Filtering by Category: "Alex Mirutziu"
REARVIEW MIRROR: NEW ART FROM CENTRAL AND EASTERN EUROPE // On view until 5 September, 2011
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| © "Pop" Alex Mirutziu |
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| © "Pop" Alex Mirutziu |
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| © "Pop" Alex Mirutziu |
Curated by Christopher Eamon
Organized by The Power Plant and the Art Gallery of Alberta
Rearview Mirror is a large thematic exhibition that brings together the work of a new generation of artists from Central and Eastern Europe. Looking both to the past and to the future, the works by the twenty-two artists in the exhibition engage post-conceptual strategies and forms, and collectively challenge accepted notions of Eastern Europe as a social, political and art historical monolith.
In an attempt to alter stereotypes of Eastern Art and "Easternness" in general, the exhibition is a kind of preliminary experiment and dialogue in the post-socialist period. Twenty years after the fall of the Berlin wall, one might expect great changes in the cultural practices in the region known since the Yalta agreement as the "Eastern Bloc" even though the political cultures and histories of the various nations comprising it greatly diverge. Indeed this is the case in many practices that have been selected mainly for the artists' choices of non-traditional forms that range in media from video, installation and performance to sculpture and painting.
Related posts:
» Rearview Mirror at THE POWER PLANT - 1 July - 5 September, 2011
» Alex Mirutziu - "Pop" video at Art Gallery of Alberta until April
Rearview Mirror is not an exhibition that attempts to be all-inclusive or encyclopedic. It brings together the work of artists from diverse backgrounds and histories to look at the non-traditional practices of a younger generation of artists from the last decade, presenting an opportunity to view artworks by relative newcomers such as Ciprian Muresan, Gintaras Didziapetris and Anna Molska in the context of some of their contemporaries already known through international art circuits such as Pawel Althamer, Roman Ondák and Wilhelm Sasnal.
Christopher Eamon is a Canadian-born, New York-based independent curator who has curated numerous international exhibitions, and edited and written for a wide number of publications.
The exhibition is a co-presentation with the Art Gallery of Alberta, where it will be on view from
27 January – 29 April, 2012. Rearview Mirror is accompanied by a substantial publication, co-published by The Power Plant and the Art Gallery of Alberta.
Rearview Mirror is not an exhibition that attempts to be all-inclusive or encyclopedic. It brings together the work of artists from diverse backgrounds and histories to look at the non-traditional practices of a younger generation of artists from the last decade, presenting an opportunity to view artworks by relative newcomers such as Ciprian Muresan, Gintaras Didziapetris and Anna Molska in the context of some of their contemporaries already known through international art circuits such as Pawel Althamer, Roman Ondák and Wilhelm Sasnal.
Christopher Eamon is a Canadian-born, New York-based independent curator who has curated numerous international exhibitions, and edited and written for a wide number of publications.
The exhibition is a co-presentation with the Art Gallery of Alberta, where it will be on view from
27 January – 29 April, 2012. Rearview Mirror is accompanied by a substantial publication, co-published by The Power Plant and the Art Gallery of Alberta.
— all images except "Pop" stills, courtesy Steve Payne taken at The Power Plant, Toronto —
Pending works & Scotopolitic Object - solo show at Galerie Rüdiger Schöttle, in Munich
© Pending Work #7 / Alex Mirutziu
PENDING WORKS & SCOTOPOLITIC OBJECT
ALEX MIRUTZIU
Galerie Rüdiger Schöttle
01.07. - 06.08.2011
Opening: 30.06.2011
“Pending Works and Scotopolitic object” is the title of this gallery’s second solo exhibition of the Romanian artist Alex Mirutziu. Specially created for this exhibition are video pieces, photographs and objects, the concept behind which he himself explains as follows:
“Pending Works operate within a nexus of processes, interactions and mediations that are clearly distinguishable as non-linear, non-cumulative and task-based, with the focus not on what is happening but on when it is happening. What is expressed neither describes nor represents existing matrixes of recognition but rather reformulates possibilities. Images, language and signs are critical engagements with reality and not merely its representation. My attention is devoted to work that is not primarily a productive, result-oriented process. This work may be seen as a complex time frame of the art project, as pure activity that occurs in time. This new practice induces you to look beyond; is there a real there – at all? It reaches beyond the specific realization of an idea towards an expanded cultural and social field. I believe that this particularity is a call for thought, beginning with the artist who applies a task-based principle of announcing the time frame of each work for the different ways it may be observed. This then gives rise to questions on: internal duration of the idea versus external duration of the work; sufficiency of time and its relevancy; how much volume of thought and processed thinking can be put into a specific time frame?
Scotopolitic is the term I have coined to designate an object situation that generates a complex dynamic between the discourse of darkness that exists as a choice – one that should not have language – and an object’s communal and public relevance. Its comprehension evolves between silence, mediation and representation.
Between example theory and negation theory, Scotopolitic object draws attention to the insistence on its captive insight; and, through the repetitive carving of its insight, develops an institutional theme. Its strategic discourse operates on a thin layer of self-contemplative uselessness, bringing the jungle of darkness into the surrounding public space. Finally, what must be considered in this object situation paradigm are the ways these resolutions are negotiated within a larger public environment.”
Alex Mirutziu, born in Romania in 1981, lives and works in London and Sibiu.
More info here
Rearview Mirror at THE POWER PLANT - 1 July - 5 September, 2011
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| Anetta Mona Chişa & Lucia Tkáčová, MANIFESTO OF THE FUTURIST WOMAN (LET’S CONCLUDE), 2008. Colour video with sound, 11:13 min. Produced by Neuer Berliner Kunstverein, 2008. Courtesy of the artists and Christine König Galerie, Vienna. Photo credits: Anetta Mona Chişa. |
Works from a new generation of Central and Eastern European artists that engage post-conceptual strategies and collectively challenge accepted notions of the East as a social, political and art historical monolith.
Rearview Mirror – A large thematic exhibition that brings together the work of a new generation of artists from Central and Eastern Europe. Twenty years after the fall of the Berlin wall, the practices included in this exhibition engage post-conceptual strategies and forms. Looking both to the past and to the future, the work of the 22 artists in Rearview Mirror collectively challenge accepted notions of Eastern Europe as a social, political and art historical monolith.
The exhibition is not all-inclusive or encyclopedic. Instead, it looks at the non-traditional practices of a younger generation of artists from the last decade, presenting an opportunity to view art works by relative newcomers such as Cyprian Muresan, Gintaras Dzidziapetris, and Anna Molska in the context of some of their contemporaries already known through international art circuits such as Paweł Althamer, Roman Ondák, and Wilhelm Sasnal. The exhibition is a co-presentation with the Art Gallery of Alberta. It travels to the AGA on Jan.
27-Apr. 29, 2012.
The project will be accompanied by a substantial publication with commissioned texts, copublished by The Power Plant and Art Gallery of Alberta, and the exhibition will be complimented by talks and other public programming.
Related posts:
►Alex Mirutziu in "The Rearview Mirror" [catalogue]
►Alex Mirutziu - "Pop" video at Art Gallery of Alberta until April
►Rearview Mirror: (Review Article) by Milena Tomic
►REARVIEW MIRROR: NEW ART FROM CENTRAL AND EASTERN EUROPE // On view until 5 September, 2011
Artists:
Paweł Althamer (Poland),
Anetta Mona Chisa (Czech Rep., born Romania),
Lucia Tkáčová (Slovakia),
Dušica Dražić (Serbia),
Gintaras Didžiapetris (Lithuania),
Igor Eškinja (Croatia),
Johnson & Johnson (Estonia),
Anna Kołodziejska (Poland),
David Maljković (Croatia),
Ján Mančuška (Czech Rep.),
Dénes Miklósi (Romania),
Alex Mirutziu (Romania),
Anna Molska (Poland),
Ivan Moudov (Bulgaria),
Ciprian Muresan (Romania),
Deimantas Narkevičius (Lithuania),
Roman Ondák (Slovakia),
Anna Ostoya (Poland),
Taras Polataiko (Ukraine),
Wilhlem Sasnal (Poland)
Sislej Xhafa (Kosova),
Katarina Zdjelar (Serbia).
Curated by Christopher Eamon.
The GROUND and THE VEIL at TransEuropa Festival
În cadrul festivalului TransEuropa, care se desfășoară între 4 şi 15 mai 2011 la Cluj-Napoca şi, concomitent, în alte 12 orase din Europa, Casa Tranzit a fost gazda unor evenimente deosebite, două expoziţii care au convieţuit în bună pace.
The ground was divided, we jumped e o expoziţie iniţiată de Can Altay care propune o microhartă imaginară a unei Europe în care graniţele sunt zone de transgresiune între diverse tipuri de mentalităţi şi concepte. Mai concret, spaţiul de expunere de la Casa Tranzit, adică podeaua, a fost delimitată de benzi de diverse culori, care indică posibile delimitări spaţiale şi mentale. În acest spaţiu arhitectural imaginar, există zone unde sunt aşternute covoare rotunde (care să invite la discuţii, dezbateri, socializări şi, nu în ultimul rând, să dea oportunitatea unui clash of mentalities), sau panouri cu diverse sloganuri cu iz moral şi politic. Scopul acestei expoziţii, care se desfăşoară paralel şi în Bologna , Londra şi Paris reliefează posibilitatea interconectivităţii umane, care poate fi posibilă şi necesară în mai multe spaţii diferite.
În acest spaţiu virtual propus de Can Altay, Casa Tranzit a oficiat o altă expoziţie Pulse, within the veil, inspirată din proiectul de la Galeria Naţională din Varşovia – Ars Homo Erotica al lui Pawel Leszkowicz şi al cărei curator a fost Georgiana Buţ. La baza conceptului expoziţiei stă toleranţa faţă de relaţiile dintre persoane de acelaşi sex. Nu e o idee nouă, e chiar un trend via corectitudine politică să informezi opinia publică cu privire la faptul că iubirea dintre două persoane de acelaşi sex poate fi la fel de frumoasă, de intensă, de caldă ca la heterosexuali, că homosexualitatea nativă sau curiozitatea bisexuală sunt lucruri firești, chiar incitante; că nu e o boală (cum mulţi se grăbesc să guturalizeze), ci o opţiune personală despre care nu ai ce comenta. Cei cinci artişti: Alex Miruţiu, Izabela Gustowska, Cristina Chirilă, Doru Butz şi Anastasiia Mikho au prezentat lucrări foto şi video, care, la prima impresie, nici nu par manifeste pro gay. Impresionantă la modul plăcut a fost subtilitatea ideilor propuse, fără tuşe grosiere.
Alex Mirutziu a prezentat un single screen short movie – Tears are precious – care surprinde periplul unei lacrimi de la izvor(ochi) spre vale(obraz). Emoţionant şi tranşant, video-ul e o palmă trasă intoleranţei sociale care discriminează emoţii pur umane, emoții ce se îndreaptă de la bărbat la bărbat şi de la femeie la femeie. Scurt şi la obiect. Foarte frumos!
Izabela Gustowska cu a sa instalaţie video Love (Rose) face o trecere în revistă a erotismului lesbian şi al erotismului stârnit de femeie, muză universală, într-o paradă erudită de imagini din picturi faimoase, capturate în structura unui cristal roşu. Roşu ca estetică a intimităţii, a pulsiunii sexuale, a sângelui clocotind.
Cristina Chirilă a adus două serii de fotografii şi o instalaţie: Mr and Mrs Smith, Growing up şi Playground love, care imortalizează diverse momente din posibila scenă intimă a unui cuplu gay, nu înainte de a sugera momente cheie din conduita intimă şi interrelaţională a unui copil cu orientări sexuale diferite.
Anastasiia Mikho a făcut o Analysis of beauty a androginului. Alb negru, fotografiile povestesc despre corporalitate, frumuseţe şi căldură, prin portretele făcute unui cuplu în care femeia şi bărbatul sunt transsexuali. Dar nu genul de travestite de cabaret, care adeseori au o voluptate în a friza promiscuul şi grotescul, ci de fiinţe plăpânde, naturale, angelice, senzuale.
Doru Butz a prezentat câteva imagini foto prelucrate în diverse tonuri de alburi şi griuri sau griuri şi negru. „Cred că, în cuplu, intimitatea este asemeni unui văl de satin care ne acoperă sexualitatea.” Imaginile sunt fulgurante, abia sugerate, estompate, stranii. Vorbesc despre o prezenţă fizică a unei amintiri, de gustul ciudat al unei iubiri abia trăite, fizic sau psihic, de curajul de a fi prezent în tine.
Curajos, subtil şi, sperăm noi, eficient. Partea proastă a evenimentelor care sunt manifeste pro sau contra a ceva este faptul că ele sunt înţelese doar de persoane tolerante (deci inteligente), iar publicul care ar trebui să fie educat nici măcar nu ia în considerare posibilitatea de a opri clipa şi de a medita puţin. Sperăm însă la mai bine!