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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

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> 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.

vernissage.tv/blog/2014/03/17/alex-mirutziu-in-collaboration-with-elias-merino-scotopolitic-objects-2-for-five-performers-and-electroacoustic-impromptu/

Pending Works & Bureaucratic Objects - book launch

Added on by Alex Mirutziu.
INSIDE:

Comprehensive conceptual frame of Pending Works as well as Bureaucracy of Objects with references to works from 2010 to the present. Insights into TAH29 - The Artist and Himself at 29, with studio photos from Sweden, and the archives of GAM - Galleria d’Arte Moderna di Milano.

______ published by Sabot











Sabot gallery owner check-points her vision in C-Print

Added on by Alex Mirutziu.


_________With art spaces across Europe currently showcasing Romanian art and with a bunch of young artists, many of which are based in the city of Cluj-Napoca, are gaining notoriety internationally, C-print had a talk with Daria Dumitrescu, founder and director of Galeria Sabot, about running a gallery anything but conventionally under the keynotes of abstraction, collision and incongruence.

(excerpts)

C-P: Galeria Sabot has a very interesting statement on its website which I'm interpreting as an ambition to do things differently, beyond the traditional practices of a contemporary art gallery. In your words, how you describe the focus of the gallery?

D.D: Out of focus, divergent, and highly observant. Good peripheral vision and a third eye for overviews. Both thesis and antithesis... The product of a self-generated intellectual controversy. In one word, I would describe it as non-linear.

C.P: The gallery is housed inside an old factory, The Paintbrush Factory, turned collective space for contemporary art alongside a few other galleries such as the previously mentioned Plan B, as well as other art initiatives and numerous artist studios. I'm thinking it must be quite an exciting enivornment to be operating a gallery in. Could you tell us a bit more about the premises.

D.D: We found this rundown factory at the beginning of 2009. I needed a place for Sabot, and two artists (Ciprian Mureșan and Radu Comșa) were in search of studio spaces. After deciding to rent half of the second floor of this former factory, we teamed up for renovation. The most relevant part of the artistic community in Cluj joined us by the end of the same year – and this turned the whole thing into an exciting venture. Today I still believe this is the right place to run a gallery in Cluj.


C-P: You are currently exhibiting Alex Mirutziu with a show titled "Each thought's an instant ruin with a new disease". I read somewhere that Mirutziu has been labeled "l'énfant terrible of his generation". Could you tell us a about this current exhibition and what earns him this label?

D.D: Mirutziu was my first choice for Sabot. A brilliant, flamboyant mind, juggling an overdressed aesthetic and an exquisite imagery. At the beginning of his career, he was oscillating between being critically queer, performing gender, and questioning the power systems and their bearing on ideology, language, and discourse. Not difficult to imagine that the Romanian scene was not prepared to embrace this approach… And I’m wondering if things seem easier now, when Mirutziu pushed his long-term engagement with performance and media critical installations even further: into the Internet of things, high-end technology, post-language, and beyond. His current show is a mise-en-scène based on the artist’s philosophical notations. An artist book elaborating on his object-oriented research will be launched at the exhibition's finissage – compulsory reading for any ‘label designer’ around!


Each thought's an instant ruin with a new disease - solo show at Sabot

Added on by Alex Mirutziu.
Alex Mirutziu

■ Friday, November 15th, 7 - 10 pm
■ exhibition on view through January 10th, 2014

Each thought's an instant ruin with a new disease


Off-the-wall outcome of the artist’s philosophy-driven research into the art theory and practice, Alex Mirutziu’s second solo show with Sabot is proving again the artist’s appetite for deconstruction and critical dissection. Informed by his ongoing series of Pending Works, the recent Bureaucratic Objects are activated by Mirutziu’s rendering of the Reality of Never and its Design.



Each thought's an instant ruin with a new disease



Where is the poem, 2013
[from 'performance for prepared poem and one hand', 
based on 'Politics' by Graham Foust] 

Weight of sleep as temporary sculpture present in flesh of face
2013-SIBIU
archival print on paper, 88,9 x 70 cm

L’enfant terrible of his generation, Alex Mirutziu dynamited his way into the art world with frantic performances, resistant to monolithic definitions. His work is regarded as provocative and intensely philosophical to deeply entangled and juxtaposed, where closure and heartbreak seem always in need, of an unpalatable and constricted reality of each millisecond, as time itself might be a result of a violent and catastrophic event that needs re-establishment in history. He declares being influenced of writers rather than visual artists, voluntarily exiled himself in his hometown with which he has a love hate relationship masochistically overstated as nomadic existence. His affiliation to classicism is visible when drawing extensively from Adolfo Wildt and Jacob Isaakszoon van Ruisdael, reworking ‘The Jewish Cemetery’ among other romantic works, following a path that only Constable took seriously in 1797. A Romanian artist in his early thirties, Alex Mirutziu goes beyond his fragile frame and apparent shyness to fastidiously perform the unperformable, moments of silence to thoughts that die never looking like art as in his latest series of works called ‘Pending Works
Björn Olsen (independent writer and occasional curator, researcher at University of Manchester)


~

I refer to a space in which thought can operate—a nexus of processes, interactions and mediations that are clearly distinguishable as non-linear, non-cumulative, and task-based. The focus is not on what is happening, but on when it is happening. What is expressed neither describes nor represents existing matrixes of recognition, rather reformulates possibilities.
There is an interior design of objects that eludes us at any instant, suggesting that there is more to things than our representations of them and more depth than we are able to see.
My Pending Works never directly encounter one another, but only relate to one another through various translations. Any object is here, once it is here, not sooner, and in order to be here, it needs different levels of translations and mediations. It adapts to the dynamic of translating information through time, but with no claim of definite form, it rather points out to exchanges within its environment. It does so either by itself, or by coexistence with its neighbors.
Here we are, trying to make sense of the object through its own bureaucracy, through its own internal affairs.

(excerpts from Mirutziu’s essay Pending Works and Bureaucratic Objects, published on the occasion of this exhibition)

~