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”Once More into the Grey” - a collaboration between SABOT & UNA Galleria, soon in Piacenza

Added on by Alex Mirutziu.

UNA Galleria

Once More into the Grey”

Opening: October 27, 6:30 pm - 9:00 pm

Exhibition: October 27 - December 29, 2018

Opening Hours: Tue - Fri 4 pm - 7 pm | Sat 10 am - 1 pm and 4 pm - 7 pm + by appointment

via Sant'Antonino 33, Piacenza, Italy

Photo credit: Marco Fava

UNA is pleased to announce its collaboration with SABOT gallery from Cluj-Napoca and to present ”Once More into the Grey”, a group exhibition which includes artworks by Răzvan Botiș, Radu Comșa, Camilia Filipov, Nona Inescu, Alex Mirutziu, Vlad Nancă.

The exhibition, specially conceived by Sabot for the space of UNA, features a selection of black and white artworks only by Romanian artists - an allusion to the state of the (art) world today and, at the same time, to the famous Cluj "grey school of painting”. Nonetheless, not only paintings are on display, the exhibition is conceived as a colorless dialogue between several rather mysterious works – sculpture, photography, installation.

SABOT gallery has been founded by Daria D. Pervain and Marcel Janco at the beginning of 2009 in Cluj-Napoca, Romania, as an attempt to verify the raison d'être of a gallery in the third millennium. Hidden relationships, longtime friendships, communality, fictional identities and situations blurring the barrier between public and domestic — these are the main, statutory highlights of SABOT. A laboratory, an incubator, a research tentacle, the gallery acts equally as a curator, a producer, and a habitat. Since its debut, SABOT has co-founded two art centers in Cluj-Napoca - The Paintbrush Factory, in 2009, and Centrul de Interes, at the beginning of 2017 - hugely contributing to the development of the Romanian contemporary art scene. Until 2018, the gallery has participated in more than 30 international art fairs – from Artissima or ARCOmadrid, to LISTE, Paris Internationale and NADA Miami, to name just a few.

'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.