Filtering by Category: "Alex Mirutziu"

Alex Mirutziu at IASPIS // PUBLIC OF STOCKHOLM TO PERFORM PENDING WORK #7

Added on by Alex Mirutziu.


Five moments of silence for Pending Work #7 



Note #3 to Pending work # 2 (Homage a Gencer) 2011 - Digital print on
photographic paper

ALEX MIRUTZIU 
WHAT IS THE REALITY OF NEVER?

MAY 27 - JUNE 12 2012
Lucie Fontaine Studio
Iaspis, Maria Skolgata 83, Stockholm


Lucie Fontaine and the Romanian Cultural Institute in Stockholm are proud to present the fourth exhibition at Lucie Fontaine’s Stockholm satellite, located at Iaspis, on Maria Skolgata 83. Entitled “What is the reality of never?” the exhibition presents a selection of works by Romanian artist Alex Mirutziu, who for this occasion will perform a new work entitled Five moments of Silence for Pending Work #7 (2012). The performance is accompanied by the following synopsis:

Pending works reside in few answering curves of theory. They are irreducible to any medium and their room is multifaceted and complex. This body of work explores the idea of classicism and the establishment of drama, stressing how the work makes it or doesn’t make it through the play, buffering in the instantaneous present.

There are two important conceptual triggers related to the pending works machinery. The first question is the reliability of the event and its performativity within a fluctuating timeline. The second refers to the cathexis of time and action versus duration, anti-duration and political evidence. Ultimately the chief interest of the pending works lies in the dialectic between evidence and the event as transformative of each other.

On one hand the artist’s extensive engagement with performance and installations aims to open an ontological terrain inside his so-called “Pending Works and Scotopolitic Objects.” He is the only artist to have made a group with a hyper-object, namely with himself at 29 and exhibit as a collective for the first time at Barbara Seiler Gallery in Zurich. The artist and himself at 29 is a medium. None is superior to the other and none can comprehend the fullness of atoms that shape each other. The biggest question is who arrived at whom first, faster or even at all? The question therefore rests upon distance. Is there any distance separating them? Can there be a possible distance between them, or is the artist at 29 years old collapsing into the artist now? Considering these projects one of the critical aspects in his work is that it resists closure by asking: What is the reality of never?

Alex Mirutziu is an artist based in Sibiu, Romania. He had solo shows at Barbara Seiler Galerie, Zurich (2011), Mihai Nicodim Gallery, Los Angeles (2010), Galerie Rüdiger Schöttle, Munich (2010) and Galeria Sabot, Cluj-Napoca, Romania (2009). His work is included in “European Travelers – Art from Cluj Today,” currently on view at Műcsarnok | Kusthalle Budapest.

The show is made possible through the support of Iaspis and the Romanian Cultural Institute in Stockholm. If you need further information please contact Lucie Fontaine’s employees: employee@luciefontaine.com.


All images and video belong to Alex Mirutziu

"Pop" video to be shown at Art Gallery of Alberta until April

Added on by Alex Mirutziu.

Art Gallery of Alberta

Still from video POP by Alex Mirutziu


Guest-curated by Christopher Eamon

In a rearview mirror
I suddenly saw
the mass of the cathedral in Beauvais;
large things inhabit small, briefly.

(Rearview Mirror from Going to Lwow, 1985) 

Rearview Mirror is a large thematic exhibition that brings together the work of a new generation of contemporary artists from Central and Eastern Europe.

Twenty years after the fall of the Berlin Wall, one might expect great changes in the cultural practices in the region known as the Eastern Bloc, even though the political cultures and histories of the various nations that comprise it greatly diverge. Rearview Mirror brings together artists from these diverse backgrounds and histories, who engage with post-conceptual strategies and forms, and artistic practices that range in media from video, installation and performance to sculpture and painting. Looking both to the past and to the future, the work of these 22 artists represent 11 different countries and collectively challenge accepted notions of Eastern Europe as a social, political and art historical monolith.

The exhibition does not attempt to be all-inclusive or encyclopaedic; instead it is a preliminary investigation in which one can find moments of dialogue, convergence as well as difference. It is a unique opportunity to view art works by a new generation of artists, such as Ciprian Muresan, Gintaras Dzidziapetris and Anna Molska in the context of some of their contemporaries who are already well-established in the international art world: Pawel Althamer, Roman Ondák and Wilhelm Sasnal. Artists in the exhibition include:

Paweł Althamer (Poland), Anetta Mona Chişa (Romania/Czech Republic) with Lucia Tkáčová (Slovakia), Gintaras Didžiapetris (Lithuania), Dušica Dražić, (Serbia), Igor Eškinja (Croatia), Johnson & Johnson (Estonia), Anna Kołodziejska (Poland), David Maljković (Croatia), Ján Mančuška (Czech Republic), Dénes Miklósi (Romania), Alex Mirutziu (Romania), Anna Molska (Poland), Ivan Moudov (Bulgaria), Ciprian Mureşan (Romania), Deimantas Narkevičius (Lithuania), Roman Ondák (Slovakia), Anna Ostoya (Poland), Taras Polataiko (Ukraine),  Wilhelm Sasnal  (Poland), Sislej Xhafa (Kosova), Katarina Zdjelar (Serbia)


On January 31, 2010, the newly constructed Art Gallery of Alberta (AGA) opened its doors to an eager public. Located in downtown Edmonton’s arts district on the north-east corner of Sir Winston Churchill Square, the long road from conception to construction had finally reached its end.



Los Angeles-based architect Randall Stout’s dynamic design is the first boundary pushing infrastructure to be erected in Alberta in decades. More importantly, it symbolizes that a strong appreciation for visual art exists in this province, as the Government of Alberta committed a total of $27 million toward funding the gallery’s new facility.


REARVIEW MIRROR at the Art Gallery of Alberta

Added on by Alex Mirutziu.

REARVIEW MIRROR: New Art from Central and Eastern Europe opens January 28 – April 29, 2012 at the Art Gallery of Alberta.

Coming of age during the rise of capitalism, 22 young artists challenge preconceptions of Central and Eastern Europe as a historical, social and political monolith.

This highly-anticipated exhibition features the work of 22 contemporary artists from 11 different Eastern European countries, whose work references the specific social and political histories of their respective homelands. Born mostly in the late 1970s and early 1980s, the artists comment on the political and social changes that have come to pass following the fall of the Berlin Wall and the end of the socialist period of their parents’ generation. In doing so they dismantle stereotypical notions of Eastern Europe, and question the perception of it as being socially and culturally unified.

Instead, the artists in REARVIEW MIRROR draw upon a variety of sources, their different histories, geographies and cultures, as a means to reflect on the past but also comprehend the present. The conceptualization of political and social change is integral themes related to the works presented in the exhibition.

This exhibition is guest-curated for the AGA by internationally-acclaimed curator, Christopher Eamon and produced in partnership with The Power Plant Contemporary Art Gallery in Toronto.

Presented by in Edmonton by Enbridge.

EXCLUSIVE MEDIA PREVIEW

Friday, January 27, 2 pm,

Art Gallery of Alberta 

Itinerary: AGA REMARKS: Catherine Crowston, Acting Executive Director / Chief Curator

GUEST CURATOR:

Christopher Eamon

ARTISTS: Taras Polataiko and Gintaras Didžiapetris will be in attendance and available for interviews.

Rearview Mirror: (Review Article) by Milena Tomic

Added on by Alex Mirutziu.

Identificatory scenarios abound in Rearview Mirror: New Art from Central and Eastern Europe, which is co-produced by The Power Plant Art Gallery in Toronto and the Art Gallery of Alberta in Edmonton. As the site of a subject’s first encounter with their own image as Other, the mirror appears in both literal and figurative guise in a number of the works on display here. And yet the subjectivities invoked in Rearview Mirror resist familiar calls to identification. While the two Canadian venues will undoubtedly introduce well-established artists from the region to new audiences, visitors may not realize to what extent such work comes preloaded with ideological baggage. Historically, neo-avant-garde gestures under socialism were more resistant to being absorbed by market forces than those in the West for the simple reason that an art market did not exist there in the first place. The very different support structures available to artists meant that outwardly similar actions were potentially met with different political consequences and were thus dislocated from their more universalizing counterparts. In an analogous way, every artistic gesture was already politicized because of the context it appeared in.



Canadian-born and US-based curator Christopher Eamon brings together works by 23 younger artists in way that simultaneously utilizes and underplays the legacies of political repression and the realities of economic transition and the attendant problems of exclusion. Rearview Mirror is not about Eastern European art per se, but a vaguely triumphal “new” art whose practitioners have largely overcome the marginality that plagued their predecessors.

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Related posts:

· Alex Mirutziu - "Pop" video at ArtGallery of Alberta until April
· REARVIEW MIRROR at the ArtGallery of Alberta
· Alex Mirutziu in "The RearviewMirror" [catalogue]
· REARVIEW MIRROR: NEW ART FROM CENTRAL ANDEASTERN EUROPE // On view until    5 September, 2011
· Rearview Mirror at THE POWER PLANT - 1 July -5 September, 2011

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Eamon’s second tendency is “an attraction to popular culture as expressed in some of the globally dominant entertainment industries.” For example, Ciprian Mureşan’s Un Chien Andalou (2004) has characters from Shrekappropriate the eye-cutting scene from the Surrealist film, swapping grainy live action for slick 3D animation. Again in single-channel video, Alex Mirutziu’s Pop (2006-2007) re-imagines historical body art through the comparatively sedate act of a hand flipping through a fashion magazine. Both works create a sense of distance from the source material in ways that allow for extended contemplation not of typical Central and Eastern European concerns, but of the wider neoliberal context to which all such images belong.

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Read more:
www.artmargins.com/index.php/2-articles/643-rearview-mirror-new-art-from-central-and-eastern-europe .................................................................................................................................................................