Filtering by Tag: The gaze is a prolapse dressed in big business

”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]

***

“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.

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.