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
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      • 2019 - 2020
      • 2017 - 2018
      • 2015 - 2016
      • 2011 - 2013
      • 2009 - 2010
      • 2007 - 2008
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      • 2022
      • What Hurts the Most Is Left for Last
      • The Apprentice with no Sorcerer
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    • 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
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UNDERSTATEMENT
​A project by Ana Maria Micu and Cătălin Petrişor
Curated by Maria Rus Bojan
for C-Space, Beijing
May 30th - September 6th, 2009

With this exhibition Cătălin Petrișor and Ana Maria Micu propose a visual “understatement”: a deliberate restrained artistic discourse that aims to broke the shallow surface of the general perception challenging different modes of comprehending the reality.

Within our contemporary world, visibility and visuality have moved over certain limits and stepped across certain thresholds. It seems that only by deconstructing this continuum of image experience and its conundrums one can regain the lost senses of perception and get back to the initial meanings of things.

Understatement asserts the two artists’ need to underline that media and visual technology do not facilitate the real perception but only make use of the perception deficiencies of the human senses. Also, it points to the fact that the proliferation of images lead rather to a kind of blindness than to a sharper perception of reality.

Understatement is thus more than an artistic experiment. It is in fact a statement and a reaction to the generalized state of hyper-perceptibility. The artists seize that not only that we usually perceive trough the instrumental modes of the portable technology, but we can’t detach ourselves from these modes in order to see differently. Thus, for perceptions of a different quality different settings are needed and only within such a deliberately constructed environment that which is important for the artist can be deciphered in the right way.

Through a perfectly controlled alternation of works, Cătălin Petrișor and Ana Maria Micu manage to create the feeling that we are in front of one great art work. It is not the exhibition that display their works but the works that use the exhibition as a medium.

Using a strategy that combines a sensitive treatment of surface with a manipulated vision, the both artists confront reality with its own rules, transforming it and disseminating it as special effect. 

  • 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