Filtering by Tag: Dignity to the unsaid

”Gaining in a State of Debt”: Alex Mirutziu`s first solo exhibition in Israel opens at CCA Tel Aviv

Added on by Alex Mirutziu.

Gaining in a State of Debt

Curated by Nicola Trezzi

Dates: March 14 – April 18, 2019

Opening: March 14 at 8 pm

Performance schedule:

March 14, 8 pm (opening)
March 19, 6 pm
March 22, 12 am
April 1, 8 pm
April 10, 8 pm
April 13, 1 pm (closing)

Performed by Oran Barak, Harel Grazutis and Nunzia Picciallo

The Center for Contemporary Art

Tsadok HaCohen 2, Tel Aviv-Yafo, Israel

The Center for Contemporary Art (CCA) presents “Gaining in a State of Debt”, 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.

Video program (not on view during the performances):

Doing Sub Thinking, 2018. HD video, video documentation of performance, 10:51 min. Performers: Ekin Bernay, Rowdy_SS, and Jenn Vogtle. Commissioned by Block Universe Festival in collaboration with Delfina Foundation and European Art East Foundation, London. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

But as a document, 2015. HD video, performance to camera, 12:01 min. Performer: Pär Andersson; director of photography: Michael Tomescu. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

Dignity to the unsaid, 2017. HD video, 17:42 min. Word workers: Alex Popa, Irina Sibef, and Cosmin Stănilă; director of photography: Alexandru Don; camera assistant: Victor Merca. Commissioned by Marie-Laure Fleisch Gallery, Brussels. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich.

Stay[s] against confusion, 2016. HD video, 14:53 min. Performer: Joshua Hubbard; director of photography: Kassandra Powell, Loukas Elark. Commissioned by Delfina Foundation, London. Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

The gaze is a prolapse dressed in big business, 2018. HD video, 14:37 min. Commissioned by Frac des Pays de la Loire, Carquefou (France). Courtesy of the artist, Galeria Sabot, Cluj-Napoca, and Galerie Rüdiger Schöttle, Munich. [video]

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“Alex Mirutziu: Gaining in a State of Debt” is curated by Nicola Trezzi in close collaboration with the artist. The exhibition is supported by Invitro, the OUTSET Residency in Tel Aviv, and the Romanian Cultural Institute – Tel Aviv. Additional support provided by Galeria Sabot, Cluj-Napoca and TAROM.

'Insidious fog' - happens sometimes: a performance on disintegration and growing small.

Added on by Alex Mirutziu.

Dignity to the unsaid

performance | 2017, Bucharest / Cluj-Napoca

- performers | Alex Popa | Irina Sibef |Cosmin Stanila

work commissioned by BIDFF (Bucharest International dance Film Festival), supported by MNAC and Sabot Gallery

presented in partnership with the Performing Arts Programme of the National Museum of Contemporary Art, curated by Ioana Paun.

8 SEPT, 2017

@THE NATIONAL MUSEUM OF CONTEMPORARY ART

 
above photo: Alex Mirutziu / bellow photos by Doria Photography

above photo: Alex Mirutziu / bellow photos by Doria Photography

Alex Mirutziu

I intend to look into ways in which one of the most important novelist of the twentieth century managed to create meaning through an abundance of means, said and unsaid, which I call — manners of holding the world. How Iris Murdoch closes what is already present in her work with what presents itself as— ‘something like’ — which has the potential to be. I am particularly interested in times when she holds meaning for brief moments into units of material nature (gestures, words, hesitations, body movements). When those moments take place in an interview situation for e.g., objects which are indeterminate and difficult to pin down are born. They differ from the common manifestations of form, be it writing or acting, and are susceptible of bearing no meaning whatsoever.

The question is how infiltrations of ‘what is not said’ instigate ‘what is said’ and vice versa. This line of enquiry looks at ways in which Iris Murdoch closes her distinctions in philosophical debates, with her intellect, but also her body language. And when she works the what is in language — which can only hold reality in inexact closures, communication is weakened due to the accumulation of consciousness, corrupted by memories and experiences wrongly wired to reality. The conceptual movement between said and unsaid, falls under the ever present fragmentation we manifest in holding the world as something like, a fatal aspect of our physical limitations. We fragment the world in order to understand and function within it. Such a fragmentation fails on the account of a world which is undifferentiated. 

The upshot of this project is to bring into existence a new reading of Iris Murdoch’s oeuvre outside the common view of her novels letters and interviews, a reading of Iris Murdoch as a heterogeneous unit, to give her the chance, posthumously, to widen the complexity of her creation through added anchors of meaning and new setups for reflection.


The performance includes the sound installation CAUSAL VARIATIONS FOR SOMETHING LIKE (computer-generated sound, 3 x multichannel audio), created by Elías Merino, a series of autonomous synthetic sound objects based on a relational tissue involving sound and human actors within Alex Mirutziu’s performance frame. These sound entities are located/(un)located in the physical space hidden behind a mirrored appearance. Plasticity, non human dynamic entity, synthesis, irreducibility, discreteness, no objected, relation, ecology, temporal elasticity, rifts, disembodiment, algorithmic, sound sculpture, articulation, reductionism,  structural gesture, permutation gesture, variation, no hierarchy, physicality, process of coexistence, miscommunication.