Kunsthalle Mulhouse presents ”La Brique, The Brick, Cărămida”: 43 artists, 54 artworks, 2 new productions

Added on by Alex Mirutziu.

La Brique, The Brick, Cărămida

Curated by Ami Barak

Dates: 14 February - 28 April, 2019

Opening: Wednesday, 13 February 2019, 18:30 am

Kunsthalle Mulhouse

La Fonderie - 16 rue de la Fonderie 68093 Mulhouse Cedex

As part of the France - Romania Cultural Season 2019, La Kunsthalle presents ”La Brique, The Brick, Cărămida”, a modern and contemporary art exhibition. The initiative of such an exhibition comes from the collector and benefactor from Timișoara, Ovidiu Șandor, and his desire to share his choices and passion for art in this French city twinned with his, Mulhouse. The opportunity is thus to open the doors on an intimate world, have an insight into the modern and contemporary Romanian narrative and a better understanding of the complex history of this country. This exhibition presents a committed and creative artistic scene from the early 20th century to this day.

The title of the exhibition is borrowed from an emblematic work by Ana Lupaș, an iconic figure of the avant-garde and undoubtedly a major discovery of the greatest museums in the world. It puts one brick after another in a building that is the founding act of a wonderful cultural enterprise.

From Constantin Brâncuși, Andrei Cădere, Ana Lupaș Geta Brătescu and Ion Grigorescu, leading figures in a national pantheon, to Adrian Ghenie, Victor Man, Ciprian Mureșan or Dan Perjovschi and taking into account a whole new generation that will not be long to be discovered outside national borders, the collection shows a high ambition and a strong commitment.

This is also an opportunity to invite two Romanian artists, Pusha Petrov and Alex Mirutziu, to produce and present new works. Both of their projects, produced for the occasion, will join the collection and will strengthen the presence of the young Romanian scene.

List of artists:

Ion Bârlădeanu, Ioana Bătrânu, Marius Bercea, Horia Bernea, Ștefan Bertalan, Ion Bitzan, Constantin Brâncuși, Brassaï, Geta Brătescu, Victor Brauner, Michele Bressan, Andrei Cădere, Mircea Cantor, Roman Cotoșman, Constantin Flondor, Adrian Ghenie, Ion Grigorescu, Marcel Iancu, Pavel Ilie, Mi Kafchin, Ana Lupaș, Victor Man, Hans Mattis-Teutsch, Dan Mihălțianu, Alex Mirutziu, Florin Mitroi, Ciprian Mureșan, Gellu Naum, Paul Neagu, Ioana Nemeș, Miklós Onucsan, Andrei Pandele, Dan Perjovschi, Pusha Petrov, Lea Rasovszky, Diet Sayler, Șerban Savu, Decebal Scriba, Arthur Segal, Sigma, Liviu Stoicoviciu, Mircea Suciu, Doru Tulcan, Andra Ursuța

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Ami Barak - Independent curator and art critic based in Paris, Ami Barak initiated numerous projects in France and abroad. Among the recent ones: Role-playing – Rewriting Mythologies – Daegu Photo Biennale, South Korea (2018); Life- A User’s manual – Art Encounters Timisoara Biennale of Contemporary Art (2017); What does the image stand for? – Momenta Biennale of contemporary image Montreal (2017); Julião Sarmento The Real thing – Fondation Gulbenkian Paris, Peter Kogler Next ING Art Center Brussels (2016-2017); Le Salon de Montrouge 61st, 62nd & 63rd editions – Montrouge (2016 - 2018)

”Ex-East” brings together 75 iconic romanian artworks in a highly symbolic place in Paris

Added on by Alex Mirutziu.

Ex-East. Past and recent stories of the Romanian avant-gardes

Curated by Ami Barak

Organized by Art Encounters Foundation TimiŞoara

Dates: 5 February - 16 March, 2019

Opening: Tuesday, 5 February 2019, 11.00 am

Niemeyer Space

2 Place du Colonel Fabien 75019 Paris

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Alex Mirutziu - Unit of Survival #4 / Niemeyer Space instalation shot / Photos: Pusha Petrov

Art Encounters Foundation Timişoara presents ”Ex-East”, a modern and contemporary art exhibition, under the auspices of the France - Romania Cultural Season and curated by Ami Barak.

The exhibition will be open to public view from February 5th to March 16th 2019 in the main hall of the French Communist Party headquarters - Niemeyer Space, an exceptional building designed by the modernist Brazilian architect Oscar Niemeyer.

The main protagonists of modern art will stand alongside the actors of the contemporary scene with a view to highlight the essential contribution of the Romanian artists to the 20th century and the undeniable contribution of the new generations and their ways of relating to the present time.

From Constantin Brâncuşi to Geta Brătescu, from Tristan Tzara to Adrian Ghenie and from Victor Brauner to Ana Lupaș, a new series of iconic works will be represented in this highly symbolic place.

Modernity and its avant-garde movements engender a will to annihilate boundaries and national references. But what are the borderlines of this cultural horizon? What are the parallel narratives of modernity and the Romanian avant-gardes?

A “small nation” at the borders of the Levant, Romania has been successful, in the early 20th century, in bringing to light undeniable and uncontested figures: Constantin Brâncuşi and his echo, fundamental to the thought that structured all 20th century art, or Tristan Tzara, co-founder and icon of the Dada movement.

The painters Marcel Iancu, Victor Brauner, and Jacques Hérold are legitimate actors in this grand narrative. The same goes for Isidore Isou, whose poetic ingenuity and originality never cease to amaze us. The sudden irruption of the Romanian avant-gardes on the international scene is to be read from the perspective of a flourishing and abundant cultural history, which, since its inception, has never stopped integrating Western art and changing it through tremendous contributions.

The post-war period and the Communist regime with its share of reactions and ideological rigidity, have nevertheless revealed specific avant-garde attitudes, detached from the Western utopias and ideologies but equally complex and radical in terms of formal and conceptual vocabulary. After the fall of the wall, contemporary inquiries have developed in the light of a new era with a view to overcome boundaries imposed by the dominance of the political and cultural dictatorship.

List of artists:

Arthur Segal, Constantin Brâncuşi, Marcel Iancu, Tristan Tzara, Benjamin Fondane, Victor Brauner, Jacques Hérold, Horia Damian, Isidore Isou, Geta Brătescu, Pavel Ilie, Ştefan Bertalan, Andrei Cădere, Roman Cotoșman, Constantin Flondor, Cornel Brudaşcu, Horia Bernea, Florin Mitroi, Paul Neagu, Ana Lupaș, Mihai Olos, Doru Tulcan, Decebal Scriba, Ion Grigorescu, Rudolf Bone, Miklós Onucsan, Teodor Graur, Iosif Király, SubREAL, Dan Perjovschi, Daniel Knorr, Kinema Ikon, Aurora Király, Victor Man, Anca Munteanu Rîmnic, Simon Cantemir Hauși, Anca Benera & Arnold Estefan, Mircea Cantor, Adrian Ghenie, Ciprian Mureşan, Gabriela Vanga, Şerban Savu, Mircea Suciu, Liliana Basarab, Marius Bercea, Vlad Nancă, Ioana Nemeş, Andra Ursuța, Olivia Mihălțianu, Alex Mirutziu, Pusha Petrov, Mi Kafchin, Lea Rasovszky

”The Urgency of the Idea of Closure in Drawing” in survey exhibition ”End of the Line”

Added on by Alex Mirutziu.

”End of the Line”

Artiști: Norbert Filep, Irina Măgurean, Alex Mirutziu, Lucian Popăilă

Curator: Georgiana Buț

Vernisaj: joi, 20 decembrie 2018, 6 pm

20.12.2018 – 20.03.2019

Camera K’ARTE, Târgu-Mureș, RO

End of the Line -afis online.jpeg

Unde se oprește linia? Acolo unde suportul i-o dictează, atunci când hârtia începe să se distrugă sau când grafitul este ridicat de pe suportul alb? Orice linie este un gest care marchează un început, dar și unul care fragmentează, separă sau închide.

Reuniți în expoziția ”End of the Line” pe firul explorării intense a propriului mediu artistic, Norbert Filep, Irina Măgurean, Alex Mirutziu și Lucian Popăilă (re)deschid conversația despre specificitatea medium-ului în practicile actuale și măsura în care acesta ii subîntinde fiecăruia deciziile: de la textura hârtiei, la intensitatea luminii pe materialul fotosensibil; de la durata scurtă și decisivă de timp (acea fereastră deschisă tehnicii affresco), la suspendarea concluziei și rezolvării prin mișcarea neîntreruptă a mâinii care desentează performativ. Selecția de lucrări explorează, totodată, modalitățile în care desenul poate fi tratat la intersecția mediilor, precum cea dintre desen și pictură, fotografie și grafică sau pictură, desen și performance.

Expoziția urmărește parcursul liniei în creion și indigo, pe hârtie (Norbert Filep), în detergent, pe materialul fotosensibil (Irina Măgurean), în culoare, pe tencuială (Lucian Popăilă) și cu mască de grafit, pe hârtie (Alex Mirutziu). În cel din urmă caz, aceasta apelează la trupul artistului, devenit el însuși medium pentru expansiunea liniei. Cu alte cuvinte, linia desenează în câmp extins, pornind de la suportul clasic al desenului, hârtia, trecând prin fotografie, pictură și ajungând la peretele spațiului expozițional, în (video)performance.

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Norbert Filep (n.1990) trăiește și lucrează la Cluj-Napoca. În prezent este doctorand la Universitatea de Artă și Design din Cluj, unde a absolvit ciclurile de licență (2013) și master (2015) la specializările grafică, respectiv pictură. Expoziții solo recente: Mapping the Paper, Galeria Sector 1, București (2018), Simple Things, Pilot, Fabrica de Pensule, Cluj (2018). Printre principalele expoziții de grup la care a participat se numără: Light.Color, Mie Lefever Gallery, Ghent, Belgia (2014); Layers, Galeria Nicodim, București (2016); Out of the blue, Galeria Mobius, București (2017); Being Mountains, Being Seas, Lateral Artspace, Cluj (2017); The exquisite corpse drinks the new wine, Galeria Sector 1, București (2017)

Irina Măgurean (n. Cluj-Napoca) trăiește și lucrează la Cluj. A studiat la Universitatea de Artă și Design Cluj, unde a obținut titlul de Doctor în arte vizuale (2013) și a realizat stagii de cerectare la MOME în Budapesta, Academia de Artă și Arhitectură, Praga. În prezent este lector al Departamentului de fotografie, Universitatea de Artă și Design Cluj și coordonează activitatea spațiului expozițional artist-run “Camera”, din cadrul Centrului de Interes, Cluj. In arta sa, este concentrată pe explorarea mediului fotografic, probând granițele fotografiei ca practică experimentală. Expozițiile recente includ: Image Library, New Now art space, Frankfurt (solo show, 2018), Gute Bekannte, Patrick Heide Contemporary, Londra (2018), Jeune Creation Europeenne, The Belfry, Montrouge (2017), Almost Object, Vajda Museum, Szentendre (2016).

Alex Mirutziu (n. Romania) trăiește și lucrează la Cluj-Napoca. Practica sa artistică include medii precum sculptură, desen, poezie, performance, alături de proiecte teoretice și curatoriale. Este un artist care, prin performance, instalații sau text, e preocupat de maniera în care spațiul se reorchestrează în urma unei finalități. A creat un colectiv, TAH29, cu un hiper-obiect, mai precis, cu el însuși la vârsta de 29 de ani și activează des în această structură. Lucrările sale au fost prezentate, printre altele, la Delfina Foundation, Londra, Poweplant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapesta, Centrul de Artă Contemporană și Muzeul Național, Varșovia, Muzeul de Artă Contemporană din București, iar în 2015 a reprezentat România la Bienala de la Veneția.

Lucian Popăilă (n. 1991) trăiește și lucrează la Cluj-Napoca, unde a absolvit ciclurile de licență și master ale Universității de Artă și Design, la specializarea pictură. A participat la expoziții recente precum: Papanache Camembert, Ésam Caen/Cherbourg (2018), Sottobosco - In the Crystal Coolness of the Morning, Muzeul de Artă Cluj-Napoca (2018), The exquisite corpse drinks the new wine și SICCUM (expoziție solo), Galeria Sector 1, București, Latin Love, Macerata/ Bari& Perugia, Italia (2015), Luc Tuymans-in conversation, SPAȚIU INTACT, Fabrica de Pensule, Cluj-Napoca.

Georgiana Buț (n. Târgu Mureș) trăiește și lucrează la Cluj-Napoca. În prezent, este doctorand al Departamentului de Filosofie în cadrul Universității „Babeș-Bolyai” din Cluj-Napoca. Cercetarea ei este concentrată pe expoziția de artă contemporană ca mediu artistic. Activitatea sa educațională include colaborări cu University of Connecticut, Colorado State University, SUA și Universitatea „Babeș-Bolyai”, Cluj. A fost coordonator de comunicare și programe al galeriei SPAȚIU INTACT, Fabrica de Pensule, și al Galeriei Quadro, Cluj; activitatea sa curatorială cuprinde: Memoria ca viziune (alături de Horea Avram), spațiile Fabricii de Pensule (2018), Oana Năstăsache: Albastru. La punctul de fierbere al culorii, Camera K’ARTE, Tîrgu-Mureș (2016); Pulse, within the Veil, Casa Tranzit, Cluj (2011).

Expoziția face parte din seria "Artă contemporană în Camera K'ARTE", proiect cofinanțat de Primăria Municipiului Tîrgu Mureș.

Expoziția este deschisă până în 20 martie 2019.

Program de vizitare: luni-vineri, între 15:00-18:00.
Parteneri: Primaria Municipiului Târgu Mureș, cotidianul Zi de zi
Contact: contact@k-arte.ro | www.k-arte.ro

”But as a document” runs 24/7 until 5 January in the window of Building Gallery in Milan

Added on by Alex Mirutziu.

Alex Mirutziu - ”but as a document”

BUILDINGBOX

Curated by Nicola Trezzi

7 December 2018 - 5 January 2019

BUILDING GALLERY

Via Monte di Pietà 23
Milan, Italy 20121

Alex Mirutziu - But as a document, video still

Alex Mirutziu - But as a document, video still

”But as a document” / Building Box instalation shot

“In line with the rhetorical investigative possibilities of a poem, myself and Pär Andersson bypassed the existing infrastructures surrounding the politics of writing and reading” – Alex Mirutziu

Alex Mirutziu’s practice extends over a wide range of media and activities, including sculpture, drawing, poetry and performance as well as critical and curatorial projects. In his work he expands on the notions of approximation and proximity in connection to time, dislocating modes of arrival at meaning. In his practice he seeks to facilitate the role of the body as “turbulent performative occasion” taking inspiration from the poetic of homelessness and invisibility in order to suspend the set-ups of doing, un-doing, thinking and un- thinking. Alongside TAH29 (The Artist and Himself at 29) he activates a collective whose modus operandi is retroactive irony. As part of his theoretical practice the artist frequently collaborates with artists, writers, musicians, designers and philosophers such as Grit Hachmeister, Elias Merino, Graham Foust, and Graham Harman. For this specific work, he activated a collaboration with actor Pär Andersson, through which the artist questions the nature of the politicized model of reading and the cultural privileges of lineage, complicities of the edges with which the words cut, to create a new narrative which is beyond doubt and curated by Sweden Sans, the typeface created by the Swedish design agency Söderhavet.

Mirutziu and Andersson engaged with a fragment of Prepared poem #2 – a project that Mirutziu started while in residence at IASPIS, Stockholm in 2014-2015 – part of a series titled Bureaucratic Objects, which comprises fragments from Graham Foust’s and Karl Larsson’s poems.

Alex Mirutziu (Sibiu, Romania, 1981) belongs to a new generation of Romanian artists showing internationally. His work has been the subject of solo exhibitions at Kunstverein Ost in Berlin, Delfina Foundation in London, MLF | Marie-Laure Fleisch in Brussels, MNAC in Bucharest, IASPIS in Stockholm, The Glass Factory Lab in Boda Glasbruk, Sweden, Barbara Seiler in Zurich, Mihai Nicodim Gallery in Los Angeles, Galerie Rüdiger Schöttle in Munich and Galeria Sabot in Cluj-Napoca, Romania.

His work has been exhibited in group exhibitions at FRAC des Pays de la Loire in Carquefou, France, Art Encounters in Timisoara, Romania, Kisterem Gallery in Budapest, CCA Tel Aviv, Jecza Gallery in Timisoara, MNAC in Bucharest, Gallery 400 – University of Illinois at Chicago, Motorenhallen in Dresden, Germany, Romanian Institute for Culture and Research in Humanities at the Venice Biennale, Kunsthalle Winterthur, Switzerland, CCA Warsaw, Műcsarnok – Kunsthalle Budapest, Gaudel de Stampa in Prais, Spazio Vault in Prato, Italy, Art Gallery of Alberta in Edmonton, Canada, Power Plant in Toronto, Tranzit House in Cluj- Napoca, Galéria Krokus in Bratislava, National Museum in Warsaw, Pavilion – Centre for Contemporary Art and Culture in Bucharest, Ada Street Gallery in London, and Brukenthal Museum in Sibiu, Romania. His performances have been presented in several venues such as Block Universe at Royal Academy of Arts in Londra, Wexford Arts Centre, Irlanda, Accademia Rumena a Roma e WUK a Vienna.

BUILDINGBOX is an independent space within the premises of BUILDING, characterized by its own unique program. The opening project, curated by Nicola Trezzi, opens on the week of Rosh HaShana, which is the beginning of the new year – the year 5779, as the title says – according to the Hebrew calendar.

Following these premises, a window gallery which is visible 24/7, and a calendar which consists of 12 months (Nisan, Iyar, Sivan, Tammuz, Av, Elul, Tishrei, Marcheshvan, Kislev, Tevet, Shevat, and Adar), 5779 is a group exhibition in which several artworks are not present next to each other but rather one after the other. The structure of the calendar – day after day, month after month, year after year – becomes the guideline for the presentation of artworks by several artists; in doing so, this structure transforms the essence behind group exhibitions, from coexistence and juxtaposition to linearity and procession.

Furthermore, this specific format deconstructs the very core of the group exhibition format, which is, by definition, an exhibition in which several artworks, by several artists, are presented next to each other in a confined space and for a specific amount of time. With 5779 the idea of a group exhibition in which works of art by several artists appear, in the same space, one after the other – substituting one another, replacing one another – suggests an inversion in the equation at the base of exhibition making. Rather than rooting exhibition making into space, as it usually happens, this time the exhibition is rooted in time rather than space.

Six Romanian contemporary artists are showcased in ”Manufacturing Nature / Naturalizing The Synthetic” exhibition at Frac des Pays de la Loire

Added on by Alex Mirutziu.

Manufacturing Nature / Naturalizing The Synthetic

Artists: Anca Benera & Arnold Estefan, Nona Inescu, Olivia Mihălțianu, Alex Mirutziu, Vlad Nancă

Curator: Diana Marincu

Residence: September - November, 2018

Exhibition: 17 November, 2018 - 27 January, 2019

The XXXIInd International Workshops of the Frac of the Pays de la Loire are taking place this year as part of the France-Romania 2019 year. Frac invited Diana Marincu to design this new two-month residence with six Romanian artists.

Manufacturing nature / Naturalizing the synthetic” discusses new paradigms in understanding nature and culture, body and technology, politics and landscape. The exhibition and research residency tackles these issues through the works of the invited artists Anca Benera & Arnold Estefan, Nona Inescu, Olivia Mihălțianu, Alex Mirutziu, and Vlad Nancă.

“You walk for days among trees and among stones. Rarely does the eye light on a thing, and then only when it has recognized that thing as the sign of another thing: a print· in the sand indicates the tiger’s passage; a marsh announces a vein of water; the hibiscus flower, the end of winter. All the rest is silent and interchangeable; trees and stones are only what they are.” (Italo Calvino, Invisible Cities)

Italo Calvino’s “poetic of erasure”, as his understanding of Utopia has been called, functions as a perceptive mechanism – a construction of non-realities that can become accessible for the visitor only through projection, representation and erasure. This experience solidifies one’s mental representation of the city – the invisible one – instead of the existing visible context – the real one. The interplay between a need for understanding and, at the same time, a tendency of refusing reality creates a greater absence of the actual reference, escaping more and more. “The eye does not see things but images of things that mean other things”, so that in the end the signs of reality become part of an active agency – the city itself – while its own discourse seems stronger than any “truth”: “the city says everything you must think, makes you repeat her discourse”.

This excursion in the narrative strategies and method of representation employed by Italo Calvino opens up a larger territory, which reflects an ethical shift on how we perceive the strata of reality surrounding us – objects, beings, landscapes, etc. Do we listen to their voice? Are we ready to follow their codes and immerse into their stories? How do they perceive us? How do we affect them?

<Read the full press release>

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The Frac des Pays de la Loire is in several respects a pioneering organization : since 1984 it has been offering periods of residence to artists as part of the Ateliers Internationaux ; International Workshops programme. The works produced during these residencies have helped to enrich the collection in original ways. This is also the first Frac in France to have been endowed with a building specifically designed for its various functions and tasks, i.e. producing artworks and exhibitions, creating and curating a collection, and getting this collection to circulate within the region, so as to familiarize the public with today’s art. It’s brief was—and is—to put together an international collection, organize exhibitions and shows in the region, and raise public awareness about today’s art, thus getting people to take part in the development, circulation, distribution, and knowledge of contemporary art.

With more than 1,600 works, plus the important gina pane collection, the collection of the Frac des Pays de la Loire has been put together since 1982, in compliance with an acquisitions policy encouraging the purchase of works by young artists. The Frac has thus done its utmost to focus on the most innovative aspects of presentday art. In tandem with the follow-up given to the emerging generation of artists, the Frac also purchases historical works.