”Killer WATCHLIST for cool heads. 4 Cluj based artists to watch”, a text by Alex Mirutziu for Contemporary Lynx

Added on by Alex Mirutziu.

In times of a too fast art radar, in times of decreasing attention span and beat-skipping art market an easy stand of what makes and breaks can be a killer. My suggestions will give you at least for a while a break as you deserve it, I’m sure. Keep your head cool and track what these four artists based in Cluj-Napoca, Romania have in store for now but most importantly for the future.


Flaviu Rogojan cuts through the noise in the artistic community he is a part off, instrumenting technological means, from pencil to camera, analogue/digital computer games (GTA-Grand Theft Auto) an ethos which sets him apart in Cluj where he is currently based. We have to admit that when we look at his work we are viewing a technology-mediated portrayal of his thoughts and like Alan Hollinghurst, Flaviu is more excited by the idea of a place than the place itself. This is a modus operandi he uses as a curator for Aici/Acolo (Here/There), a pop-up gallery unique in Cluj. What he is getting at in his works has to do with ‘hidden-spaces’, ‘noise-tunnels’, loopholes, easy to imagine but impossible to access. He does the work for us, generating data, easy access codes (cheat-codes), makes alterations to existent HTML parameters allowing a novice access to these realities. One of them is the so-called ‘blue hell’ from a curated playlist of video anomalies shown in “From Within”, solo show at Pilot project space at Paintbrush Factory, where one of the game characters can break through walls, dive into an endless blue void, an error or breach in the game which unsettles the game’s own trajectory. Worth mentioning is “Tamagotchi life support” from the show De Rerum Natura at Natural Science Museum in Arad (2018), where Flaviu developed coded sequences to independently maintain into ‘existence’ a digital pet, housed in a small egg-shaped computer. The small robots feed it, play with it, take it to the doctor etc. The striking thing is that this device was glass caged along with stuffed birds and their habitat, performing a possible link in the overall evolution on the earth. A technology that in the end fails, part of Flaviu’s intention, but in its failing makes our understanding of the ‘pet’ and the supporting technology more human.


The artist seems to navigate off the radar, pulling you into his work as long as there is a commitment to his subjective time. Norbert’s strength is almost synonymous to silence, a slow rendering of the surface of the work. And it is in this episodic silence that he is most potent. In An Expression of Time I, II, he directs our attention to the back of a silhouette facing the horizon at two visually distinct parts of the day. At first glance, we truly believe that that’s the case. After a second or third reading of the work, helped by inbuilt hints we start to peel off the layers to reveal the actual photographic process as the main character, the tool which generated such an appearance of day and night, hence of passing of time. In doing so he makes our mind recognise its power to imagine what is there and not there, hidden in plain sight. In Glacier (Equilibrium Line Altitude) he again de-tours our attention leaving the viewer in an antechamber, a place of incipient problem-solving. A Nordic phenomenon of managing cascading piles of snow, in the search to find its resting place takes centre stage solely by appearance. In the background, there are marks of indelible reality that cannot be escaped manifested in large scale marks of displaced chunks of ice, sharing their last breaths on paper, the final disappearing act of something we will not remember as being there in the first place.


When confronted with the works of Ovidiu Leuce I don’t care of what I feel, even though sometimes his works enact such possibility. Instead, I want to find out more. They tend to act as extensions of his thinking, moreover is views of who and where he is.  What strikes me is that he thinks of himself as a painter, and fully articulates why so. When asked about his studies in Cluj and Italy he concludes that it was a time of great distress going from traditional training in painting to an experimental focused practice in Rome. Only that he stood firm with painting even though while in Rome he has overcome the canvas and traditional modes of using colour and photography. In “Notes on the melody of things”, a quote from Rilke whom he finds a bond, Ovidiu set’s off in another medium, this time ceramics, imbued with the use of moulds taken from ordinary objects from his surroundings. In a similar vein with Franz West and Nobel Prize winner for literature, Herta Muller, both major influences, he structures these mise-en-scenes with cut-outs, fragments from newspapers, imprints of textures new and old which are then incorporated into his clay objects. He has been looking at the notion of background and foreground in his most recent works questioning their power relation. In his recent collaborative performance at III Convivencias Cerámicas en Onda, Castellón, adjoined by a friend musician, Jósef Iszlai, Ovidiu sketched fragments of a composition of negative and positive spaces on a huge paper sheet on which a superimposed image of the actual wall, the resting place of the final work, eventually vanishes leaving the shapes suspended, historically extraterritorial.


An artist whose longtime commitment to colour, harmony, surface sets him apart from his colleagues of the same generation. Given that, he entertains the idea of elaborate authorships, giving a voice to the onlooker, indirectly pulled into complex choreography of juxtapositions, and fine volumetric shapes, Comsa doesn’t make it easier for the public to stand-by his intellectual preoccupations. Nevertheless one finds a sense of distilled purity, a sense of proportion in shapes and surfaces which surpasses the tendency to overthink what takes place on the canvas. Instead, one is driven towards the sensuous qualities of his colour fields and their slow attachments on the canvas, or other textiles, layer over layer in an apparent brutal overlapping of pigments, which tend to reconcile in the eye of the viewer. Going back to the basic colours and to drawing in an attempt to make sense of his own physical proportion when exercising his works seems to be of interest, an approach which stems from the New York Avant-Garde of the 60’s —the notion that of the making and maybe even the meaning of a painting rests too on the biomechanics of the work’s own build-up, that space in between the artist and the surface. He mixes diluted pigments before-hand, delineating the composition with wax lines to avoid immediate contamination between colour fields, a process he calls synthetic. And if we think of his modus operandi as disputing nature not representing it, it makes sense in this aesthetic, softened by a comfortable scale, proportion and fair balance, which put to rest jolts of alienation and rejection.

Written by Alex Mirutziu

Alex Mirutziu is a Romanian artist who’s practice interrogates the process of how we create meaning to interpret the world around us. Inspired by philosophy, literature and design, he explores the inadequate use of objects, language and the body as tools of communication.

”The sphere of points”, soon at White Cuib in Cluj

Added on by Alex Mirutziu.

The sphere of points / Sfera din puncte

A project by / Un proiect de: Ovidiu Leuce

14 - 20 February: Norbert Filep \ Cristian Opriș
21 - 27 February: Alex Mirutziu \ Ana Blandiana
28 February - 6 March: Delia Maxim \ Ghenadie Popescu
7 - 14 March: Ovidiu Leuce \ Eugenia Pop

White Cuib

str. F.D.Roosevelt, nr. 2/1, 400021 Cluj-Napoca


"I developed the first film. A few images from the holiday camp in Turda. The greatest thing was the continuity. NON STOP. Day – night together. That’s how the sphere appears = THE SOUL SPHERE MADE OF POINTS. The three groups: 4boys A, 4 boys B and the school girls, 4 as well somehow. Then separate individuals, not in relations with the others. And suddenly the whole was complete, shapes in space, what fun we had, what answers we came up with for problems like: myself- the other? The relationships. What can I do alone? I’m working for others and others work for me! It is a reason to love everybody because we never know how, when and who works for us” - Eugenia Pop, letter fragment, 20 July 1999

"Throughout this project four artists are invited to make a gesture of gratitude towards a person who inspired them during their artistic and human growth, who contributed to their way of creating, of thinking, of relating to others and themselves. For a week each participating artist engages in a simple and substantive dialogue with his or her guest; a natural conversation, without elocution, in this public space with an intimate dimension.

A series of exhibitions like the formal expressions of a meeting, of seemingly small and casual events that in time prove to have the force of fertile seeds in a fertile soil. Reflections on the possible transformations born out of encounters, on their capacity to create experiments, to unleash energies, to transform dreams in visions and visions in acts. Creative gestures that emanate the energy of conscious and profound individuals, active participants in the life of the community” - Ovidiu Leuce


"Am developat primul film. Câteva imagini din tabara Turda. Cel mai grozav lucru a fost continuitatea. NON STOP. Zi - noapte împreună. Aşa apare sfera = SUFLETUL SFERA DIN PUNCTE. Cele trei grupuri: 4 băieţi A, 4 băieţi B şi elevele într-un fel tot 4. Apoi indivizii separaţi, scoşi din relaţie cu ceilalţi,- activităţile, pauzele, emoţiile. Şi brusc întregul ce s-a realizat, forme amplasate în spaţiu, cum ne-am distrat, ce răspunsuri au venit la probleme ca: eu- celălalt? Relaţia. Ce pot face singur? Ce fac cu ceilalţi împreună? Muncesc pentru alţii şi alţii pentru mine! E un motiv să iubim pe toată lumea căci nu ştim niciodată cine, când şi cum munceşte pentru noi" - Eugenia Pop, fragment dintr-o scrisoare, 20 iulie 1999

”Pe durata acestui proiect patru artişti sunt invitaţi la un gest de recunoştinţă către o persoană care i-a inspirat pe parcursul creşterii lor artistice şi umane, care a contribuit la modul lor de a creea, de a gândi, de a se raporta la ceilalţi şi la ei înşişi.

Fiecare artist participant realizează, timp de o săptămână, un dialog concret şi simplu cu invitatul său; o conversaţie fără enfază, naturală, în acest spaţiu public cu o dimensiune intimă.

O serie de expoziţii ca expresii formale ale unor întâlniri, ale unor evenimente aparent mărunte şi cazuale care însă au dovedit în timp a avea forţa unor seminţe rodnice pe un pământ fertil. Reflecţii asupra posibilelor transformări născute din întâlniri, asupra capacităţii lor de a creea experienţe, de a descătuşa energii, de a transforma visele în viziuni şi viziunile în acte. Gesturi creative ce emană energia unor indivizi conştienţi şi profunzi, participanţi activi la viaţa comunităţii" - Ovidiu Leuce

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


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


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.


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