Bottoms Know It
2019 / performed at CCA — Center for Contemporary Art, Tel Aviv
Performers: Harel Grazutis, Oran Barak, Nunzia Picciallo
The challenges of this project is to give access to a distinct type of knowledge, that of the complicated relationship we have with our assholes. Centred on the poetics of anality, hence of openings, entrances, closings, exits, centres, and holes it deploys means of seeing and understanding the world and the ‘other’ taking disappearance and debasing of the self as the subject and gateway to a more profound grasp of our humanity. It takes inspiration from Iris Murdoch’s notion of the Good, hence of seeing the whole thing and expands on Leo Bersani’s cultural construction of masculinity and power. In “Bottoms Know it,” the performers are torn between the will to see the whole thing and being the witnesses of there own neurosis.
The Gaze is a Prolapse Dressed in Big Business
2018 / performed at Frac Pays de la Loire, Nantes - in the exhibition ”Manufacturing Nature / Naturalising the Synthetic”
“The Gaze is a Prolapse Dressed in Big Business” is a performance concerned with the notion of the gaze which detaches one from its environment. It accepts the nature of looking at the world but not seeing it, affected by off the shelf accessible presets matured as the look itself, undermining the ethics of depiction and of use. The gaze is a metaphor for reaching out, implying a passive-active dichotomy, a political protraction of the body as well as being cultural and historical biased, a way of looking from the inside, through data, which is apolitical in nature but profit driven. One always wants to get something out of the gazed. Both types of gazes are tailored by a specific time and place, which can moreover be activated with closed eyes, a method used throughout the live improvisation. It follows that a view from nowhere is out of the question as there is no such thing as an outside, not anymore.
In order to escape the hinges of ‘profit-making’ instrumented by a robbing eye I put the brakes on its fanatic objectification by rejecting the horizontal gaze responsible for productivity, anxiety, and most importantly for the mirroring of the self. Tapping on notions of autonomy, identity and non-identity, that which is inseparable from the rest, and on the capacity to become ‘other’, this performance embraces the vertical gaze, and dwells on evaluations of topological situations as an inescapable political consciousness, of the here bellow point of view. The live improvisation is triggered from the very beginning by an exclusive, divided gaze which champions the here/bellow space and the above space within the grand narrative of the grid referencing the Nazi propaganda and the notion of the corner window of Frank Lloyd Wright which acts as a stage where the performer engages in a process of on-going expulsion of the unwanted, the unusable standing by the notion of vegetal immanence as an ontological medium.
Doing Sub Thinking wants to expose what may come across as being implicit but unnoticed in our social lives, which is not necessarily a feature of truth making. Operations of tight thinking absorbed by loose activities squeezed down or stretched out actions disturbed by a kind of thinking as doing are few strategies the performers are using to destabilise the viewer’s judgements and trust in the project.
Surveilling how spaces for mental withdrawal bring out conflicts between what the individual wants and what is already present the performers oftentimes set in motion half-articulations which can create dissatisfaction with the present but bring about further possibilities, through a normalisation of doubt or letting go of something that must be solved at a later time or re-imagined with a great probability of failure, throughout the process.
The Urgency of the Idea of Closure in Drawing (TAH29)
2018 / Art on Stage, Art Safari, Bucharest / curator: Herve Mikailoff
The artist at 36 holds in his hand a graphite life-mask taken in Sweden when he was 29, and attempts to use it as an instrument to make sense of a previous material representation of his face. The mask is corrupted due to past attempts of drawing with it, in a chase to suspend meaning, and relentlessly question closure and resolution even for a brief moment. The artist and Himself at 29 makes use of 'bastard’ or 'homeless lines’ to allow the form to surface from repeated impressions, drawing the mask by proximity and not by faithful marking.
Artistul la 36 de ani ţine în mână o mască facială din grafit realizată în Suedia la vârsta de 29 de ani şi încearcă să o folosească pe post de instrument pentru a putea înţelege o reprezentare materială anterioară a feţei sale. Masca este coruptă în urma încercărilor precedente de a desena cu ea, într-o cursă de captare a sensului şi de punere la îndoială în mod necontenit a ideii de împăcare şi soluţionare chiar şi pentru un scurt moment. Artistul şi El însuşi la 29 de ani foloseşte ‘linii bastarde’ sau ‘fara loc’ pentru a-i permite formei să se nască din repetatele impresii, desenând masca prin apropiere şi nu printr-un marcaj fidel.
Dignity to the Unsaid
2017 / National Museum of Contemporary Art, Bucharest
work commissioned by BIDFF (Bucharest International Dance Film Festival), supported by MNAC and Sabot Gallery
Word workers: Alex Popa, Irina Sibef, Cosmin Stanila
Causal Variantions for This, Like... -- Elias Merino
- all photos by Doria Photography with the exception of the last the last in grid, bearing the copyright of Alex Mirutziu .
I intend to look into ways in which one of the most important novelist of the twentieth century managed to create meaning through an abundance of means, said and unsaid, which I call — manners of holding the world. The conceptual movement between said and unsaid, falls under the ever present fragmentation we manifest in holding the world as something like, a fatal aspect of our physical limitations. We fragment the world in order to understand and function within it. Such a fragmentation fails on the account of a world which is undifferentiated.
- Alex Mirutziu
The performance includes the sound installation CAUSAL VARIATIONS FOR SOMETHING LIKE (computer-generated sound, 3 x multichannel audio), created by Elías Merino, a series of autonomous synthetic sound objects based on a relational tissue involving sound and human actors within Alex Mirutziu’s performance frame. These sound entities are located/(un)located in the physical space hidden behind a mirrored appearance. Plasticity, non human dynamic entity, synthesis, irreducibility, discreteness, no objected, relation, ecology, temporal elasticity, rifts, disembodiment, algorithmic, sound sculpture, articulation, reductionism, structural gesture, permutation gesture, variation, no hierarchy, physicality, process of coexistence, miscommunication.
Short presentation of Iris Murdoch:
With the loss of Virginia Wolf and the decline of Evelyn Waugh and Graham Greene, British fiction after 1945 looked moribund. In 1954 three new writers — William Golding, Kingsley Amis and Iris Murdoch — published first novels that changed the literary climate. All become important: Golding won the Nobel Prize, Amis gained a knighthood, Murdoch become a Dame of the British Empire.
In the 1950s they were figures of irreverence, anger and and existential anxiety. Murdoch’s Under the Net was a picaresque story set in London and Bohemian Paris. It had a British sense of humour and dry Irish wit. It was also a language game, flavoured with the existentialism of Sartre and the linguistic philosophy of Wittgenstein.
Unusually in Britain Murdoch was a philosopher-novelist. Born in Dublin of Anglo-Irish background, she had grown up in suburban London, attended Badminton girls school and then studied classics at Oxford, the academic city where she spent much of her life.
Murdoch took the novel seriously, more so than most writers. Her famous 1961 essay, ‘Against Dryness’, defined its a ‘fit house for free characters to live in’. The novel was there not to convey abstract ideas or philosophies, nor to form symbolic shapes or offer lazy consolations. It was about character and freedom, and dealt with the reality of human figures in their emotional and moral lives.
Tribute to Iris Murdoch — novelist and philosopher
by Malcolm Bradbury
(fragments taken from a text originally published in Times Magazine, on 22 February 1999)
How Soon Gone is Gone
2016 / Wexford Arts Centre, Wexford, Ireland
'A posthumous letter to Iris Murdoch, one of 20th century’s brilliant minds, who after ‘resolving’ the present, was left out of it, unable to engineer the faculties of her mind in her struggle with Alzheimer’s disease.'
(performed as The Artist and Himself at 29)
Stay[s] against confusion
2016 / (with Joshua Hubbard), Delfina Foundation, London
“Stay[s] against confusion” looks at the relationship between Etc., accumulation and evidence. How is it possible to facilitate Etc. in live performance — the space after something ends is a real problem for the audience, hence printing types as modest as they are can make our surrounding disappear and make the world infinite.
Etc. is fuck context — bastardising and suspending production of meaning by stopping superfluous text from leaking. In other words, Etc. is like eating chewing gum.The structure of this performance operates between ‘New Transport’ — the digital adaptation of the Transport lettering originally designed by Jock Kinneir and Margaret Calvert in the 1960s; specifically for use on the United Kingdom’s new motorway and all-purpose roads, and selected texts by american poet Graham Foust “a virtuoso of the apparently offhand, the anecdotal and the everyday” as Maureen N. McLane once wrote.
Visibility is always a problem for typographers. Typefaces have to be reliable but invisible. Designers create routes in typefaces to meet our expectations when reading, so the eye has to be able to resolve individual lines at a speed of 10-20ms for that invisibility to kick in, only to immediately make a ballistic movement to the next curve or finial. Reading as uncanny as it might seem is resolved by the part of the brain that originally served to defend and protect us from dangerous pray, therefore it is a neurological remnant from the past which helped us to survive and develop. The score of this performance enacts a type of reading through dance, to map literature which has shape precisely due to the invisibility of typefaces and looks at how this cerebral cortex negotiates the notion of Etc. between looking and reading. ’Stay[s] against confusion’ asks the audience to both look and read the performance and in the transition between these two modes we experience Etc.
The Finnish Method
2015 / The New Gallery of the Romanian Institute for Culture and Research in Humanities, Venice
(part of Romanian representation at Venice Biennale)
- read more:
Scotopolitic Object #2 for five performers and electroacoustic impromptu
2014 / The Centre for Contemporary Art Ujazdowski Castle in Warsaw
(in collaboration with Elias Merino)
The Centre for Contemporary Art Ujazdowski Castle in Warsaw, Poland, currently presents new art from Romania under the title A Few Grams of Red, Yellow, Blue. On the occasion of the opening reception of the exhibition, Romanian artist Alex Mirutziu (in collaboration with composer and sound artist Elías Merino) showed his performance Scotopolitic Objects #2 for five performers and electroacoustic impromptu.
Scotopolitic Objects #2 for one performer
2013 / Sabot Gallery, Cluj-Napoca
2013 / Cluj-Napoca
Five moments of silence for Pending Work #7
2012 / IASPIS, Stockholm
Interview through sculpture
2012 / Vault Gallery, Prato
History is nothing but muscles in action
2011 / (with Razvan Sadean), ZDB - Santa Catarina Palace, Lisbon
Over the past decades various problematics that touched on notions of time, historicity and action, had been thrown into a whirlpool of complex practices within the landscape of art and theory.
As performers we both approached our research focused on anatomical legitimation of action from a performative jurisdiction, and engage in an economic use of muscles as the principle at work, to be able to define an action, and establish its time relevance. The main question arises — how many muscles one has to use so to speak to be fully engaged in reality, to establish the now of an action?
In this piece, we payed attention to the simple act of looking at each other sufficient enough to document a true form of love confined by time. In the nowness, looking at each other is all we can do, as the now-now is so instantaneous as to be practically non-existent.
Action is guilt - method to Rourke
2010 / Studio Corte17, Prato
Critique on how temples move faster than their shadows
2010 / Mihai Nicodim Gallery, L.A.
When love melted cavalries in our hearts
2010 / Eira 33, Lisbon
Exceptional performance on the humanity of a terrible love, a shared architecture, muscled
by words and rude liberty, about fixing of the body over the exterior milieu. A constructed
metaphor for the staticism of love.
Feeding the horses of all heroes
2010 / Romanian Academy, Rome
Remains of the est
2010 / (in collaboration with Alina Serban, Angelique Lehman), WUK Theatre, Vienna
Ping pong for VIP's
2009 / (with Alexandra Pirici), Temps d’Images Festival, Sabot Gallery, Cluj-Napoca
Leave Gordon Brown alone
2008 / East Street Arts, Leeds; DuveGallery, Berlin; Independents Biennial 08, Liverpool
The shipwrecked sailor
2007 / Laurence Batley Theatre, director: John Britton, Huddersfield
24h donation of sperm
2004 / Gallery of Fine Arts University, Cuenca
Boys first time
2003 / International Theater Festival - Inter-dire, Gong Theater, Sibiu
2003 / Zilele Arhitecturii, Cluj-Napoca
2002 / (in collaboration with Anca Falamas), British Council, Cluj-Napoca
2002 / The Slaughter House, Sibiu; Old Casino, Cluj-Napoca; 1989 Memorial, Timisoara