Filtering by Tag: Iris Murdoch

Pause for Weight! - a lecture performance at TRAFO

Added on by Alex Mirutziu.

THOUGHT SCULPTURE

10.05.2018. 6 - 8 pm.
Lecture-performances by Alex Mirutziu and Ryan Rivadeneyra

Curator: Borbála Szalai
Venue: Trafoclub
Free entrance, all are welcome! The lecture-performances will be in English.

Alex Mirutziu ©2013

Alex Mirutziu ©2013

This event holds a provocative topic and spins it in such a way that the result has the potential to open up new thinking and conceptual provocations. 

My presentation entitled "Pause for Weight" dealt with my constant preoccupation with the problem of thinking in relation to form. 
 

 

The poem of too Soon and too Late at Delfina Foundation

Added on by Alex Mirutziu.

Between Too Soon and Too Late

26 April – 02 June 2018

Times: Mon - Fri, 10:00 – 18:00.
Sat, 12:00 – 18:00

Opening: Wednesday, 25 June 2018, 19:00 – 21:00

Delfina Foundation

29/31 Catherine Place, London

Alex Mirutziu - Gestalt me out

Alex Mirutziu - Gestalt me out

Delfina Foundation and European ArtEast Foundation collaborate to present Between Too Soon and Too Late, the first solo exhibition in the UK by Alex Mirutziu (b. 1981, Sibiu, Romania).

Mirutziu's practice interrogates the process of how we create meaning to interpret the world around us. Inspired by philosophy, literature and design, he explores the inadequate use of objects, language and the body as tools of communication.

For a few years, Mirutziu has been researching the work of novelist and philosopher Iris Murdoch and the different methodologies she employed to create meaning, both spoken and unspoken. During a short residency at Delfina Foundation, Mirutziu visited Murdoch's archives at Kingston University. Instead of focusing on her most prolific writing period, he concentrated on unfinished writings from the latter stages of her career, which was marked by the onset of Alzheimer's Disease.

In Between Too Soon and Too Late, Mirutziu uses Murdoch's writings as a starting point to reflect on the notion of time and space in relation to meaning. The exhibition, which includes newly commissioned and existing works, explores the 'tiny space' - as identified by Murdoch - where meaning stays tacit, where being and not being are the same. According to Murdoch, this point is in between being 'too soon' and 'too late'. The works in the exhibition attempt to occupy this space and prolong the process of establishing meaning; they refuse to yield a sense of resolution and closure, entangling the viewer in a space that is indefinite and inconclusive.

For Between Too Soon and Too Late, Mirutziu transforms corrections to writing and comments made in Murdoch's hand writing into large sculptural forms that represent where meaning is simultaneously gained and lost. This is juxtaposed with an existing video work Where is the poem? (2013), that refers to the dynamics and politics of writing and reading, and to the dialectical understanding of their relationship, from production to reception. Working with Graham Foust's poem Politics, the artist's hand marks the distance created within and around the text, which Mirutziu claims is as integral as the sequence of words in terms of understanding the complexity and structure of a poem.

The space in between the hand and the writing surface is also fundamental in Gestalt me out (2018), a specially designed desk featuring impressions of the artist's elbow and wrist positioned alongside an image of Murdoch's tea-stained notebook. These two works attempt to give form to the construct of time as well as the conceptual space where meaning is created. Prepared Poem #3, written by the artist in response to Murdoch, is presented in a disjointed sculptural form.

The exhibition coincides with a new performance by Mirutziu for Block Universe Festival, co-commissioned with Delfina Foundation with European Arteast Foundation, entitled Doing Sub Thinking. Referencing philosophical thought, national displays of power and collective agency, the work seeks to illustrate the performative forces at play in society. Exploring the de-personalisation of an individual within a crowd, Mirutziu will bring the audience on a journey to make manifest the intangible gaps between thought and action within group dynamics.

Alex Mirutziu's practice extends over a wide range of media and activities, including sculpture, drawing, poetry and performances as well as lectures and curatorial projects. In his current work, he explores time and space in relation to 'the arrival of meaning'. His works attempt to dislocate modes of arrival through text, words and the body by expanding the concepts of approximation and proximity, as well as challenging the notion of 'thinking' versus 'doing'.

Mirutziu formed a collective - TAH 29 - which is involves collaborations with the artist himself at 29. The collective's modus operandi is retroactive irony.

Mirutziu has collaborated with artists, writers, musicians, designers, and philosophers including Grit Hachmeister (DE), Elias Merino (ES), Graham Foust (US), and Graham Harman (US), to name a few. Mirutziu has participated in solo or group exhibitions at Power Plant, Toronto; The Glass Factory Lab, Boda; Mucsarnok Kusthalle, Budapest; Center for Contemporary Art and National Museum, Warsaw; and Museum of Contemporary Art, Bucharest, to name a few.

A touch of THIS, LIKE... exhibition

Added on by Alex Mirutziu.

MLF l Marie-Laure Fleisch is pleased to announce Romanian artist Alex Mirutziu's first exhibition in Belgium, This, like..., opening September 7, 2017 in conjunction with Brussels Gallery Weekend and accompanied by a critical text written by Eugenio Viola. Employing performance, drawing, poetry and sculpture, Mirutziu looks to art to answer the fundamental questions of life – “Who are we” and “How do we perceive reality”. Inspired by philosophers such as Graham Harman and Timothy Morton who question how we use objects to interpret the world around us, Mirutziu looks to anchor the contemplation of our being in the physical world. He then enriches this basis with political histories, personal letters and the natural world, exposing how each person confronts their own existence. For his current exhibition, born from a sense of admiration and camaraderie for Iris Murdoch and an interest in the possibility for gestures to become objects, Mirutziu has created a series of drawings and sculptures which draw our attention to the moments when our attempts to grasp meaning manifest themselves physically. Whether we express ourselves through poetry, conversation, or writing, the relationship between that which is said and that which is left unsaid is extremely important. During the short period when we try to wrap our heads around complicated concepts or grand ideas, what we do during our moments of silence are very revealing.

Using the Irish philosopher and novelist Iris Murdoch as an embodiment of a universal phenomenon, Mirutziu looks into the construction and de-construction of a brilliant mind that is searching for ways to comprehend and communicate the intricacies of the world we live in. Murdoch has the particularity of being an extremely prolific writer, dedicating her life to novels, philosophy and also personal correspondences with a large number of friends and lovers. Later in her life she developed Alzheimer’s, losing the capacity to navigate her own thoughts and witnessing the degeneration of her own mind. No longer able to carry on writing due to a loss of memory, Murdoch found herself in an undefined mental space, where she was unable to connect her present reality to other points of reference.

When grappling to express the ideas in one’s own mind and create meaning, we often give our internal struggle corporal form, through the lowering of our gaze or through gestures which seem to attempt to create a motor which will speed up the firing of the neurons in our brain. Using Iris Murdoch as a muse, Mirutziu gives physical weight to these temporal movements, creating drawings and sculptures which represent the unique ways a body expresses its mental exertion. For example, if Iris Murdoch could form concrete objects with her own body language, what would they look like? Or, more broadly, what are the possible physical manifestations of the mind struggling to place one's ideas in the framework of our society or even in the trajectory of one's own thoughts? Using the space between Murdoch’s body and her hands when she gesticulates, the movement of her eyes when she pauses to regroup her thoughts, or the way she shifts her body, Mirutziu creates artworks which clarify mental processes through palpable forms, underlying the relationship between one’s intellect and one’s body.

'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.

 

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