|
STUDIES FOR A BURNING SILENCE
Opening | September 24, 2022 Location | Hangar F, 12 Atelierului Street, Alba Iulia 510001, Romania Curator | Ada Muntean Artists | Răzvan Neagoe / Dragoș Neagoe / Ada Muntean, Mathias Bar / Ana Maria Micu (collaborative project with Alexandra and Radu Constantinescu) / Mircea Modreanu www.facebook.com/hangaru www.instagram.com/galeriahangarf/ curatorial concept in Romanian |
|
my works within the project
I present 2 works on paper made in 2022, "focused seeing form the ... "Gazing at a distant" and "the next situation. ... But there's also the stubbornness" drawn with India ink and watercolor, each one sized 120 x 120 cm.
They are based on screenshots from a video recording I took while re-potting plants on my balcony garden.
The video material is given to Alexandra and Radu Constantinescu for further manipulations and additions, in an artistic collaboration similar with the one we did for the animation "Acqua Alta" ( 2021 ) .
I present 2 works on paper made in 2022, "focused seeing form the ... "Gazing at a distant" and "the next situation. ... But there's also the stubbornness" drawn with India ink and watercolor, each one sized 120 x 120 cm.
They are based on screenshots from a video recording I took while re-potting plants on my balcony garden.
The video material is given to Alexandra and Radu Constantinescu for further manipulations and additions, in an artistic collaboration similar with the one we did for the animation "Acqua Alta" ( 2021 ) .
|
THE AFTERMATH OF A LOSING BATTLE / RITES OF PASSAGE
ROMANIAN CREATIVE WEEK Dates | May 21 - May 30, 2022 with daily visiting hours 10:00 - 19:30 Opening | Saturday, May 21, starting at 17:00 Location | Braunstein Palace, ground floor, 2 Cuza Vodă Street, Iași 700259, Romania Curators | Anca Bodea, Ioana Olăhuț Artists | Anca Bodea, Anca Brânzaș, Tiziana Cellino, Ana Maria Micu, Oana Năstăsache, Ioana Olăhuț, UAU / Vanessa Sîngenzia, Iulia Toacaci https://romaniancreativeweek.ro/en/sections-en/arts-crafts-en/the-aftermath-of-a-losing-battle-en/ |
|
The aftermath of a losing battle legitimizes the option of gathering in the same exhibition artists who express themselves in various styles and areas but who are not at all foreign to the sisyphic nature of what it means to produce meaning into and through art. Each work is initiated by repositioning and readjusting to everything that is already known, chosen, conquered. Each work is approached with the help of a new set of tools, tailor-made and in the rhythm given by the type of conceptual, emotional and technical weapons that characterize our world. Each work is waiting to receive or form something, it does not lurk like a huge and empty field, likely to accommodate any new note, legend, script or scenography. A new epithelium that does not protect, does not contain and does not perceive and filter reality. As artists, we assume the inherent losses of these epithelial successions, accompanied by a constant sensation of "molting" and "renewal." It's harder to identify what we gain but we always feel what we lose. A "shell" in which each molecule is neatly and accurately listed. Either we gracefully abandon it or forcefully detach it, always another epithelium below ready to take its place. We do not know what happens to these discarded epithelia, but we try to guess. We will probably find some of it intact over the years, like the scaly skin of a snake that seems to be present in the full detail of its morphology, but inside it is empty; it is a shell, a surface that once took the form of a present. A shell that responds to a well-defined moment in time and space, remains frozen there as the content traverses it, overtakes it and abandons it.
Epithelia discarded, some intact, some scarred, broken and alienated. The works embody the multiple facets of the self that remain hanging in the vestibule of our past and present life, a skin that folds and falls discovering a new variant of ours, familiar to us but still foreign to others. Molds, detachments, ruptures, folds - all remain imprints of a moment, of a personal experience mimicked in oils, chamotte of pixels.
The exhibition concept will be marked by a dominant chromatic, that of the terracotta, similar to the color of the epithelium that goes through different thermal stages, each degree marking a thought, an emotion, a lost or outdated segment. Each artist deciphers and adjusts their own message through the chromatic ranges developed from the proposed auxiliary chromatic ranges.
Epithelia discarded, some intact, some scarred, broken and alienated. The works embody the multiple facets of the self that remain hanging in the vestibule of our past and present life, a skin that folds and falls discovering a new variant of ours, familiar to us but still foreign to others. Molds, detachments, ruptures, folds - all remain imprints of a moment, of a personal experience mimicked in oils, chamotte of pixels.
The exhibition concept will be marked by a dominant chromatic, that of the terracotta, similar to the color of the epithelium that goes through different thermal stages, each degree marking a thought, an emotion, a lost or outdated segment. Each artist deciphers and adjusts their own message through the chromatic ranges developed from the proposed auxiliary chromatic ranges.
my works within the project
My contribution consists in developing a large-scale wall drawing out of black self-adhesive vinyl cuttings, around a finished painting, during a time period of several days prior to the opening. Instances of the drawing progressing and additional manipulations of the marks will be used to create a stop-motion animation meant to be exhibited in a loop, on a TV screen.
Since my painting depicts a pile of vegetal debris, observed in a niche of my apartment, my concept for the animation is to think of "an imaginary walk in nature", an action in which a human figure performs a motion in a circle. I also reserve the opportunity to be inspired by working on-site, fully trusting the ability of one image to generate another, given an observant individual that is willing to capture it - a role of which I am aware and capable to perform.
My contribution consists in developing a large-scale wall drawing out of black self-adhesive vinyl cuttings, around a finished painting, during a time period of several days prior to the opening. Instances of the drawing progressing and additional manipulations of the marks will be used to create a stop-motion animation meant to be exhibited in a loop, on a TV screen.
Since my painting depicts a pile of vegetal debris, observed in a niche of my apartment, my concept for the animation is to think of "an imaginary walk in nature", an action in which a human figure performs a motion in a circle. I also reserve the opportunity to be inspired by working on-site, fully trusting the ability of one image to generate another, given an observant individual that is willing to capture it - a role of which I am aware and capable to perform.
for campers to share. ... House Area, 2022, acrylic and acrylic inks on linen, 120 x 180 cm.
for campers to share. ... House Area, 2022, 22s continuous loop animation, 3840x2160px
|
THE ARTIST'S WORKSHOP
Dates | May 1, 2022 - August 1, 2022 Opening | Saturday, April 30, starting at 17:00 Location | Roman Catholic Episcopal Palace of Oradea, 2 Șirul Canonicilor, 2nd floor Curator | Sorina Jecza Artists | Marius Bercea, Oana Fărcaș, Ion Grigorescu, Márta Jakobovits, Gyöngyi Kerekes, Tincuța Marin, Ana Maria Micu, Ioan Aurel Mureșan, Paul Neagu, Lia și Dan Perjovschi, Marilena Preda-Sânc, Cristian Sida, Ujvárossy László. The event will be punctuated by the cello recital given by the soloist Alexandra Guțu from Timișoara. Organizers | Roman Catholic Diocese of Oradea, Interart TRIADE Foundation https://triade.ro/events/atelierul-artistului/ |
|
With a well-recognized history, the subject matter of "the artist's studio" is still a constant in the practices of many creators. Either it is treated in the traditional academic way, as a genre scene, with scenographic details that indicate the physical space to which the artist links his existence, or it involves self-referential details about the creation, by including “painting-within-a-painting”, or evokes the process of elaboration of the work, the studio reserves the ascendancy of a meta-language, as an instrument of introspection on its own creative approach or a metonymic sign that can substitute - physically or spiritually - for the artist himself.
The image of the workshop is the artist's self-knowledge tool, able to probe both the outer distances and the inner depths of the artistic self. By painting his workshop - or invoking it through any other medium of expression - the artist performs an autoscopy on his own being, through which he can observe the dynamics of his inner movements.
Projecting himself onto the studio, the artist projects himself through the objects staged, through the space that creates the scenography, through the included characters or the selected details and fragments. This is what Aman did when he created sets that absorbed, emphatically, his personality, this is the reading proposed by Nicolae Grigorescu when he projects the atmosphere with which he identifies in the workshop, so does Gheorghe Petrașcu when he finds himself, recurrently, in the studio house from Târgoviște - in order to invoke only a few notorious examples from Romanian art history.
In the exhibition that brings together works from the Böhm Collection in the Roman Catholic Episcopal Palace, the motif of the studio is in a work by the painter Ernő Tibor that captures a scene from the studio of his colleague Alfred Macalik, probably in the famous Ullmann Palace.
Physical space or meta-space, the “artist’s workshop” is a thematic node full of meaning, an approach through which creators visually investigate the world - theirs and the one in which they live -, an exercise of complex reflection and self-reflection that is worthy of research.
The artists selected in this exhibition reflect in different mediums - painting, photography, installation, media - the theme of the studio. They are: Marius Bercea, Oana Fărcaș, Ion Grigorescu, Marta Jakobovits, Gyöngyi Kerekes Újvárossy, Tincuța Marin, Ana Maria Micu, Ioan Aurel Mureșan, Paul Neagu, Lia și Dan Perjovschi, Marilena Preda-Sânc, Cristian Sida, Ujvárossy László.
Belonging to generations that cover the last half-century, their concern for the same subject matter is an indication of the constant self-interrogation with which the artist crosses time.
We propose, therefore, to present some hypostases of this reflection on the relationship that artists create with their studios in an exhibition built on the framework of this thematic core. - Sorina Jecza
Sorina Jecza (curator of the exhibition), has been a notable presence in the Romanian cultural space for several decades. She has carried out ample activities, ranging from art and critical essays, to research, documentation and book publishing. Doctor in visual arts (since 2006), she has a relevant expertise in the field of sculpture. She collaborated, as curator, with the main art museums or cultural centers in the country (Timișoara, Cluj, Craiova, Oradea, Mogoșoaia Brâncovenești Palaces, Cantacuzino Palace). As president of the Triade Foundation in Timișoara, she has significant experience in cultural management: founding the Triade Sculpture Park in the public space, recovering the avant-garde movement in Timișoara (Group 1.1.1, Sigma Group), restoring the values of the period 60-89, promoting emerging art, through the Juventus program. She played an active role in presenting Romanian art abroad, by organizing numerous international projects that included important names of the Romanian art scene, such as Paul Neagu, Constantin Flondor, Grupul Sigma, Roman Cotoșman, Peter Jecza. She is the co-founder of the Art Encounters Foundation and of the biennial with the same name.
The image of the workshop is the artist's self-knowledge tool, able to probe both the outer distances and the inner depths of the artistic self. By painting his workshop - or invoking it through any other medium of expression - the artist performs an autoscopy on his own being, through which he can observe the dynamics of his inner movements.
Projecting himself onto the studio, the artist projects himself through the objects staged, through the space that creates the scenography, through the included characters or the selected details and fragments. This is what Aman did when he created sets that absorbed, emphatically, his personality, this is the reading proposed by Nicolae Grigorescu when he projects the atmosphere with which he identifies in the workshop, so does Gheorghe Petrașcu when he finds himself, recurrently, in the studio house from Târgoviște - in order to invoke only a few notorious examples from Romanian art history.
In the exhibition that brings together works from the Böhm Collection in the Roman Catholic Episcopal Palace, the motif of the studio is in a work by the painter Ernő Tibor that captures a scene from the studio of his colleague Alfred Macalik, probably in the famous Ullmann Palace.
Physical space or meta-space, the “artist’s workshop” is a thematic node full of meaning, an approach through which creators visually investigate the world - theirs and the one in which they live -, an exercise of complex reflection and self-reflection that is worthy of research.
The artists selected in this exhibition reflect in different mediums - painting, photography, installation, media - the theme of the studio. They are: Marius Bercea, Oana Fărcaș, Ion Grigorescu, Marta Jakobovits, Gyöngyi Kerekes Újvárossy, Tincuța Marin, Ana Maria Micu, Ioan Aurel Mureșan, Paul Neagu, Lia și Dan Perjovschi, Marilena Preda-Sânc, Cristian Sida, Ujvárossy László.
Belonging to generations that cover the last half-century, their concern for the same subject matter is an indication of the constant self-interrogation with which the artist crosses time.
We propose, therefore, to present some hypostases of this reflection on the relationship that artists create with their studios in an exhibition built on the framework of this thematic core. - Sorina Jecza
Sorina Jecza (curator of the exhibition), has been a notable presence in the Romanian cultural space for several decades. She has carried out ample activities, ranging from art and critical essays, to research, documentation and book publishing. Doctor in visual arts (since 2006), she has a relevant expertise in the field of sculpture. She collaborated, as curator, with the main art museums or cultural centers in the country (Timișoara, Cluj, Craiova, Oradea, Mogoșoaia Brâncovenești Palaces, Cantacuzino Palace). As president of the Triade Foundation in Timișoara, she has significant experience in cultural management: founding the Triade Sculpture Park in the public space, recovering the avant-garde movement in Timișoara (Group 1.1.1, Sigma Group), restoring the values of the period 60-89, promoting emerging art, through the Juventus program. She played an active role in presenting Romanian art abroad, by organizing numerous international projects that included important names of the Romanian art scene, such as Paul Neagu, Constantin Flondor, Grupul Sigma, Roman Cotoșman, Peter Jecza. She is the co-founder of the Art Encounters Foundation and of the biennial with the same name.
I participate in this group show with the project "Homemade Cure for Digital Spleen" (2016).