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

Added on by Alex Mirutziu.

The Unnerving Inches of Being

May 31 - July 10, 2019

Opening: Friday, May 31, from 7pm


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.”

'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


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.


Through the Collector’s Eye / Generation 2000 in focus

Added on by Alex Mirutziu.

Through the Collector’s Eye
Works of the Generation 2000 from Cluj in Three Romanian Collections

Artists: Marius Bercea, Dan Beudean, Mihuț Boșcu Kafchin, Mircea Cantor, Radu Cioca, Radu Comșa, Oana Fărcaș, Adrian Ghenie, Simon Cantemir Hauși, István László, Maxim Liulca, Victor Man, Alex Mirutziu, Ciprian Mureșan, Vlad Olariu, Cristi Pogăcean, Victor Răcătău, Cristian Rusu, Șerban Savu, Mircea Suciu, Supernova, Gabriela Vanga
Collections: Răzvan Bănescu, Mircea Pinte, Ovidiu Șandor
September 12th – 21st, 2014

Architecture for page turn, 2014

Architecture for page turn, 2014

The Office: Through the Collector’s Eye
All images © Alex Mirutziu

All images © Alex Mirutziu