Filtering by Category: "Alex Mirutziu"

Recent Mirutziu's solo show meets IDEA - Art+Society review

Added on by Alex Mirutziu.

Recent issue of IDEA - Art + Society, appointed Diana Marincu to curate a text on Alex Mirutziu's latest solo show "Each thought's an instant ruin with a new disease" which took place last December at art hub Paintbrush Factory's gallery Sabot.

Diana Marincu is a researcher on the curatorial narratives/discourses built in relation with political and geographical criteria and a Ph.D. candidate at the National University of Art in Bucharest.

Among the themes discussed are Mirutziu's attachment to language and text, the development of Pending Work series, Bureaucracy of Objects and the Artist and Himself at 29 (a hyperobject / collective he put together recently).

She states: "Alex Mirutziu does not explain, does not represent and does not demonstrate through his works something that, as soon as it reaches the public, would “close“ itself within an interpretation. The question that the artist uses as a point of departure is “what happens when the objects, bodies and all things from our surroundings stay silent?“ Their language is untranslatable, their background empty and their field of reaction fragmented in a multitude of different temporalities, desynchronized."

Read article ENG / RO


Added on by Alex Mirutziu.
excerpt from:
July 2, 2014

"Architecture for the Page Turn was one of two pieces by Alex Mirutziu (The Artist and himself at 29 “TAH29”) whose CV includes exhibiting at Centre for Contemporary Art Ujazdowski Castle (Warszawa), IASPIS (Stockholm), The Power Plant (Toronto), and Műcsarnok Kunsthalle (Budapest). He also entered the scene through performance with a flair for “ontological spectacle” creating “hyper-objects” through his self-reflective alter ego TAH29, by combining images found in the online spaces of Google and YouTube. One to watch, his work comments on the high-functioning, (post)language world we live in and responds with equally layered and sensory experiences."

"Bureaucracy of objects" in C-print - journal about contemporary art

Added on by Alex Mirutziu.

Intriguing Romanian artist Alex Mirutziu shares an essay relating to the theme of inspiration with C-print’s readers.

Once deemed l’enfant terrible of his generation for his media critical and progressive practice, artist Alex Mirutziu is currently one of the most compelling young artists springing out of the vibrant Romanian art cluster of Cluj-Napoca. For C-print’s readers, Mirutziu shares a beautiful essay titled "Bureacracy of objects" .

Fabio Cavallucci on Centre For Contemporary Art Warsaw

Added on by Alex Mirutziu.

The Centre For Contemporary Art Ujazdowski Castle, Warsaw / Interview with Director Fabio Cavallucci from VernissageTV on Vimeo.

As part of our trip to Warsaw to cover the exhibition A Frew Grams of Red, Yellow, Blue. New Romanian Art at the Centre for Contemporary Art Ujazdowski Castle CSW in Warsaw (Poland), we had the chance to speak with the director of the CSW, Fabio Cavallucci. In this video, he provides us with a short introduction to the Centre For Contemporary Art.

The Centre for Contemporary Art Ujazdowski Castle’s goal is to evolve as a new type of cultural institution in which various fields of art coexist and interact. The Center sees itself as a space for artistic exploration, research, laboratories, workshops, and experiments than remain a traditional exhibition space.

Fabio Cavallucci has been the director the the Centre for Contemporary Art Ujazdowski Castle since 2010. He is the first foreigner to become a head of a Polish art institution. Prior to his position at CSW he was the director of the Municipal Gallery of Trento (Italy), and of the Biennale of Contemporary Sculpture in Carrara (Italy). Together with Hedwig Fijen and Andreas Hapkemeyer he managed the international team that organized the 2008 European Biennial of Contemporary Art, Manifesta 7 in Trentino – Alto Adige, Italy.

The Centre For Contemporary Art Ujazdowski Castle, Warsaw / Interview with Director Fabio Cavallucci. The Centre For Contemporary Art Ujazdowski Castle, Warsaw, March 10, 2014.

Alex Mirutziu and Elias Merino opened seminal new Romanian art exhibition

Added on by Alex Mirutziu.

Art TV pioneer Vernissage TV lensed "Scotopolitic Objects #2 for five performers and electroacoustic impromptu" on the occasion of the opening reception of the exhibition A Few Grams of Red, Yellow, Blue  at The Centre for Contemporary Art Ujazdowski Castle in Warsaw, Poland which currently presents new art from Romania.

Alex Mirutziu in collaboration with Elías Merino: Scotopolitic Objects #2 for five performers and electroacoustic impromptu. 

Centre for Contemporary Art Ujazdowski Castle CSW, Warsaw (Poland), March 10, 2014.

© Alex Mirutziu

An enfant terrible of his generation, Alex Mirutziu dynamited his way into the art world with frantic performances, resistant to monolithic definitions. Informed by philosophical readings rather then visual art, his work is equally regarded as intensely provocative and erudite. 

His fascination with Classicism is foreshadowed by an intensive series of drawings after Adolfo Wildt and Issakszoon van Ruisdael, while his increasing appetite for ontological speculations derives from a long-term engagement to performance and media critical installations.

The artist made a group with a hyper-object -- namely with himself at 29 - often operating throughout this collective identity. He manipulates image-rich resources like Google Maps and Youtube, pushing his multifaceted research even further, into the Internet of Things, high-end technology, (post)language, and beyond. 

A Romanian artist in his thirties, Mirutziu is performing these unperformable: moments of silence and thoughts that never end up looking like art. 

Elías Merino

is a composer and sound artist, he develops his work in studying electroacoustic creation, the soundscape and acousmatic music as an abstract and imaginary object away of the acoustic environment, computer asisted composition, and sound processes through digital technology mainly.

Merino's work to date is determined by a thorough conceptual study with the development of the discourse that defines it, he also is interested in different approaches about aesthetics, philosophy and poetry in sound composition.

Currently, Elías Merino is studying his Master Degree in Electroacoustic Composition and Sonic Arts in University of Huddersfield and is working in ZawpKlem laboratory, research and composition centre focused in multimedia, technology and new musics.

Alex Mirutziu in collaboration with Elias Merino: Scotopolitic Objects #2 for five performers and electroacoustic impromptu from VernissageTV on Vimeo


> For previous performances of Scotopolitic Objects

> Related materials

> A Few Grams of Red, Yellow, Blue  - Publication 

>An account of Alex Mirutziu's works at Center for Contemporary Art Warsaw 

The verb status of Scotopolitic Objects

text by Alex Mirutziu 

Draws attention to its surrounding space which has a participatory outline. 

Engages strong multi-modality engulfed with a cultural and class bias. 

Takes processes of mutation sound-wise and culture-wise seriously. 

Adds value to its own hollowness. 

Points to itself as product, after the drying process of clay. 

Flashes the relationship one has with one’s resources and recalcitrance of materials. 

Brings together the immediacy of sound with the commitment to arduous process that made the ceramic objects what they are. 

Self-appropriate when attached to microphones. 

Teaches the skill of how to keep going even though the public is not getting pleasure at the moment. 

Implies the need to adapt the hands to the making of new tools in this case — sound vibrations. Achieves critical mass at some point in improvisation. 

Generates soundscapes of aimless instrumentality. 

Introduces seven minutes of wondering about. 

Turns away from the historic tradition, to plunge into a different world. 

Produces action as politicians do.

Stays committed to its own silence.

Goes from speaking to the audience in a manner that its audience can’t hear to full monumentality of feasible disturbance.

Doesn’t demand its understanding from the public.

Implies an ongoing commitment to public’s failure to understanding it.

Experiences the space as space in which ideas can enter.

Indicates an action as a process in time.

Remains au courant with its environment.