An enfant terrible of his generation, Alex Mirutziu dynamited his way into the art world with frantic performances, resistant to monolithic definitions. Informed by philosophical readings rather then visual art, his work is equally regarded as intensely provocative and erudite.
His fascination with Classicism is foreshadowed by an intensive series of drawings after Adolfo Wildt and Issakszoon van Ruisdael, while his increasing appetite for ontological speculations derives from a long-term engagement to performance and media critical installations.
The artist made a group with a hyper-object -- namely with himself at 29 - often operating throughout this collective identity. He manipulates image-rich resources like Google Maps and Youtube, pushing his multifaceted research even further, into the Internet of Things, high-end technology, (post)language, and beyond.
A Romanian artist in his thirties, Mirutziu is performing these unperformable: moments of silence and thoughts that never end up looking like art.
Elías Merino is a composer and sound artist, he develops his work in studying electroacoustic creation, the soundscape and acousmatic music as an abstract and imaginary object away of the acoustic environment, computer asisted composition, and sound processes through digital technology mainly.
Merino's work to date is determined by a thorough conceptual study with the development of the discourse that defines it, he also is interested in different approaches about aesthetics, philosophy and poetry in sound composition.
Currently, Elías Merino is studying his Master Degree in Electroacoustic Composition and Sonic Arts in University of Huddersfield and is working in ZawpKlem laboratory, research and composition centre focused in multimedia, technology and new musics.
The verb status of Scotopolitic Objects
text by Alex Mirutziu
Draws attention to its surrounding space which has a participatory outline.
Engages strong multi-modality engulfed with a cultural and class bias.
Takes processes of mutation sound-wise and culture-wise seriously.
Adds value to its own hollowness.
Points to itself as product, after the drying process of clay.
Flashes the relationship one has with one’s resources and recalcitrance of materials.
Brings together the immediacy of sound with the commitment to arduous process that made the ceramic objects what they are.
Self-appropriate when attached to microphones.
Teaches the skill of how to keep going even though the public is not getting pleasure at the moment.
Implies the need to adapt the hands to the making of new tools in this case — sound vibrations. Achieves critical mass at some point in improvisation.
Generates soundscapes of aimless instrumentality.
Introduces seven minutes of wondering about.
Turns away from the historic tradition, to plunge into a different world.
Produces action as politicians do.
Stays committed to its own silence.
Goes from speaking to the audience in a manner that its audience can’t hear to full monumentality of feasible disturbance.
Doesn’t demand its understanding from the public.
Implies an ongoing commitment to public’s failure to understanding it.
Experiences the space as space in which ideas can enter.
Indicates an action as a process in time.
Remains au courant with its environment.
