nona Inescu, Olivia Mihălțianu, Alex Mirutziu, and Vlad Nancă.

“You walk for days among trees and among stones. Rarely does the eye light on a thing, and then only when it has recognized that thing as the sign of another thing: a print· in the sand indicates the tiger’s passage; a marsh announces a vein of water; the hibiscus flower, the end of winter. All the rest is silent and interchangeable; trees and stones are only what they are.” (Italo Calvino, Invisible Cities)

Italo Calvino’s “poetic of erasure”, as his understanding of Utopia has been called, functions as a perceptive mechanism – a construction of non-realities that can become accessible for the visitor only through projection, representation and erasure. This experience solidifies one’s mental representation of the city – the invisible one – instead of the existing visible context – the real one. The interplay between a need for understanding and, at the same time, a tendency of refusing reality creates a greater absence of the actual reference, escaping more and more. “The eye does not see things but images of things that mean other things”, so that in the end the signs of reality become part of an active agency – the city itself – while its own discourse seems stronger than any “truth”: “the city says everything you must think, makes you repeat her discourse”.

This excursion in the narrative strategies and method of representation employed by Italo Calvino opens up a larger territory, which reflects an ethical shift on how we perceive the strata of reality surrounding us – objects, beings, landscapes, etc. Do we listen to their voice? Are we ready to follow their codes and immerse into their stories? How do they perceive us? How do we affect them?

<Read the full press release>

***

The Frac des Pays de la Loire is in several respects a pioneering organization : since 1984 it has been offering periods of residence to artists as part of the Ateliers Internationaux ; International Workshops programme. The works produced during these residencies have helped to enrich the collection in original ways. This is also the first Frac in France to have been endowed with a building specifically designed for its various functions and tasks, i.e. producing artworks and exhibitions, creating and curating a collection, and getting this collection to circulate within the region, so as to familiarize the public with today’s art. It’s brief was—and is—to put together an international collection, organize exhibitions and shows in the region, and raise public awareness about today’s art, thus getting people to take part in the development, circulation, distribution, and knowledge of contemporary art.

With more than 1,600 works, plus the important gina pane collection, the collection of the Frac des Pays de la Loire has been put together since 1982, in compliance with an acquisitions policy encouraging the purchase of works by young artists. The Frac has thus done its utmost to focus on the most innovative aspects of presentday art. In tandem with the follow-up given to the emerging generation of artists, the Frac also purchases historical works.

Alex Mirutziu will be showing in ”A World Has Still To Be Build” at Art Encounters Foundation

Added on by Alex Mirutziu.
Designed to be part of the  Foundation ’s permanent program, the exhibition ”A World Has Still to Be Built” emphasizes one of our long-term missions – creating a dialogue platform for artists from different generations, and engaging the public in a knowledge exchange mediated by contemporary art.  The world has never stopped building and rebuilding itself and the expectation to deliver a better, a fairer or merely a more bearable future is always returning as a yearning of the process of situating oneself in time and space. What happens after something falls apart, how do you rebuild a system, and what is the consequence of collective and individual redefining? The reading of the title, which is an excerpt from W.G. Auden’s 1962 Prologue: The Birth of Architecture, can be enriched with larger snippets from Auden’s text: “It's our turn now / to puzzle the unborn. No world / wears as well as it should but, mortal or not, / a world has still to be built”. What is not yet visible, known, what is on the threshold between what has been and what will be, can be grasped as an intensified shape of the present, a task of the present time and a responsibility of knowledge.  The exhibition on display starts from questions and proposals coined by the invited artists in relation to an unstable and antagonistic socio-political climate, ever more trapped in its own cyclic system of revolt and obedience. The islands of knowledge that art lay bare group themselves here in solid territories, defined by the direct experience of a context the artists confront. They react to social drives, collective revolt, and personal discontents by drawing out the language of revolt and reworking it into an abrasive poetic vocabulary apt to foretell the zeitgeist. Whether we are talking of irony, reenactment, collective actions or individual gestures, the strategies the artists employ outline different ways of reading and contesting reality at the time of its breakdown and recreation.  ***  Parte din programul permanent al fundatiei, expozitia ”O lume inca asteapta sa fie construita” marcheaza una dintre misiunile noastre pe termen lung – crearea unei platforme de dialog pentru artisti din generatii diferite si implicarea publicului in schimbul de cunoastere mediat de arta contemporana.  Lumea nu a incetat sa se fie construita si reconstruita de-a lungul istoriei, iar incercarea de a produce un viitor mai bun, mai corect sau doar mai suportabil revine mereu ca o aspiratie a procesului de pozitionare in timp si spatiu. Ce se intampla dupa ce se dezintegreaza ceva, cum se reconstruieste un sistem si care e urmarea redefinirii colective si individuale? Citirea titlului, extras din poemul scris de W.G. Auden in 1962, „Prologue: The Birth of Architecture”, poate fi completata de un decupaj mai larg al versurilor lui Auden: „It's our turn now / to puzzle the unborn. No world / wears as well as it should but, mortal or not, / a world has still to be built”. Ceea ce nu este inca vizibil, cunoscut, la limita dintre ce a fost si ce urmeaza, poate fi intuit ca o forma intensificata a prezentului, o sarcina a timpului actual si o responsabilitate a cunoasterii.  Expozitia de fata porneste de la intrebarile si propunerile formulate de artistii invitati in relatie cu un climat social-politic instabil, antagonic si tot mai blocat in propriul sistem ciclic al revoltei si supunerii. Insulele cunoasterii pe care arta le formuleaza se grupeaza aici in teritorii solide, definite de experienta directa a unui context cu care artistii se confrunta. Acestia reactioneaza la impulsurile sociale, revoltele colective si nemultumirile personale distiland limbajul revoltei intr-un vocabular poetic abraziv in masura sa defineasca spiritul timpului. Fie ca vorbim de ironie, reenactment, actiuni colective sau gesturi individuale, strategiile la care recurg artistii decanteaza moduri diferite de a citi si dezbate realitatea, in momentul naruirii si reconstructiei ei.

Designed to be part of the Foundation’s permanent program, the exhibition ”A World Has Still to Be Built” emphasizes one of our long-term missions – creating a dialogue platform for artists from different generations, and engaging the public in a knowledge exchange mediated by contemporary art.

The world has never stopped building and rebuilding itself and the expectation to deliver a better, a fairer or merely a more bearable future is always returning as a yearning of the process of situating oneself in time and space. What happens after something falls apart, how do you rebuild a system, and what is the consequence of collective and individual redefining? The reading of the title, which is an excerpt from W.G. Auden’s 1962 Prologue: The Birth of Architecture, can be enriched with larger snippets from Auden’s text: “It's our turn now / to puzzle the unborn. No world / wears as well as it should but, mortal or not, / a world has still to be built”. What is not yet visible, known, what is on the threshold between what has been and what will be, can be grasped as an intensified shape of the present, a task of the present time and a responsibility of knowledge.

The exhibition on display starts from questions and proposals coined by the invited artists in relation to an unstable and antagonistic socio-political climate, ever more trapped in its own cyclic system of revolt and obedience. The islands of knowledge that art lay bare group themselves here in solid territories, defined by the direct experience of a context the artists confront. They react to social drives, collective revolt, and personal discontents by drawing out the language of revolt and reworking it into an abrasive poetic vocabulary apt to foretell the zeitgeist. Whether we are talking of irony, reenactment, collective actions or individual gestures, the strategies the artists employ outline different ways of reading and contesting reality at the time of its breakdown and recreation.

***

Parte din programul permanent al fundatiei, expozitia ”O lume inca asteapta sa fie construita” marcheaza una dintre misiunile noastre pe termen lung – crearea unei platforme de dialog pentru artisti din generatii diferite si implicarea publicului in schimbul de cunoastere mediat de arta contemporana.

Lumea nu a incetat sa se fie construita si reconstruita de-a lungul istoriei, iar incercarea de a produce un viitor mai bun, mai corect sau doar mai suportabil revine mereu ca o aspiratie a procesului de pozitionare in timp si spatiu. Ce se intampla dupa ce se dezintegreaza ceva, cum se reconstruieste un sistem si care e urmarea redefinirii colective si individuale? Citirea titlului, extras din poemul scris de W.G. Auden in 1962, „Prologue: The Birth of Architecture”, poate fi completata de un decupaj mai larg al versurilor lui Auden: „It's our turn now / to puzzle the unborn. No world / wears as well as it should but, mortal or not, / a world has still to be built”. Ceea ce nu este inca vizibil, cunoscut, la limita dintre ce a fost si ce urmeaza, poate fi intuit ca o forma intensificata a prezentului, o sarcina a timpului actual si o responsabilitate a cunoasterii.

Expozitia de fata porneste de la intrebarile si propunerile formulate de artistii invitati in relatie cu un climat social-politic instabil, antagonic si tot mai blocat in propriul sistem ciclic al revoltei si supunerii. Insulele cunoasterii pe care arta le formuleaza se grupeaza aici in teritorii solide, definite de experienta directa a unui context cu care artistii se confrunta. Acestia reactioneaza la impulsurile sociale, revoltele colective si nemultumirile personale distiland limbajul revoltei intr-un vocabular poetic abraziv in masura sa defineasca spiritul timpului. Fie ca vorbim de ironie, reenactment, actiuni colective sau gesturi individuale, strategiile la care recurg artistii decanteaza moduri diferite de a citi si dezbate realitatea, in momentul naruirii si reconstructiei ei.

A World Has Still To Be Built

Silvia Amancei & Bogdan Armanu, Apparatus 22, Alex Bodea, Brassaï, Geta Brătescu, Mircea Cantor, Simion Cernica, Teodor Graur, Dan Mihălțianu, Alex Mirutziu, Nita Mocanu, Ciprian Mureșan, Ioana Nemeș, Andrei Pandele, Dan Perjovschi, Lea Rasovszky, Daniel Spoerri, Andra Ursuța, Gabriela Vanga

Curator: Diana Marincu

29 September - 23 November, 2018

Times: Mon - Fri, 10 am - 5 pm

Opening: Saturday, 29 September, 6 pm

Art Encounters Foundation

Take Ionescu 46C, 300043 Timisoara

Iris Murdoch's mind in the work of artist Alex Mirutziu

Added on by Alex Mirutziu.

Curator, writer and long time collaborator of Alex Mirutziu, Diana Marincu, unravels conceptual markers in Mirutziu's research on novelist and philosopher Iris Murdoch in 'Being Iris Murdoch. Note pe marginea unei lucrari de Alex Mirutziu', published recently in Poesis International magazine.

Diana Marincu feels close to the work of Iris Murdoch and shares a deep understanding of what she, Murdoch, must have been troubled by or the effects Alzheimer's has had on her writing.  Marincu is escorting such massive drama with a delicate pace infused with an empathy she often exhibits when writing on Mirutziu's work. The need for clarity and form of Iris as well as of Alex Mirutziu and the degradation of both these two concepts with their slimy edges in retrospect, mark Mirutziu's recent approach on tackling provinces of meaning and understanding to the point of silence in Iris Murdoch's public discourses and interviews. 

Fragment (p.184-5)

"Lupta aceasta cu tacerile, cu balbaielile, gesticulatia tot mai pregnanta si miscarile sacadate au impins-o pe Iris la marginea limbajului, decupandu-l in forme irecognoscibile si brutale. Pornind de aici, Alex a gandit un dialog imaginar cu scriitoarea irlandeza cu scopul de a umple tacerea care apare in interviurile tarzii date de Iris la radio si televiziune, developandu-le in corpuri solide de litera si, mai apoi, in corpuri umane care duc mai departe prezenta palpabila a hiatusului si reziduurile ideilor."

__ Diana Marincu

 

  • Diana Marincu 'Being Iris Murdoch. Note pe marginea unei lucrari de Alex Mirutziu', Poesis International, #1(19) / 2017, p.184-186

"But as a document" to be premiered at Bucharest's National Museum of Contemporary Art

Added on by Alex Mirutziu.

But as a document is a collaboration between artist Alex Mirutziu and choreographer and dancer Pär Andersson in which compiled lines from two internationally renown writers Graham Foust (USA) and Karl Larsson (SE) are written in Sweden Sans typeface and transferred from plain-page to plain-space. The performer recreates a live reading, shedding the meaning of stanzas, by grabbing words with their anatomical technicality. According to Jesper Robinell - head of design at Söderhavet agency, with Stefan Hattenbach, responsible with the official Swedish typeface ): "I don't think this has even been done before. When Alex contacted us, we were first baffled by the idea of making a dance out of a typeface. Now we are still baffled but also impressed and honoured that our design could inspire someone to create a dance based on it." 

More about the exhibition in which "But as a document" will be presented see below.

Cătălin Ilie, I talked to the wall and the wall was impressed (Studies for a better understanding), 2015-2016, drawing and sound installation, mixed-media

Cătălin Ilie, I talked to the wall and the wall was impressed (Studies for a better understanding), 2015-2016, drawing and sound installation, mixed-media

I’M THE INVISIBLE MAN

Chapter II of “The White Dot and The Black Cube”, an exhibition project in six parts

Opening: Thursday, February 18th, 7 PM
February 19th – April 10th, 2016

The National Museum, of Contemporary Art - 4th floor, Bucharest

Curatorial impulse: Anca Verona Mihuleţ
Response: Diana Marincu

Artists selected by Diana Marincu: Michele Bressan (RO), Andreea Ciobîcă (RO), Norbert Costin (RO/SE), Cătălin Ilie (RO/DE), Alex Mirutziu (RO) + Pär Andersson (SE), Esra Oezen (DE), Cristian Rusu (RO)

MNAC coordinator: Mălina Ionescu
Architect: Attila Kim

Curatorial intro: The curatorial method employed in devising “The White Dot and The Black Cube” as an exhibition in six parts takes its starting point from the investigation of three essential display formulas: two group exhibitions, two duo-shows and two personal exhibitions. Each of these formulas is enhanced by the dialogue between the two curators and by their exchanges with the artists and the museum as an institution. The group exhibitions were conceived following a theoretical impulse that one of the curators transmits to the other; the dual ones by the curators assuming one of the two conflicting theoretical positions; and the personal ones through a triangular dialogue.

Set off by the imperceptible reality and symbolic processuality of the artistic gesture, I’m the Invisible Man, chapter II of the curatorial project “The White Dot and The Black Cube”, discusses the idea of invisibility. The conceptual approach of this exhibition comprises several layers of the relationship with image and matter, which most often constitute the visual hooks of a display. The artists invited to reflect upon this subject perceived the sensitive alteration of reality, which they either provoked themselves or recorded non-invasively, or adopted as such, thus opening the creative discourse towards suspense and coincidence.

The duality of the interpretation of the invisible integrates both its potential to protect visible matter and the fragility produced by erasing an object from space. We believe that both can constitute possible frames of interpreting the unity and discontinuity of a curatorial enterprise.
The invited artists commit themselves to the moment at which the invisible blurs the visible, at which certain planes coincide, at which the images are superimposed perfectly – man’s construction over nature’s construction, the artificial image over the natural one, and reason over intuition; the moment at which the visible body represents both a possible weapon and a vulnerability deriving from public discourses on marginality; the moment at which the white noise of the quotidian insinuates itself as “tense” materiality into our lives; and at which the residual frames of perception reach the centre of the visual field.