Four locations in Israel are hotspots for Europe Day 2021 with video programme curated by Avi Lubin

Added on by Alex Mirutziu.

Photo 1 - Installation view at Eilat's Boardwalk - photo Avi Lubin // Photo 2 - Installation view at Habima Square - photo Avi Lubin // Photo 3 - Installation view at Habima Square - photo Tal Shahar // Photo 4 - Installation view at HaCameri Square - photo Tal Shahar // Photo 5 - Installation view in Haifa - photo Avi Lubin

Towards a New Community

(a video art event in public space)

Artists:

Adel Abdessemed, Nelly Agassi, Francis Alÿs, Pasi Autio, Irina Botea Bucan, Jordi Colomer, Brian Duggan, Nilbar Güres, Pavel Jestřáb, Sanna Laaban, Sigalit Landau, Danilo Milovanovic, Alex Mirutziu, Kira Nova, Yorgos Sapountzis, Jaan Toomik, Janaina Tschape, Guido van der Werve, Rona Yefman and Tanja Schlander, Rafal Zarski

Curator:

Avi Lubin

eu4israel.co.il/

One of Alex Mirutziu’s best known video work - “Tears are precious” - is part of the exhibition "Towards a New Community" - a video project curated by Avi Lubin commissioned by the European Union in Israel on the occasion of Europe Day 2021.

The project will be shown throughout June in four locations in the public space in three cities: The Promenade in Eilat (June 17) , The Turkish Market in Haifa (June 19), Habima Square, Tel Aviv (June 24) and HaCameri Square, Tel Aviv (June 29).

The exhibition is dealing with the ability to talk about community and ideas of being together and being alone, against the backdrop of the quarantines and isolations we have all experienced over the past year. It raises questions about the idea of ​​solidarity and cooperation, about the possibility of protest and resist, and asks: is it possible to be together when we are alone? Discover solidarity and empathy when everyone is with themselves? Resist together when everyone is alone?

The exhibition features twenty short video works. In each work one person is alone in the frame immersed in a simple action of communication, healing, empathy, resistance or protest. In each location the works will be projected simultaneously on four huge LED screens (four meters wide each).

Balázs–Dénes Collection to show Alex Mirutziu's work in Budapest Photo Festival 2021

Added on by Alex Mirutziu.

Alex Mirutziu - Unit of Survival #3, lightbox, 2017

Private and Public Spaces – A Photo-based Selection from the Balázs–Dénes Collection

Artists:

Asztalos Zsolt, Csákány István, Csoszó Gabriella, Csörgő Attila, Eperjesi Ágnes, Esterházy Marcell, Andreas Fogarasi, Halász Károly, Károlyi Zsigmond, Kis Varsó, Kokesch Ádám, Eva Kotatkova, Kútvölgyi-Szabó Áron, Lakner Antal, Maurer Dóra, Alex Mirutziu, Ősz Gábor, Dan Perjovschi, Puklus Péter, Kamen Stoyanov, Szabó Dezső, Szacsva y Pál, Szegedy-Maszák Zoltán, Szemző Zsófia, Jirí Thyn, Zalavári András

13 – 24.05.2021

Opening hours:

Monday to Sunday: 13.00-21.00, Tuesday: closed

FUGABudapest Center of Architecture – 1052 Budapest, Petőfi Sándor utca 5

With neo-avant-garde and post-conceptual art being a major component of the Budapest-based private collection of Árpád Balázs and Andrea Dénes, many of their works reflect on issues of society closely linked to the transformation and the symbolic messages of the private and public spaces that surround us. From the 1970s to date, artists have repeatedly visualised these topics with the vocabulary of photography.

Thus, the focus of the exhibition dovetails with FUGA’s profile while the engagement with photography bolsters the Festival’s mission. Works of a critical penchant, and often of humorous even provocative overtone, define the show.

Kunsthalle Bega presents ”HeartBeat 20” - new entries in The National Museum of Contemporary Art, Bucharest

Added on by Alex Mirutziu.
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HEARTBEAT 20 / PULS 20

May 14 - July 11, 2021

Artists:

2 META, Dan Acostioaei, Ana Adam, Felix Aftene, Andreea Anghel, Apparatus 22, Cătălin Bădărău, Dragoş Bădiţă, Liliana Basarab, Ioana Bătrânu, Matei Bejenaru, Biroul de Cercetări Melodramatice (Irina Gheorghe & Alina Popa), Răzvan Boar, Andreea-Lorena Bojenoiu, Bogdan Andrei Bordeianu, Irina Botea Bucan, Ștefan Botez, Claudia Brăileanu, Michele Bressan, Cătălin Burcea, Ion Condiescu, Elena Copuzeanu, Ștefan Radu Crețu, Giulia Crețulescu, Larisa Crunțeanu, Cristina David, Raluca Ilaria Demetrescu, Daniel Djamo, Megan Dominescu, Arantxa Etcheverria, Belu Simion Făinaru, Irina Gheorghe, Dani Ghercă, Bogdan Gîrbovan, Ana Golici, Nicolae Golici, Daniel Gontz, Teodor Graur, Dragoș Hanciu, Dorina Horătău, Gheorghe Ilea, Adelina Ivan, Mihaela Kavdanska, Iosif Király, Aurora Király, Kund Kopacz, Stela Lie, Petru Lucaci, Dragoș Lumpan, Maria Manolescu, Ana-Maria Micu, Mihai Mihalcea, Olivia Mihălțianu, Alex Mirutziu, Gili Mocanu, Patricia Moroșan, Ciprian Mureșan, Sorin Neamțu, Maurice Mircea Novac, Alexandru Păsat, Cosmin Paulescu, Romelo Pervolovici, Delia Popa, Marilena Preda Sânc, Cristian Răduță, Sandu-Eugen Raportoru, Carmen Rasovszky, Gheorghe Rasovszky, Lea Rasovszky, Bogdan Rața, Ioana Sisea, Larisa Sitar, Alexandru Solomon, Mircea Stănescu, Liviu Stoicoviciu, Patricia Teodorescu, Dan Vezentan, Bogdan Vlăduță, Dilmana Yordanova, Mihai Zgondoiu, Marian Zidaru, Victoria Zidaru

Curator:

Călin Dan

Opening: 14 May 2021, between 6pm - 9pm

Kunsthalle Bega

Opening Hours:
Tuesday – Saturday: 12pm – 6pm
Circumvalațiunii 10, Timișoara  (RO)

kunsthallebega.ro

[EN] Kunsthalle Bega and National Museum of Contemporary Art present ”HEARTBEAT 20” (new entries in the MNAC collections)

The National Museum of Contemporary Art – MNAC Bucharest is 20 years old. Twenty years are 20 heartbeats in the body of a young Museum. Struggling for an independent growth, MNAC had to feed its burgeoning identity with the heavy materials of a ready-made collection, inherited from times when concepts like contemporary and collecting had altogether a different meaning. In a few cautious steps, MNAC enlarged its inventory, most recently last year, when an important number of pieces (180 precisely) were added by purchase to an on-going narrative about the visual culture produced here.

A lot can be said about this assembly of works, about the almost miraculous ways in which they manage to illustrate 50 years of local art production, about the fascinating diversity of personalities united through the inspirational effort made by a jury of specialists with high standing, and with a deep knowledge about the recent history of Romania. The session of art acquisitions organised by MNAC in 2020, with the generous support of the Ministry of Culture, has not been just a mechanism of cultural politics. Through the synergy between an enthusiastic art scene (awaiting for 12 years this moment of recognition), and the expertise of the specialists within and around the museum, a remarkable act of collective curatorship has been taking place. The outcome is this exhibition, opened at the MNAC venue in Bucharest under the name ”12 Years After. A Survey of Romanian Art in 180 Works”, and now at Kunsthalle Bega under a more adequate title: ”HeartBeat 20”.

This has been probably the most naturally growing curatorial discourse in the short history of MNAC. ”HeartBeat 20” is actually an organism, resulting from living processes of interaction, and its move around the country, started inspirationally with this invitation at Kunsthalle Bega, is proof of it.

[RO] Kunsthalle Bega și Muzeul Național de Artă Contemporană prezintă ”PULS 20” (noi intrări în colecția MNAC)

Muzeul Național de Artă Contemporană – MNAC București împlinește 20 de ani. Douăzeci de ani sunt ca 20 de zvâcniri de puls în corpul unui muzeu tânăr. Căutând calea dezvoltării autonome, MNAC a trebuit să își hrănească identitatea cu materia grea a unei colecții moștenite de-a gata din timpuri când cuvintele contemporan și colecție aveau sensuri cu totul diferite. În câțiva pași precauți, MNAC și-a extins inventarul, mai cu seamă anul trecut, când un număr important de titluri (180 mai precis) au fost adăugate prin achiziție narațiunii în evoluție a culturii vizuale produse aici.

Se pot spune multe despre acest corpus de lucrări, despre felul aproape miraculos în care el reușește să ilustreze 50 de ani de producție artistică locală, despre fascinanta diversitate a personalităților reunite prin efortul remarcabil al unui juriu de specialiști cu o cunoaștere profundă a istoriei recente a artelor din România. Sesiunea de achiziții organizată de către MNAC în 2020, cu generosul sprijin al Ministerului Culturii, nu a fost doar un mecanism de politici culturale. Prin sinergia dintre o scenă artistică entuziastă (care a așteptat 12 ani acest moment de recunoaștere) și competența specialiștilor din muzeu și din jurul acestuia s-a născut un remarcabil act de curatoriat colectiv. Rezultatul este această expoziție, deschisă la sediul MNAC sub titlul ”După doisprezece ani. Producția artistică din România în 180 de lucrări”, și prezentată acum la Kunsthalle Bega sub un titlu mai adecvat: ”Puls 20”.

Discursul curatorial din care s-a născut ”Puls 20” a fost unul organic, expoziția dezvoltându-se firesc, asemenea unei ființe vii, prin acțiuni și re-acțiuni, prin provocări și răspunsuri, printr-o continuitate procesuală fără precedent. Cel mai spontan proiect curatorial al Muzeului Național de Artă Contemporană își începe un bine meritat traseu național prin această generoasă invitație la Kunsthalle Bega.

***

Membrii juriului / Members of the jury

1. Horia AVRAM (președinte, Asociația Internațională a Criticilor de Artă (AICA), filiala România / President, International Association of Art Critics (AICA), Romanian branch)

2. Cătălin DAVIDESCU (curator, critic de artă / Curator, art critic)

3. Anca MIHULEȚ (curator, critic de artă / Curator, art critic)

4. Ruxandra DEMETRESCU (director, Școala Doctorală, UNArte, București / Director, Doctoral School, National University of Arts, Bucharest)

5. Zoran ERIĆ - curator șef, Muzeul de Artă Contemporană, Belgrad (membru în Consiliul Științific MNAC) / Chief curator, Belgrade Museum of Contemporary Art – MoCAB (member of the MNAC Scientific Council)

6. Cătălin GHEORGHE (conf. univ. dr., Universitatea Națională de Arte „George Enescu”, Iași / Professor, "George Enescu" National Arts University, Iași)

7. Diana MARINCU (director artistic, fundația Art Encounters, Timișoara / Artistic director, Art Encounters Foundation, Timișoara)

8. Frances MORRIS - director, Tate Modern, Londra (membru în Consiliul Științific MNAC) / Director, Tate Modern, London (member of the MNAC Scientific Council)

9. Irina RADU (șef secție Colecții-Conservare, MNAC / Head of the Collections, MNAC)

10. Mara-Victoria RAȚIU - prorector, Universitatea de Artă și Design, Cluj-Napoca (membru în Consiliul Științific MNAC) / Prorector, Arts and Design University, Cluj-Napoca (member of the MNAC Scientific Council)

11. Andrei SICLODI - director, Künstlerhaus Büchsenhausen (membru în Consiliul Științific MNAC) / Director, Künstlerhaus Büchsenhausen (member of the MNAC Scientific Council)

UN/MUTE /10002 by Undercurrent: join the celebration of the unveiling of this project May 9th

Added on by Alex Mirutziu.
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”We invite you to the concluding event, the Unveiling, of UN/MUTE /10002, a 3-month collaborative project that enabled ten European artists who had never been to NYC to engage in an online residency and collaborate with ten New York City artists. In a series of weekly recorded Zoom sessions, participants from a wide range of disciplines worked in teams of two to create new works that can be followed at unmute.nyc.

Join us in the celebration of this project, the artists, and Europe Day 2021 on May 9th at 1pm EDT.”

UN/MUTE-10002 follows the narratives of ten European artists who have never visited New York City and ten NYC-based artists, paired into teams of two, one European with one New Yorker. Additionally, one artist is a digital immigrant, born before 1986, and the other is a digital native, born into the world of web browsers and email, after 1986. Over a series of Zoom sessions, each team’s collective creative process will unfold in a series of video recordings. The online world that has emerged in response to the pandemic reshapes our definition of social contact, obscures our private and public environments, and circumscribes the evolution of communication.

/Language serves as the first cultural indicator of change. At constant risk of complete extermination, the Amazon is now more recognized as an online shopping platform than one of our planet’s richest natural resources. We stream video content into our living rooms while drinking bottled water branded with pictures of mountain springs, and our most priceless memories are hidden away in a cloud. We sit a virtual world apart from each other – far more than the recommended six feet – obscuring the socioeconomic divisions of race, color, national origin, gender identification, sexual orientation, religion, and age. The present state of being often sounds more like mythology or folklore than reality.

/As the internet conditions our lifestyle, we aim to find new normalcy amidst a shortage of vaccines, new virus strains, unsettling unemployment rates, and a Western world trying to mitigate racism and xenophobia during a delicate sociopolitical epoch. Regardless of our facility with digital technologies, how do we progress without compromising the past? How can we learn from each other’s individual histories and experiences? Embodying inclusion, multilingualism, and digitalization, UN/MUTE provides an opportunity for two transatlantic strangers to collaborate on a singular project for a sustainable future.

/Creating a fair and equitable space after COVID shuttered artists from residencies, travel, studio visits, exhibitions, and physical networking, UN/MUTE is an online residency that provides artists an opportunity for a critical exchange and collaboration while simultaneously connecting resources from the global cultural epicenter of New York City. This project is co-organized by Undercurrent and the European Union National Institutes for Culture’s New York Cluster. It went live on February 12, 2021, in concurrence with the Lunar New Year, and will continue through May 9th, celebrating Europe Day.

 ***

UN/MUTE-10002 is a project by EUNIC NY and Undercurrent, realized with financial support from EUNIC — European Union National Institutes for Culture — Europe’s network of national cultural institutes and organizations, with 36 members from all EU member states. This project was initiated by the Lithuanian Culture Institute and the Consulate General of Estonia in New York and is co-organized by Austrian Cultural Forum New York, Wallonia-Brussels International in New York, Czech Center New York, Delegation of Flanders to the USA, Goethe-Institut New York, Arts Council Malta in New York, Polish Cultural Institute New York, Romanian Cultural Institute, the Hope Recycling Station, the Jindřich Chalupecký Society, and supported by the European Union Delegation to the United Nations.

Fragments from "The Infection of Identity in the Age of the Body Docile / Quarantined / Without Organs" exhibition review by Raluca Oancea (Nestor) for Revista ARTA

Added on by Alex Mirutziu.
ALEX MIRUTZIU - DOINGS FOR A LIVING, 2018, CHROMOGENIC PRINT 100X70CM

ALEX MIRUTZIU - DOINGS FOR A LIVING, 2018, CHROMOGENIC PRINT 100X70CM

[EN]

“Cluj-based artist Alex Mirutziu showcases a similar process, on the same trajectory of finitude and transgression. In his two works exhibited in Bucharest, he tests the limits of the body, gender identity, and sexual orientation. In Feeding the horses of all heroes, 2010, a performance recorded at the Accademia di Romania in Rome, a conservative, institution, the artist engages in a cathartic exercise of fall and recovery. Crossdressing as a model, a predefined object of admiration, and armed with the proper attire (high heels, provocative clothing, absent, inscrutable gaze), he traverses a catwalk under the audience’s attentive gaze. Even though, for a short time, he seems to conform to the identity of a celebrity specialized in apparent living, Mirutziu breaks the rhythmic walk through an unexpected fall (with the sound of a dramatic, dissonant metallic sound), which then repeats rhythmically. This ritual of falling (the existential coordinate philosophers associate with the loss of the authentic self in favor of impersonal qualities: what people saythinkwear) seems to invoke not just the artist’s condition and the fashion industry, but the entire society of the spectacle (Guy Debord) in which we find ourselves today hooked up as devices, docile bodies, organs, anesthetized and isolated spectators, premanufactured identities.

The contrast between fall and recovery brings into discussion Mirutziu’s research on the struggle of writer Iris Murdoch with memory loss and Alzheimer’s, confirming the artist’s ability to unconceal human finitude, the limits of the body, the will, language, endurance, of recovering the beauty and heroism that are inevitably concealed in error, in human frailty. This same contrast reveals a new kind of tension, the human being’s tension between verticality and horizontality. In this sense, Mirutziu adheres, like Baitaille and Rosalind Kraus, to an aesthetics of the unformed, of basic materialism, an aesthetics of recovering the body and its fluids. Its goal is to overcome idealism and prudishness, to become horizontal, accept the fact that even though our heads point to the sky, our link to the earth, to the horizontal, remains essential.

The same revelation of modern humans’ infatuation with having surpassed the animal stage, the biological mouth-anus axis – having emancipated themselves from the horizontal – also animates the portrait Doings for a Living (2018). The image functions after the model of Deleuze’s gros plan, laid bare in his books on cinema (Cinema I, the affect image), replacing psychological representation with bringing affects themselves forth into presence (with the help of portrayed features): sadness, fear, desire, boredom. In this case we are confronted with a close-up of a mouth: a battleground (see the Nike mouthguard that boxers wear for protection), an orifice associated with poetic declamation, with the noble act of speech, with expressing concepts and thoughts, and also an emblem of the biological acts of screaming, vomiting, and spitting. In this sense, Mirutziu’s works perfectly illustrate Bataille’s theory on the world’s duality, on the double connotation of the sacred (Lat. sacer) which simultaneously signifies sainthood and the accursed, the act of killing.”

[RO]

“Un demers înrudit, înscris pe aceeași traiectorie a finitudinii și transgresivității este cel al artistului clujean Alex Miruțiu care în cele două lucrări expuse la București testează limitele corpului și ale identității de gen și orientare sexuală. În Feeding the Horses of all heroes, 2010, performance înregistrat la Accademia di Romania din Roma, instituție conservatoare, artistul se lansează într-un exercițiu cathartic al căderii și recuperării. Travestit într-un model de modă, obiect predefinit al admirației, și înarmat cu recuzita corespunzătoare (pantofi cu toc înalt, ținute senzuale, expresie absentă, de nepătruns), el parcurge recurent un catwalk sub privirea atentă a publicului. Chiar dacă pentru o scurtă perioadă el pare a se conforma identității de vedetă specializată în trăire aparentă, artistul rupe parcurgerea ritmică printr-o neașteptată cădere (gest marcat sonor cu un dramatic zgomot metalic, dizarmonic) care apoi se va repeta ritmic. Acest ritual al căderii (coordonată existențială asociată de filosofi cu pierderea sinelui autentic în favoarea unor trăsături impersonale: ce se spunese credese poartă) pare a invoca nu doar condiția artistului și instituția fashion-ului ci întreaga societate a spectacolului (Guy Debord) în care astăzi ne trezim angrenați ca dispozitive, corpuri docile, organe, spectatori anesteziați și izolați, identități prefabricate.

Contrastul dintre cădere și recuperare readuce în discuție cercetările lui Mirutziu asupra luptei scriitoarei Iris Murdoch cu pierderea memoriei și maladia Alzheimer, confirmând abilitatea artistului de a scoate din ascundere finitudinea umană, limitele corpului, voinței, limbajului, anduranței, de a recupera frumusețea și eroismul ce inevitabil se ascund în eroare, în fragilitatea umană. Același contrast revelează un nou tip de tensiune, tensiunea ființei umane între verticalitate și orizontalitate. În acest sens Mirutziu aderă după modelul lui Bataille și Rosalind Kraus la o estetică a informului, a materialismului de bază, o estetică de recuperare a corpului și a fluidelor sale. Scopul acesteia este depășirea idealismului și a pudibonderiei, orizontalizarea, acceptarea faptului că deși capetele noastre se îndreaptă către cer, legătura noastră cu pământul, cu orizontala, rămâne esențială.

Aceeași deconspirare a infatuării omului modern de a fi depășit – odată cu desprinderea de orizontală – stadiul animalic, axa biologică gură-anus, însuflețește și portretul Doings for a Living (2018)Imaginea funcționează după modelul gros-planului deconspirat de Deleuze în cărțile sale despre cinema (Cinema I, Imaginea afect) substituind reprezentării psihologice aducerea la prezență (cu ajutorul trăsăturilor portretizate) a afectelor înseși: tristețea, frica, dorința, plictiseala. În acest caz suntem confruntați cu planul apropiat al unei guri: câmp de luptă (vezi accesoriul Nike purtat de boxeri pentru protecție), orificiu asociat cu declamarea poetică, cu actul nobil al vorbirii, cu exprimarea conceptelor și gândurilor dar totodată emblema actelor biologice de a striga, vomita sau scuipa. În acest sens, lucrările lui Mirutziu ilustrează exemplar teoria lui Bataille despre dualitatea lumii, despre dubla conotație a sacralității (sacer lat.) ce simultan semnifică sfințenia și blestemul, crima.”