ANA MARIA MICU
  • Works
    • On canvas >
      • 2023 - >
        • engaging activities
      • 2021 - 2022 >
        • daylight apertures
        • night after night
        • indoor and outdoor environment
        • for campers to share
        • lifetime educational
        • restraint and seclusion
        • blurry and like a
        • expansion joints
        • services due to
        • indoors during
        • Left Hand
        • Distant View
      • 2019 - 2020
      • 2017 - 2018
      • 2015 - 2016
      • 2011 - 2013
      • 2009 - 2010
      • 2007 - 2008
    • On Paper >
      • 2022
      • What Hurts the Most Is Left for Last
      • The Apprentice with no Sorcerer
      • Sketchbook
    • Stop Motion Animations
    • Serigraphy
  • Projects
    • Shows >
      • Left Hand To Distant View
      • Studies for a Burning Silence
      • Unlimited Visuality
      • The Aftermath of a Losing Battle
      • The Artist’s Workshop
      • Flowing Light
      • The Poetic Realm
      • Objects Must Be Comfortable
      • 12 Years After
      • Speaking About the Unknown
      • A Picture on the Wall
      • Self-Portrait
      • ​​The Road Not Taken Ch. 2​
      • Self-portrait with Indoor Plant
      • Installing the Image
      • A Conscious Choice for Temporary Blindness
      • Tender Heart, Keep Still!
      • Understatement
    • Others >
      • The Insufficiency of Self
      • ​Can Serrat Art Residency
      • Scenography for Painting
      • The Wall Watcher
      • Abstract Circle
      • Changing Background
      • How to Mend Unbroken Things
      • Freehand Digital Drawing Documented by Real-time Video Screen Capturing
      • Production as Tableau Vivant
      • Image Search
      • The Presentation
  • Publication
  • ART FAIRS
    • Art Taipei 2022
    • Taipei Dangdai 2020
    • Art Fair Philippines 2020
    • Art Fair Philippines 2019
    • Art Düsseldorf 2018
  • CV
  • Contact
INSTALLING THE IMAGE
​by Ana Maria Micu
interactive reenactment of the studio 

performance  during irregular hours each day, May 20 - 23, 2014, Sala Tipografia, Bucharest

a part of the succession of projects Shortsighted. Presbyopic. Blindfolded curated by Igor Mocanu at Allegra Nomad Gallery

The space of the hall is turned into a rupturing forum by placing a wooden structure with a platform and benches for the visitors. The platform is cut into two symmetrical half-spaces that aim to re-stage two dimensions of the contemporary arts field: art which is accompanied by an explicatory discourse or with a shape owing to verbal conceptualization; and art with a non-verbal and primarily material discourse. On the one side are artists who, generically speaking, sit and paint on an easel, but they can practice any other classical form of art (sculpture, drawing, object installation, photography), on the other, artist who explain their works, conceptualising (performance, speech, dance, happening). On the one hand are visual arts, and of the other, performative arts. The audience is urged to assist and turn into an art critic and make critical judgements.

Ana Maria Micu reconstructs her studio environment as an optical illusion that creates an apparent frontal image from a scene viewed from the side. The public is invited to take photos from this angle, with a provided camera, leaving their names to identify themselves among the collective of authors. Installing the Image is slowly yet implacably self-generating. Ana Maria Micu is endorsing the image she is painting with an all-powerful authority over its ecosystem. The image is building itself along with its context, and the context is shaped through the evolutionary stages of the pictorial discourse. Working like this becomes a changing process towards an interpretative installationist gesture that can be exhibit only through reenactment. A reenactment of the entire studio willing to enter into a dialogue with the audience. A photo camera is reshaping the basic convention of this dialogue. The public can judge what he sees by looking through the camera and by choosing the preferred zoom and focus. A global interaction that can lead to relevant conclusions for the purpose of painting in itself.

​Photographs Taken by Visitors
Photograph taken by Igor Mocanu, in 5/20/2014 at 2:40PM, 2304 x 3456 pixels, focal lengh 31.0 mm
Photograph taken by Filip Ilie, in 5/20/2014 at 3:19PM, 2304 x 3456 pixels, focal lengh 31.0 mm
Photograph taken by Ionuț Ruscea, in 5/20/2014 at 5:06PM, 2304 x 3456 pixels, focal lengh 21.0 mm
Photograph taken by Ionuț Ruscea, in 5/20/2014 at 5:27PM, 2304 x 3456 pixels, focal lengh 21.0 mm
Photograph taken by Nicolae Stoian, in 5/20/2014 at 8:03PM, 2304 x 3456 pixels, focal lengh 21.0 mm
Photograph taken by Nicolae Stoian, in 5/20/2014 at 8:04PM, 2304 x 3456 pixels, focal lengh 21.0 mm
Photograph taken by Victor Oancea, in 5/20/2014 at 8:39PM, 2304 x 3456 pixels, focal lengh 21.0 mm
Photograph taken by N. Stoian, in 5/21/2014 at 3:30PM, 2304 x 3456 pixels, focal lengh 31.0 mm
Photograph taken by Octavian C., in 5/21/2014 at 12:34PM, 2304 x 3456 pixels, focal lengh 34.0 mm
Photograph taken by Octavian C., in 5/21/2014 at 12:35PM, 2304 x 3456 pixels, focal lengh 34.0 mm
Photograph taken by N. Stoian, in 5/22/2014 at 2:22PM, 2304 x 3456 pixels, focal lengh 33.0 mm
Photograph taken by Ileana Oancea, in 5/22/2014 at 3:00PM, 2304 x 3456 pixels, focal lengh 38.0 mm
Photograph taken by Ileana Oancea, in 5/22/2014 at 3:01PM, 2304 x 3456 pixels, focal lengh 47.0 mm
Photograph taken by Mitică, in 5/22/2014 at 2:40PM, 2304 x 3456 pixels, focal lengh 31.0 mm
  • Works
    • On canvas >
      • 2023 - >
        • engaging activities
      • 2021 - 2022 >
        • daylight apertures
        • night after night
        • indoor and outdoor environment
        • for campers to share
        • lifetime educational
        • restraint and seclusion
        • blurry and like a
        • expansion joints
        • services due to
        • indoors during
        • Left Hand
        • Distant View
      • 2019 - 2020
      • 2017 - 2018
      • 2015 - 2016
      • 2011 - 2013
      • 2009 - 2010
      • 2007 - 2008
    • On Paper >
      • 2022
      • What Hurts the Most Is Left for Last
      • The Apprentice with no Sorcerer
      • Sketchbook
    • Stop Motion Animations
    • Serigraphy
  • Projects
    • Shows >
      • Left Hand To Distant View
      • Studies for a Burning Silence
      • Unlimited Visuality
      • The Aftermath of a Losing Battle
      • The Artist’s Workshop
      • Flowing Light
      • The Poetic Realm
      • Objects Must Be Comfortable
      • 12 Years After
      • Speaking About the Unknown
      • A Picture on the Wall
      • Self-Portrait
      • ​​The Road Not Taken Ch. 2​
      • Self-portrait with Indoor Plant
      • Installing the Image
      • A Conscious Choice for Temporary Blindness
      • Tender Heart, Keep Still!
      • Understatement
    • Others >
      • The Insufficiency of Self
      • ​Can Serrat Art Residency
      • Scenography for Painting
      • The Wall Watcher
      • Abstract Circle
      • Changing Background
      • How to Mend Unbroken Things
      • Freehand Digital Drawing Documented by Real-time Video Screen Capturing
      • Production as Tableau Vivant
      • Image Search
      • The Presentation
  • Publication
  • ART FAIRS
    • Art Taipei 2022
    • Taipei Dangdai 2020
    • Art Fair Philippines 2020
    • Art Fair Philippines 2019
    • Art Düsseldorf 2018
  • CV
  • Contact