Monday Art Project with Alex Mirutziu

Added on by Alex Mirutziu.

The conversation between Alex Mirutziu and Olga Krzeszowiec, Malmsten took place in Stockholm on April 26, 2015.

The object of this encounter with Olga Krzeszowiec is the collaboration I made with Swedish design agency Söderhavet, and the upshot of it -- the project called "But as a document" (with Pär Andersson). At that time I was an artist in residence at IASPIS Konstnärsnämnden, Stockholm; part of my research was dedicated to design, and the politics of reading and writing, thus the interview embody these two paths as well.

"My practice is geared towards understanding where am I and what the word is made of. To clarify is important, especially the matter of presence. I want my works to function, so to speak, to intertwine into a relevant network of idea, to help build a climate for what is to come, because a work of art is never only a work of art, it is so much more than that." - Alex Mirutziu

Art Encounters - 1st edition kicks off

Added on by Alex Mirutziu.

3–31 October 2015

www.artencounters.ro

Curators: Nathalie Hoyos and Rainald Schumacher

First edition of the Timisoara Art Encounters, to become a regular venue for Romanian art in the international curatorial dialogue.

In October 2015, Timisoara, the city in western Romania in the heart of the historic Banat region and among the Romanian cities in the current competition for European Capital of Culture 2021, will host the first Timisoara Art Encounters. Stretching over the historical center of the city, Timisoara Art Encounters offers multilayered displays at diverse sites that invite visitors to share in the sensual and intellectual experience of contemporary art. It appeals to people of all ages, to visitors both local and international.

This year’s curatorial theme is Appearance and Essence, and with it Timisoara Art Encounters focuses on a not so well-known chapter in the history of European art: the story of Romanian art from the 1960s to the present day. The selected works trace the distinct narrative thread of Romanian art that emerged and evolved in parallel to art in Western Europe. For the first time, visitors have the chance to experience a comprehensive survey of Romanian art of the last 50 years in dialogue with a few international artists.

Participating artists include: Saâdane Afif, Dragos Alexandrescu, Silvia Amancei & Bogdan Armanu, Apparatus 22, Rosa Barba, Marius Bercea, Stefan Bertalan, Matei Bejenaru, Rudolf Bone, Mihut Boscu Kafchin, Geta Bratescu, the Bureau of Melodramatic Research, Andrei Cadere, Mircea Cantor, Marieta Chirulescu, Radu Comsa, Calin Dan, Daniel Djamo, Joakim Eskildsen, Constantin Flondor, Adrian Ghenie, Ion Grigorescu, Mihai Iepure Gorski, Sofia Hultén, Pravdoliub Ivanov, Gabriel Kelemen, Maxim Liulca, Ana Lupas, Dan Maciuca, Alex Mirutziu, Florin Mitroi, Anca Munteanu Rimnic, Ciprian Muresan, Vlad Nanca, Paul Neagu, Ioana Nemes, Tara von Neudorf, Alexandru Niculescu, Mihai Olos, Andrei Pandele, Dan Perjovschi/Balamuc, Lia Perjovschi, Veda Popovici, Stefan Sava, Serban Savu, Sigma, sub:real, Gert and Uwe Tobias, Iulia Toma, Gabriela Vanga, to name but a few.

Nathalie Hoyos and Rainald Schumacher, the two Berlin-based curators, take Romanian art as the starting point for their selection. “We will concentrate the Encounters on artists who have a relationship with Romanian culture and whose art is rooted in its history, be it by place of birth, by language or by some underlying artistic references; artists who live in the country or abroad. As outsiders, we have taken an ‘archeological’ look at the Romanian art scene and have tried to capture its essence. After identifying the uniquely Romanian quality of this art, we bring it to the surface and make it clear to see. Appearance & Essence is the curatorial theme for this edition of Timi?oara Art Encounters. We are not looking to pin down a specific ‘national’ identity, and are instead searching for certain cultural differences and individual nuances in the global discourse.” 

Timisoara Art Encounters takes place across the entire historical city center. A thematic map will connect exhibitions in institutions, public galleries, the Timisoara Art Museum, a former high school and several abandoned buildings. Numerous artistic interventions will be staged in public places. A series of talks featuring international artists, curators and art historians will intensify the open dialogue with the public and the city at large. The educational program developed for Timisoara Art Encounters is aimed at all ages and communicates a concept of art as an open space, where different ideas, opinions and concepts about the world can meet and interact. 

Detailed information on the exhibition sites, educational program and participating artists will be announced on the website. A complete overview will be released by the end of May. Further information available at www.artentcounters.ro.

Timisoara
Timisoara lies at a historic crossroads between the former Ottoman and Habsburg empires, in the center of Banat, a Southern-European region rich in diverse traditions. Over several centuries, the city has been a melting pot for various cultures and religions. Furthermore, in the 1960s and 1970s, the city was an important and vibrant creative center for Romanian contemporary art. In that period, artists from Group 111 or the Sigma Group publicized new artistic concepts which drew international attention. In December 1989, the revolution against the Ceausescu dictatorship started in Timisoara. In the 1990s, the city offered a stage for a series of influential festivals, which gave artists the opportunity to test their newly-won liberty. Timi?oara Art Encounters reflects the historical and cultural legacy of the city. 

Curators
In 2014, curators Nathalie Hoyos and Rainald Schumacher developed a film and video program for Manifesta 10 in St. Petersburg. The curators’ selection was the first major survey of film and video art by contemporary artists, working both in the East and West, from the 1960s until today. The exhibition Fragile Sense of Hope, which they curated in 2014 at me Collectors Room in Berlin, featured highlights from a corporate art collection focusing on contemporary art from Eastern and Southeastern Europe.

*info taken from: http://blog.brooklynartproject.com/2015/06/first-edition-of-timisoara-art-encounters-announced-appearance-essence/

Alex Mirutziu - "Because" installation, 2015

Alex Mirutziu - "Because" installation, 2015

Alex Mirutziu - "Because" installation, 2015

Alex Mirutziu - "Because" installation, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Alex Mirutziu - installation shot, 2015

Copyright of photos: Alex Mirutziu

Few Were Happy With Their Condition at Motorenhalle / Dresden

Added on by Alex Mirutziu.

Few Were Happy with their Condition: Video, Film and Photography in Romania / curated by Olga Stefan

10.9. until 17.10.2015

Curator: Olga Stefan (USA/RO)

Artists: Ciprian Muresan, Dan Acosteoaei, Jozsef Bartha, Alexandra Croitoru, Cristina David, Monotremu, Claudiu Cobilanschi, Vlad Nanca, Dragos Alexandrescu, Bogdan Girbovan, Stefan Sava, Alex Mirutziu, Stefan Constantinescu, Cristi Pogacean, Irina Botea and Mircea Nicolae.

Installation view /Alex Mirutziu - Self portrait at 32

Installation view /Alex Mirutziu - Self portrait at 32

Installation view / Alex Mirutziu - Self portrait at 32

Installation view / Alex Mirutziu - Self portrait at 32

Installation view / Alex Mirutziu - Self portrait at 32

Installation view / Alex Mirutziu - Self portrait at 32

English version bellow

Die Ausstellung Few Were Happy with their Condition beschäftigt sich mit dem Zustand Rumäniens nach 1989: Einer Zeit voller Hoffnungen und Enttäuschungen, während derer der Wunsch nach Freiheit in einer wirtschaftlichen und für das kapitalistische Modell typischen Unsicherheit resultierte, während derer Korruption die gesamte Gesellschaft erfasste und zwischenmenschliche ebenso wie institutionelle Beziehungen mitprägte. Die kommunistische Vergangenheit, die darin begangenen Verbrechen und die Unterdrückung der Öffentlichkeit lasten bis heute schwer auf dem Land. Armut und Instabilität der postkommunistischen Ära führten zu einem Trauma, das den Alltag und die Emotionen der meisten Menschen prägt und wenig überraschend auch die künstlerische Produktion.
Mit einem Fokus auf typisch zeitgenössische Medien wie Video, Film und Fotografie spricht die Ausstellung die herrschende Unzufriedenheit in einer Gesellschaft an, die noch immer zwischen zwei Zeiten lebt: Mental von der Vergangenheit geprägt, will sie sich gleichzeitig davon befreien und endlich in die Zukunft aufbrechen. 


Die Gegenwart ist in ihrer Komplexität natürlich einer der spannendsten Orte für Beobachtungen, weshalb sich auch viele Künstler in verschiedenen Formen gern mit ihr beschäftigen. Aber nicht nur die Zukunft wird durch eine Analyse der Gegenwart geschrieben: Auch die Vergangenheit hat einen mächtigen, allgegenwärtigen und mitunter erdrückenden Einfluss, gerade in einem Land wie Rumänien, wo die Phase des Übergangs scheinbar endlos anzudauern scheint.



ENG
Few Were Happy with their Condition explores life in post-communist Romania, a time of hope and huge disappointment, with the transition (towards what?) seeming to continue forever, where neoliberalism and communist-style corruption and methodologies clash and mirror each other constantly, and where the young generation is still trying to carve a space for debate and critical analysis in art and life, and position itself against its nation’s past but also the West, thus attempting to create a new contemporary identity.

The show focuses on feelings of discontentment within the context of contemporary society, vis-a-vis Romania’s current political climate, its dark past and ever developing social problems, but also to personal narratives and meditations on life and the human condition.

The artists in the exhibition, through their use of video, film and photography, reflect the contemporary need for immediacy and urgency in expression and the technology and preoccupations of our time. In addition, there is a tradition of criticality inherent in these mediums dating back to the 1960s when video art and experimental film were means of opposing broadcast television and Hollywood, and had a tendency to resist commodification through their deteriorating nature.

http://riesa-efau.de/kunst-erleben/motorenhalle/few-were-happy-with-their-condition-109-17102015/

Sweden Sans is now a dance

Added on by Alex Mirutziu.

Sweden Sans, Sweden’s official typeface designed by Söderhavet and Stefan Hattenbach has now started to influence other art forms than design and typography. This time dance.

Romanian choreographer Alex Mirutziu has created an art dance piece called ”but as a document” based on Söderhavet’s work with the typography, that is being performed at Museum of Modern Art in Bucharest in 2015.

Alex: My attention was caught by Sweden Sans type, reason why I started a project with a Swedish dancer Pär Andersen to create a performance piece using the underlying sketches of the making of the font, basically to work with the technical specifications of the font in translation into dance. The main question is: How the body adheres to the typeface of a poem to add meaning, and what it might do to the economy of the poem.

– I don’t think this has ever been done before. When Alex contacted us, we were first baffled by the idea of making a dance out of a typeface. Now we are still baffled, but also impressed and honored that our design could inspire someone to create a dance based on it, says Jesper Robinell, Head of design at Söderhavet.

Preview a trailer of the dance here: https://vimeo.com/alexmirutziu/but-as-a-document-trailer

About Sweden Sans
Sweden Sans was designed as a part of Söderhavets work with a new global brand identity for the country Sweden.WehadalreadydecidedonincorporatingtheSwedishflagintotheidentity,aswellasusing alocal- language textual mark. But we still needed to find a unique identity carrier that could be used in widely diverging contexts. The idea of designing a custom typeface was mooted early on — and Sweden Sans was born.

More about Sweden Sans:
http://soderhavet.com/bl/2013/12/09/sweden-sans-the-lagom-typeface
More about Swedens brand identity:
http://soderhavet.com/uppdrag/sverige/

Contact:
Jesper Robinell, head of design at Söderhavet jesper@soderhavet.com
Mobile: 0704381792

About Alex Mirutziu
Coreographer. Grant holder at IASPIS – (Swedish Visual Arts Fund’s international programme commissioned to support international exchange for practitioners in the areas of visual art). Alex works a lot with typography in different stances be it installations or performances.
Contact: amirutziu@gmail.com

Information taken from: http://soderhavet.com/bl/2015/06/01/sweden-sans-is-now-a-dance/#more-786

Sweden Sans is now a dance

Added on by Alex Mirutziu.

Romanian choreographer Alex Mirutziu has created an art dance piece called ”but as a document” based on Söderhavet’s work with the typography, that is being performed at Museum of Modern Art in Bucharest in 2015.

Alex: My attention was caught by Sweden Sans type, reason why I started a project with a Swedish dancer Pär Andersen to create a performance piece using the underlying sketches of the making of the font, basically to work with the technical specifications of the font in translation into dance. The main question is: How the body adheres to the typeface of a poem to add meaning, and what it might do to the economy of the poem.

– I don’t think this has ever been done before. When Alex contacted us, we were first baffled by the idea of making a dance out of a typeface. Now we are still baffled, but also impressed and honored that our design could inspire someone to create a dance based on it, says Jesper Robinell, Head of design at Söderhavet.

Preview a trailer of the dance here: https://vimeo.com/alexmirutziu/but-as-a-document-trailer

About Sweden Sans
Sweden Sans was designed as a part of Söderhavets work with a new global brand identity for the country Sweden. We had already decided on incorporating the Swedish flag into the identity, as well as using a local- language textual mark. But we still needed to find a unique identity carrier that could be used in widely diverging contexts. The idea of designing a custom typeface was mooted early on — and Sweden Sans was born.

More about Sweden Sans:
http://soderhavet.com/bl/2013/12/09/sweden-sans-the-lagom-typeface
More about Swedens brand identity:
http://soderhavet.com/uppdrag/sverige/

Contact:
Jesper Robinell, head of design at Söderhavet jesper@soderhavet.com
Mobile: 0704381792

About Alex Mirutziu
Coreographer. Grant holder at IASPIS – (Swedish Visual Arts Fund’s international programme commissioned to support international exchange for practitioners in the areas of visual art). Alex works a lot with typography in different stances be it installations or performances.
Contact: 

More on the subject: article by Andreas Gabrielsson in Dagens Media.

Pär Andersson and Alex Mirutziu, 2015

Pär Andersson and Alex Mirutziu, 2015

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'

Still from 'but as a document'