Filtering by Tag: Nicola Trezzi

"The Promise: Artists to Benefit CCA Tel Aviv" (open by appointment)

Added on by Alex Mirutziu.

Image: The Buddhist temple where Pratchaya Phinthong “sourced” the piece of wall for his piece, It is better to have done good and died than to have lived and done nothing (2018); the sentence is a Buddhist proverb, which is written on the wall itself; as part of its production, CCA Tel Aviv paid a donation to the temple.

CCA – Center for Contemporary Art Tel Aviv is pleased to announce “The Promise: Artists to Benefit CCA Tel Aviv”, an exhibition featuring works of art by Diti Almog, Yael Bartana, Keren Cytter, Yael Efrati, Asaf Elkalai, Noa Glazer, The Haas Brothers, Reuven Israel, Liora Kaplan, Esther Kläs, Alex Mirutziu, Jordan Nassar, Karam Natour, Ruth Patir, Pratchaya Phinthong, Yana Rotner, Barak Rubin, Haim Steinbach, Nahum Tevet, Naama Tsabar, Sharif Waked, Alexandra Zuckerman, Noa Zuk & Ohad Fishof.

Displayed throughout the entire building, “The Promise” sheds light on the history and program of this Institution, presenting works by artists who exhibited at CCA Tel Aviv in the past – often showing exactly the same works – as well as works by artists who will exhibit in the future and artists whose work is in tune with the atmosphere of the exhibition. Placed under the same roof, these works of art have been gathered to benefit the program of the Center as well as the artists who helped make this exhibition happen in such challenging and unprecedented times.

Despite the fact that all the artworks presented in the exhibition were created before the spread of Covid-19, many of them suggest that art making is an act that is carried out, ultimately, in solitude, privately, with no direct connection outside the self. This approach – which acquires, in the current scenario, additional layers of meaning – was honored by the co-curators, who decided to select the works in tandem and developed their own interpretation of the title, and its related articulations, without discussing these with each other. Furthermore, the exhibition’s title implies the notion of a “Promised Land” –which has been adopted by such radical thinkers as Martin Luther King – a notion conceived in deeply universal terms, since it defines a state of liberation, a “holy site,” a free territory – where “free” means freedom of thought and freedom of expression. At the same time, it also becomes a metaphor for the role of art institutions, and CCA Tel Aviv specifically, being the site (the land) of the sign (the promise) of engagement and support that is bestowed on the artist by the institution itself and by those who represent it.

The Promise is co-curated by Nicola Trezzi, Director and Curator, and Thomas Rom, Executive Board Member at CCA Tel Aviv. It is accompanied by a digital catalogue in English (printed on demand) which includes essays by the co-curators, reproductions of the artworks included (presented with full details and artist biographies), and enriched by quotes by some of the participants, alongside those written by luminaries in the field such as Nicolas Bourriaud (CEO, MO.CO. Montpellier Contemporain), Simon Castets (Director Swiss Institute / Contemporary Art, New York), Joseph Del Pesco (International Director, KADIST, San Francisco / Paris), Ines Goldbach (Director / Curator, Kunsthaus Baselland, Muttenz / Basel), Donatien Grau (Advisor to the President of the Musées d’Orsay and l’Orangerie for contemporary programs at Musée d’Orsay, Paris), Gabriele Horn (Director, Berlin Biennale for Contemporary Art), Zoe Lukov (Chief Curator, Faena Art Center, Buenos Aires / Miami), David Neuman (Director Emeritus / Chairman, Magasin III Museum for Contemporary Art, Stockholm / Jaffa), Hans Ulrich Obrist (Artistic Director, Serpentine Galleries, London), Marta Ponsa (Head of artistic projects and cultural action, Jeu de Paume, Paris), Yasmil Raymond (Rector, Städelschule Academy of Fine Art / Director, Portikus, Frankfurt), and James Snyder (Director, Jerusalem Foundation / Director Emeritus, Israel Museum Jerusalem).

THE PROMISE: ARTISTS TO BENEFIT CCA TEL AVIV

November 8 - 28, 2020

Artists: Diti Almog, Yael Bartana, Keren Cytter, Yael Efrati, Asaf Elkalai, Noa Glazer, The Haas Brothers, Reuven Israel, Liora Kaplan, Esther Kläs, Alex Mirutziu, Jordan Nassar, Karam Natour, Ruth Patir, Pratchaya Phinthong, Yana Rotner, Barak Rubin, Haim Steinbach, Nahum Tevet, Naama Tsabar, Sharif Waked, Alexandra Zuckerman, Noa Zuk & Ohad Fishof.

For more information about “The Promise” please email CCA Tel Aviv Office Manager Guy Bernard Reichmann at info@cca.org.il or CCA Tel Aviv Assistant Curator Bar Goren at bar@cca.org.il.

To schedule a visit or to purchase the catalogue please contact CCA Tel Aviv Content Manager Mona Benyamin at office@cca.org.il.

CCA – Center for Contemporary Art Tel Aviv

www.cca.org.il

 

Outset Residency has supported “Gaining in a State of Debt”, Alex Mirutziu`s first solo show in Israel

Added on by Alex Mirutziu.


mirutziu-3-1024x703.jpg

Alex Mirutziu (1981, Romania) was a guest of Outset Bialik Residency during March 2019. During his residency Mirutziu prepared his solo exhibition “Gaining in a State of Debt”, presented at The Center for Contemporary Art, Tel Aviv, curated by Nicola Trezzi.

“Gaining in a State of Debt” is 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.

”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

www.cca.org.il

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]

***

“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.

”But as a document” runs 24/7 until 5 January in the window of Building Gallery in Milan

Added on by Alex Mirutziu.
Alex Mirutziu - But as a document, video still

Alex Mirutziu - But as a document, video still

”But as a document” / Building Box instalation shot

Alex Mirutziu - ”but as a document”

BUILDINGBOX

Curated by Nicola Trezzi

7 December 2018 - 5 January 2019

BUILDING GALLERY

Via Monte di Pietà 23
Milan, Italy 20121

“In line with the rhetorical investigative possibilities of a poem, myself and Pär Andersson bypassed the existing infrastructures surrounding the politics of writing and reading” – Alex Mirutziu

Alex 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 he expands on the notions of approximation and proximity in connection to time, dislocating modes of arrival at meaning. In his practice he seeks to facilitate the role of the body as “turbulent performative occasion” taking inspiration from the poetic of homelessness and invisibility in order to suspend the set-ups of doing, un-doing, thinking and un- thinking. Alongside TAH29 (The Artist and Himself at 29) he activates a collective whose modus operandi is retroactive irony. As part of his theoretical practice the artist frequently collaborates with artists, writers, musicians, designers and philosophers such as Grit Hachmeister, Elias Merino, Graham Foust, and Graham Harman. For this specific work, he activated a collaboration with actor Pär Andersson, through which the artist questions the nature of the politicized model of reading and the cultural privileges of lineage, complicities of the edges with which the words cut, to create a new narrative which is beyond doubt and curated by Sweden Sans, the typeface created by the Swedish design agency Söderhavet.

Mirutziu and Andersson engaged with a fragment of Prepared poem #2 – a project that Mirutziu started while in residence at IASPIS, Stockholm in 2014-2015 – part of a series titled Bureaucratic Objects, which comprises fragments from Graham Foust’s and Karl Larsson’s poems.

Alex Mirutziu (Sibiu, Romania, 1981) belongs to a new generation of Romanian artists showing internationally. His work has been the subject of solo exhibitions at Kunstverein Ost in Berlin, Delfina Foundation in London, MLF | Marie-Laure Fleisch in Brussels, MNAC in Bucharest, IASPIS in Stockholm, The Glass Factory Lab in Boda Glasbruk, Sweden, Barbara Seiler in Zurich, Mihai Nicodim Gallery in Los Angeles, Galerie Rüdiger Schöttle in Munich and Galeria Sabot in Cluj-Napoca, Romania.

His work has been exhibited in group exhibitions at FRAC des Pays de la Loire in Carquefou, France, Art Encounters in Timisoara, Romania, Kisterem Gallery in Budapest, CCA Tel Aviv, Jecza Gallery in Timisoara, MNAC in Bucharest, Gallery 400 – University of Illinois at Chicago, Motorenhallen in Dresden, Germany, Romanian Institute for Culture and Research in Humanities at the Venice Biennale, Kunsthalle Winterthur, Switzerland, CCA Warsaw, Műcsarnok – Kunsthalle Budapest, Gaudel de Stampa in Prais, Spazio Vault in Prato, Italy, Art Gallery of Alberta in Edmonton, Canada, Power Plant in Toronto, Tranzit House in Cluj- Napoca, Galéria Krokus in Bratislava, National Museum in Warsaw, Pavilion – Centre for Contemporary Art and Culture in Bucharest, Ada Street Gallery in London, and Brukenthal Museum in Sibiu, Romania. His performances have been presented in several venues such as Block Universe at Royal Academy of Arts in Londra, Wexford Arts Centre, Irlanda, Accademia Rumena a Roma e WUK a Vienna.

BUILDINGBOX is an independent space within the premises of BUILDING, characterized by its own unique program. The opening project, curated by Nicola Trezzi, opens on the week of Rosh HaShana, which is the beginning of the new year – the year 5779, as the title says – according to the Hebrew calendar.

Following these premises, a window gallery which is visible 24/7, and a calendar which consists of 12 months (Nisan, Iyar, Sivan, Tammuz, Av, Elul, Tishrei, Marcheshvan, Kislev, Tevet, Shevat, and Adar), 5779 is a group exhibition in which several artworks are not present next to each other but rather one after the other. The structure of the calendar – day after day, month after month, year after year – becomes the guideline for the presentation of artworks by several artists; in doing so, this structure transforms the essence behind group exhibitions, from coexistence and juxtaposition to linearity and procession.

Furthermore, this specific format deconstructs the very core of the group exhibition format, which is, by definition, an exhibition in which several artworks, by several artists, are presented next to each other in a confined space and for a specific amount of time. With 5779 the idea of a group exhibition in which works of art by several artists appear, in the same space, one after the other – substituting one another, replacing one another – suggests an inversion in the equation at the base of exhibition making. Rather than rooting exhibition making into space, as it usually happens, this time the exhibition is rooted in time rather than space.

The artist with the Artist and Himself at 29 at CCA Tel Aviv

Added on by Alex Mirutziu.

The first exhibition curated by newly appointed chief curator and director of CCA Tel Aviv, Nicola Trezzi, entitled  KEDEM-KODEM-KADIMA encluded two works which belong to Alex Mirutziu and The Artist and Himself at 29. 

  • Alex Mirutziu -- If your love is right your life is right, 2011
  • The artist and Himself at 29 -- The Urgency of the Idea of Closure in Drawing, 2011 -- 

Installation shots / camera: Barak Rubin

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