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.

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

-more documentation on The End of Panic

“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: 

Inventing the Truth. On Fiction and Reality

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

- read more

Camp-Festival 2013 Cluj / Romania

Five moments of silence for Pending Work #7

2012 / IASPIS / Stockholm

Interview through sculpture

2012 / Vault Gallery, Prato

Action is guilt - method to Rourke

2010 / Studio Corte17, 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. 

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 

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

Missing song

2003 / Zilele Arhitecturii, Cluj

Chemical relaxing

2002 / (in collaboration with Anca Falamas), British Council, Cluj-Napoca 

Atrocity exhibition

2002 / The Slaughter House, Sibiu, Old Casino, Cluj, 1989 Memorial, Timisoara