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Pending Works & Bureaucratic Objects - book launch

Added on by Alex Mirutziu.

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.

Alex Mirutziu does All Hollow fast and ready interview

Added on by Alex Mirutziu.

N.N., UNTITLED

Interview by: George Robescu

Alex Mirutziu / 32 / Sibiu / Artist

How do you wish to die?

In my sleep.

What’s the last show that you saw?

Archimedes. Art and Invention Science — Capitolini Museum, Rome.

Describe a typical day in your life as an artist.

Mostly in front of screens, either of laptop or other devices.

What’s the most indispensable item in your studio?

I guess books, and notebooks. My studio is in my head.

Where are you finding ideas for your work these days?

It’s a mess. From everywhere: a buss stop sticker to anti-philosophy.

Do you collect anything?

Mainly images, that speak to me.

What is your karaoke song?

I don’t do such thing, but I know many David Bowie songs by heart.

What’s the last artwork you purchased?

A limited edition “Venus in Furs” book.

What’s the last great book you read?

The State of things (Office for Contemporary Art – Norway)

What work of art do you wish you owned?

Vir Temporis Acti by Adolfo Wildt.

What (under-appreciated) artist do you think people should know about?

Charlotte Moorman — one of the key figures in the New York Avant-Garde. Her influence in the experimental art is unparalleled but somehow her legacy is overlooked.

What are your hobbies?

Traveling abroad.

What is your present state of mind?

Post-exhibition detachment.

Look at your watch. What time is it?

13:34 Rome time.

Drag every day or only on special occasions?

Not for me.

What turns you off?

Vegetative time.

How about pleasure?

Accuracy.

Explain what you do in +/- 100 words

A dancer who walks for a living.

What’s your strongest memory of your childhood?

Going at the cinema with my father.

What jobs have you done other than being an artist?

If I need a job I prefer something that has nothing to do with art.

What is your dream project?

I don’t have one. It’s something that I don’t think about.

What’s the best piece of advice you’ve been given?

Fuck your circumstances.

Know any good jokes?

I’m afraid not.

What was your first work of art?

Myself.

Did they say you had natural talent in art school?

Yes.

What advice would you give to a young person who wants to become an artist?

Polish your ideas kids, you’re gonna need them.

Do you think the art world is dead?

The discussion is maybe — if the art world is still interested in art and not life itself.

Who do you think is the best business artist in the world?

I guess Jeff Koons.

Do you think artists of the future will form companies or go public and sell stock?

Maybe why not.

Do you ever think about politics?

Art degrades into politics. It implies a political way of dealing with ‘art.’

Do you think your work will go up in value when you’re gone?

I don’t really care. To clear the air in some instances maybe, is of interest.

What time do you get up in the morning?

Usually around 10.

What do you do in the morning?

Common things nothing out of the ordinary.

Are rich people different from poor people?

Depends on where you stand. Money empower people, but after all we are on the same foot.

Do you ever feel like an imposter? Why? Why not?

I feel more like a boxer…punching clean an attitude era.

Did you ever feel like giving up on art?

Sometimes I cultivate an indeterminate drift and mock the idea of art.

How do you feel when (if) you discover another artist who does something very similar to your own work?

Look very attentive. Nothing really comes from the same source and develops similarly. Artists may produce similar artworks but their motivation defer.

Do you have the ambition to change things with your work (art, society, people)? Does it seem important to you?

It is important to massage a conceptual locus or to layer a specific field of practice.

How many times did you break up with art?

Honestly – never. It’s an affliction.

Do your works need explaining? Would you like everyone to understand them? Do you think it’s ok to have a target audience?

Explaining an artwork turns it into something else. A way of enriching my practice is to touch places  that only writing with can do.

Is nail art art?

It’s crazy isn’t it. Who knows?

What would your super power be?

Do you really think I would lay it out? Occultation, for the sake of asking the question.

When were you happiest?

This question is damn personal, it will overshadow everything else in a split second, reason why I prefer to keep it to myself.

What’s your favorite post-gallery bar?

I don’t have one.

What would you do to get it?

The question is to get what? Success? Money? Fulfillment of any sort?

Who’s your favorite living artist?

I have one actually but at this time I rather keep it to myself.

What was your most embarrassing moment?

Forgetting names in conversation, other than that I can’t squeeze anything out now.

What is your favorite word?

Porosity.

What is the worst thing anyone’s said to you?

People are nice to me you know! It’s mutual.

What do you owe your parents?

I prefer not to respond, reason being that it will take too much effort to put it in words.

What does love feel like?

Right now, like an iceberg in pink light.

How do you relax?

Traveling is one way.

What is the most important lesson life has taught you?

Oh, my God! To be patient.

Do you believe in progress?

Absolutely.

Would you under any conditions accept to show your works under anonymity?

I did that this year.

Do you care about who buys your art? What kind of people, institutions? Would you refuse someone?

My work self-selects in a way its possible buyers. It is radical enough to appeal to whom considers it relevant.

Do you like artist collectives?

Yes, I am in one.

Does being an artist make you a better cook? A better lover? Does your work influence other aspects of your life?

Not really. On the contrary, it can be a wrecker.

Do think it’s important to be self centered in order to succeed as an artist?

In one way or another, one has to be self-centered.

Would you prefer your art to be timeless or timely?

The patina of time is so beautiful. It informs, it gives place, creates meaning. Therefore timely.

What is the contemporary meaning of the death of art?

Art transition into life itself.

Is Peaches more attractive than Mona Lisa?

They both rock. But Mona Lisa is a score hitter no matter what.

Do you know who said “art is whatever gets you laid”?

Who?

What’s your favorite art themed funny shirt?

Have none.

Would you turn down dinner with Marina Abramović because you find her distinctly annoying?

Have no idea if she is annoying. Is she? I wouldn’t turn her down.

Did you ever look at an Arcimboldo painting and got hungry?

Uuu, never.

Did you think that was a happening?

(?)

Do you buy postcards at museum stores?

Often.

What’s better: your art on a tote bag or on a notebook?

Tote bag.

Look or look at me?

Look.

What rhymes with art? The Louvre or The Commune?

Louvre.

Who in the art world deserves most to be punched in the face?

No one really.

What did you ever do to cure loneliness?

Go out.

You have 50 masterpieces of standing male marble nudes. What would you do with them?

They call for an alley to be placed in.

What do you fear more: no reviews or bad reviews?

No reviews.

How much is too much for a painting?

Nothing is to much for any work of art.

I say catastrophe, you say..?

Candy.

 A can of kerosene is the answer. What was the question?

Something related to Jasper Johns? Hmmm…

Did you ever write a fan letter to Bryan Cranston? Why not?

Who is this guy?

What program do you use for pirating music?

Many.

How did your gang initiation go?

What gang?

What should burn first: Christie’s or the Parliament?

Christie’s.

Is there enough art for all the money?

Believe me there is.

For the love of god. Who would buy a diamond skull?

I would. I like that work.

What art themed tattoo would you get?

Do less more.

Would it be better than a diamond skull?

(?)

Did you think that was a happening?

(?)

Seriously now. What’s the maximum time to spend in a museum?

From morning till dawn.

“Would the fact that Governor Rockefeller has not denounced President Nixon’s Indochina Policy be a reason for your not voting for him in November?”

You must be joking.

When’s the last time you read the newspapers?

I read them quite often.

What did you learn?

(?)

When can you go into the supermarket and buy what you need with your good looks? America is this correct? I saved Latin. What did you do?

My good looks got me photographs on the street, hugs of a slut, and occasionally free drinks.

Do you have social disease?

They are not really diseases.

What’s the outside of a gallery?

Another gallery.

What mechanism do you reproduce?

None.

Can art be collective again?

It always been collective.

How do you feel as a capitalist entrepreneur?

Masterful.

*

What is a curator?

Carer of things.

What to do with the contemporary?

Leave it in the now.

What is the public?

What is the artist?

What is an exhibition?

A gathering of ideas in a specific place.

What about collecting?

Something to think about.

What is the future of art?

No art.

What is the process?

Being in the project.

What about responsibility?

Responsibility gives stature.

What’s the first artwork you ever sold?

Back in high-school. A couple of paintings.

What project are you working on now?

A sound installation called Scotopolitic objects.

What’s the last show that surprised you? Why?

David Bowie is.

Do you make a living off your art?

Often.

What’s the weirdest thing you ever saw happen in a museum or gallery?

Surveillance cameras are weird.

What’s your art-world bête noire?

Don’t have one.

Răzvan Sădean despre Alex Mirutziu: Screening of the 2010-2012 performances

Added on by Alex Mirutziu.

4 ore de proiecţii video a celor mai epifanice performance-uri ale artistului Alex Mirutziu, la Galeria Sabot


Sursa: LiterNet - Iunie 2012 / autor: Răzvan Sădean


Vineri, 1 iunie 2012, în prima zi a Festivalului Internaţional de Film Transilvania, a avut loc vernisajul expoziţiei Film Program: Alex Mirutziu, screening of the 2010 - 2012 performances, o colecţie retrospectivă care însumează înregistrări video ale performance-urilor artistului român Alex Mirutziu din perioada 2010 - 2012, la Galeria Sabot din incinta Fabricii de Pensule, Cluj - Napoca. Pentru prima dată în România, publicul se va putea familiariza cu lucrările artistului, produse şi prezentate în Austria, Italia, Statele Unite, Elveţia, Germania, Portugalia şi Suedia.





Vernisaj Film Program: Alex Mirutziu, screening of the 2010 - 2012 performances

Expoziţia va putea fi vizitată până în 14 iulie 2012, de marţi până sâmbătă între orele 18:00 - 22:00. Seria de proiecţii include 9 înregistrări a celor mai epifanice performance-uri realizate de artist în ultimii 2 ani:

> Five Moments of Silence for Pending Work #7


Five Moments of Silence for Pending Work #7 (performance pentru cameră, Centrul IASPIS, Stockholm, 2012) 


> History is Nothing but Muscles in Action

(performance pentru cameră, Centrul de Artă ZDB, Lisabona, 2011)


History is Nothing but Muscles in Action 

Filmat în încăperile somptuoase ale Palatului Santa Catarina din Lisabona, performance-ul este o renunţare intenţionată la elementele spectaculare care servesc actul artistic. Încărcătura arhitecturală monumentală a palatului se transformă ea însăşi într-un performer cu care artistul relaţionează prin simpla sa prezenţă în spaţiu. Acţiunile cu accente groteşti şi suprarealiste nu sunt construite prin amplificare artificială, ele constituie o succesiune deîntâlniri între mai multe corpuri fizice capabile să interacţioneze.


> Action is Guilt / Method to Rourke

(performance, Galeria Vault, Italia, 2011)

                       Action is Guilt / Method to Rourke 
Confruntarea nefinisată dintre un bodybuilder şi artistul Alex Mirutziu investighează printr-o poetică dramatică simulată, specifică luptelor de wrestling, graniţa imponderabilă dintre propria memorie afectivă şi metodele mecanice de deprindere a gândurilor sau emoţiilor care nu ne aparţin. Fiecare parte a performance-ului este punctat de un moment de reculegere în care publicul meditează la propriile mecanisme de încasare, încărcare şi păstrare în memorie a tragismului unor evenimente cu care s-au confruntat în mod real.


> Pending Work #3

(performance pentru cameră, 2011)

Pending Work #3 

Dramatic şi emoţionant, acest performance surprinde paradoxul unui public lipsit de conştiinţa realităţii trecute care sub îndrumarea artistului păstrează momente de reculegere în memoria unor evenimente tragice din istoria recentă a umanităţii. Amploarea şi importanţa unor întâmplări catastrofale traumatice pentru omenire sunt compromise în faţa individului (grupul de copii) incapabil să le înţeleagă identitatea şi valoarea.


> When Love Melted Cavalries in Our Hearts

(performance, Galeria Barbara Seiler, Zurich, 2011)


When Love Melted Cavalries in Our Hearts 

Performance-ul a fost prezentat de Alex Mirutziu în deschiderea expoziţiei Spending Time in Relation to Usage găzduită de Galeria Barbara Seiler din Zurich şi este rezultatul unei cercetări întreprinse de artist în cadrul unei rezidenţe desfăşurate în toamna anului 2011 la Lisabona. Vizibil interesat de măşti mortuare şi anatomia corpului uman, performance-ul este o suită de imagini estetizate care înfăţişează însuşi corpul artistului ca obiect vulnerabil sfâşiat de o suferinţă metaforică a unei iubiri extraordinare. Lirismul, candoarea şi fragilitatea expunerii lascive şi hipersensibile fără pudoare a propriului corp fac din acest performance cea mai intimă şi revelatoare experienţă din portofoliul artistului Alex Mirutziu.


> Critique on How Temples Move Faster Than Their Shadows

(performance, Galeria Mihai Nicodim, Los Angeles, 2010)


Critique on How Temples Move Faster Than Their Shadows 

Alex Mirutziu revine asupra unui performance realizat în acelaşi an, 2010, dar surprinde printr-o cheie nouă gradul de distorsionare al lucrării adaptate unui nou spaţiu, unei noi dimensiuni, în care chiar şi numai o umbră în plus înseamnă un element nou pentru spectacol. Precizia şi liniştea cu care artistul îşi manufacturează, scenă cu scenă, performance-ul sunt dovada unor studii critice îndelungate întreprinse de artist în prealabil în cadrul unei rezidenţe.


> Feeding the Horses of All Heroes

(performance, Institutul Cultural Român din Roma, 2010)


Feeding the Horses of All Heroes 

Interesul artistului pentru catwalk şi fashion se materializează în această lucrare prin identificarea unei structuri mecanicizate specifice podiumului de modă şi deturnarea imaginii iconice a modelelor de fashion impregnată subliminal în mintea umană condusă de mania consumului şi a satisfacerii propriilor nevoi. A corupe o astfel de imagine instituţie înseamnă a brusca fără menajamente ideile prefabricate despre perfecţiune, iar moda este prin excelenţă industria care creează în serie perfecţiunea.


> The Remains of the East

(performance, Teatrul Wuk, Viena, 2010)


The Remains of the East 

Discursul performance-ului priveşte experienţele a trei performeri din timpul regimului comunist şi efectele, urmele, influenţa lor după mai bine de 20 de ani de la înlăturarea regimului. Întreaga atenţie se îndreaptă înspre sensibilitatea bolnăvicioasă a organismului lezat în mod repetat şi îndoctrinat de cea mai periculoasă dictatură împotriva individualităţii şi a propriei conştiinţe. Lupta interioară percepută ca un strigăt de ajutor mut în timpul comunismului se răsfrânge încă şi astăzi în faptele comise de o minte deja pătată.


> Pending Work #2

(performance pentru cameră, 2010)


Pending Work #2 

Dansul omagial al artistului este un răspuns la ultimul fragment din Norma de Giacomo Puccini interpretat de Leyla Gencer cu un scor care priveşte particularităţile vocii ei, volumul şi modulaţiile, care imprimă emoţie şi ingenuitate mişcărilor sacadate în slow motion.

SABOT-AGE! Picture Maxxification, Cultural Digestion, and Populist Elitism in the Age of Rhizomatic Economy (From Cluj with Love, Daria & Marcel)

Added on by Alex Mirutziu.
SABOT @ INDEPENDENT, a hybrid model and temporary exhibition forum, taking place at the former X Initiative and former Dia Center for the Arts at 548 West 22nd Street in New York on March 4 – 7, 2010.
http://www.independentnewyork.com/

Location: 548 W 22nd Street, New York, NY, 10011
Phone: 917-414-7941
Thurs: 4:00 pm - 9:00 pm
Fri - Sat: 11:00 am - 8:00 pm
Sun: 12:00 pm - 4:00 pm


SABOT-AGE! Picture Maxxification, Cultural Digestion, and Populist Elitism in the Age of Rhizomatic Economy (From Cluj with Love, Daria & Marcel)

Portable works by the represented artists - Radu Comşa, Alex Mirutziu, Vlad Nancă and Alice Tomaselli, as well as special projects by friends, gray eminencies and ghostly comrades - Fia Backström, Pádraig Mullen (aka Bulletin M), Ylva Ogland, David Robbins, Lee Williams and Allais Young.


A HYBRID FORUM COMES TO NEW YORK FOR ART FAIR WEEK

INDEPENDENT,a hybrid model and temporary exhibition forum, will take place at the former X Initiative and former Dia Center for the Arts at 548 West 22nd Street in New York March 4 – 7, 2010, and will be open to the public free of charge: Thursday from 4PM to 9PM, Friday and Saturday from 11am to 8pm, and Sunday from 12pm to 4pm.
INDEPENDENT was conceived by Elizabeth Dee, New York gallerist and founder of X Initiative, and gallerist Darren Flook, from Hotel, London. Part consortium, part collective, INDEPENDENT lies somewhere between a collective exhibition and a reexamination of the art fair model, reflecting the changing attitudes and growing challenges for artists, galleries, curators and collectors. The weeklong program will host presentations and installations by highly regarded international figures and has been developed with creative advisors, Thea Westreich Art Advisory Services, New York and Matthew Higgs, Director of the nonprofit White Columns, New York. The international list of participating galleries, independent curators, publishers, and nonprofit spaces was developed through personal invitations from the founders, the advisors and, ultimately, the participants themselves. This approach has allowed the project to evolve through conversations, collaborations and shared conceptual engagements as opposed to the application process that typically characterizes the contemporary art fair. Through this ongoing interaction, the participants have entered into a consortium rather than a transactional arrangement with a governing party. Structured as a transparent financial
cooperative, each participant is aware of the project’s expenses, including rent and the support services required. The collaborative process allows for both financial efficiency and the creation of more ambitious projects. The individual concepts for presentation are met with custom spaces that are curated in relation to other projects, allowing for a dynamic and diverse flow through the vast spaces on each of the building’s four floors. There will also be a series of performances in coordination with the exhibits, collaborations between galleries presenting works together, and lectures on the ground floor throughout the week. Additionally, INDEPENDENT will present an artist project by Claire Fontaine entitled Please God Make Tomorrow Better, 2008, a neon text work above the façade’s door which will be on view 24 hours a day during the run of the project.

The list of participants is as follows:

The Approach (London)
Artists Space (New York)
Balice Hertling (Paris)
Laura Bartlett (London)
BolteLang (Zürich)
Bortolami Gallery (New York)
Galerie Isabella Bortolozzi (Berlin)
Elizabeth Dee (New York)
Dispatch (New York)
Farimani
Gavlak Gallery (Palm Beach)
gb agency (Paris)
Hard Hat (Geneva)
Hotel (London)
Galerie Ben Kaufmann (Berlin)
Johann König (Berlin)
Andrew Kreps Gallery (New York)
Lubok
Kate MacGarry (London)
McCaffrey Fine Art (New York)
Mestre Projects (Barcelona/New York)
mitterrand + sanz (Zürich)
Moss/Westreich-Wagner (New York)
New Galerie (Paris)
October
Maureen Paley (London)
Renwick Gallery (New York)
Reserved for Leo Castelli
Rodeo (Istanbul)
Sabot (Cluj-Napoca)
Stuart Shave/Modern Art (London)
Sutton Lane (London/Paris)
White Columns (New York)
Winkleman Gallery (New York)
Galerie Jocelyn Wolff (Paris)
Zero (Milan)

The INDEPENDENT Team is led by Co-Directors Laura Mitterrand and Jayne Drost. They are joined by
Exhibition Designer Ian Sullivan and Technical Coordinator David Shull.
INDEPENDENT has been sponsored in part by the exhibitors, Flash Art, Ninth Street Espresso, Farmcart,
The Jane Hotel, Café Gitane, and Mousse, Milan. For more information, please contact Laura Mitterrand
at +1.917.414.7941 or info@independentnewyork.com. Visit our website at
http://www.independentnewyork.com/