DOCSLIB.ORG

THINGS in the REAR-VIEW MIRROR ARE CLOSER THAN THEY APPEAR MAY 10Th – JULY 2Nd, 2021

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THINGS in the REAR-VIEW MIRROR ARE CLOSER THAN THEY APPEAR MAY 10Th – JULY 2Nd, 2021 THINGS IN THE REAR-VIEW MIRROR ARE CLOSER THAN THEY APPEAR MAY 10th – JULY 2nd, 2021 Featuring works of Gili Mocanu - Anca Muresan - Ecaterina Vrana Dumitru Gorzo - Nicolae Comanescu - Virginia Toma videoart by -Mitos Micleusanu - Regele Ionescu audioart by Regina Ionescu ART 9TEEN Vienna Private Art Club 1190 Wien, Billrothstraße 29, 1st floor Hosted by in cooperation with MARe Museum of Contemporary Art, Bucharest, Romania www.mare.ro H’Art Gallery, Bucharest, Romania www.hartgallery.ro Kunsthaus 7B, Cisnădioara, Romania www.kunsthaus7b.eu with the friendly assistance of www.liliac.com www.amb-holding.at www.rtimmo.at 2 Things in the rear-view mirror are closer than they appear Recent Romanian Art from MARe/Museum of Recent Art Things in the rear-view mirror are closer than they appear is an insight in recent Romanian art from the Southern part of the country. It is a compact, transversal section through various, current artistic idioms: an intensely colored display of disturbance, frailty, rigor and fervor. The selected works and artists mix craftsmanship and naivety, belief and blasphemy, hermeticism and humor, feminism and eroticism, consumerism and depression. It is about the fusion of submissiveness and protest that gripped the entire Romanian society after the fall of communism, in 1989. The preponderance of painting in Romanian art is a result of the decades-long severe artistic education in realist, fine-crafted works of art expected to achieve propaganda tasks until 1989. After 1989, that practice dramatically lost official commissions. But painting was still there, ready. It became the platform at hand, a game console fitting a plurality of plots in Romanian art. From the dark, obscure metaphysics and syncretic mysticism to the glossy, neo-pop icons and violent, pseudo- Dada political scribbling, painting, a supposedly dull tool, turns into a springy widget for dizzying experiences. Things in the rear-view mirror are closer than they appear introduces a kind of endemic art dominated by a dystopian drive, drafting fictitious spaces of massive decompensation. The exhibition traces the common ground of apparently divergent, diverse phenomena such as the anxious and ecstatic, gloomy apprehensions of painters like Gili Mocanu and Anca Mureșan, and the frantic proliferation of Ecaterina Vrana, Dumitru Gorzo and Nicolae Comănescu. The carefully crafted and richly textured canvases of Gili Mocanu, Anca Muresan and Virginia Toma act as a sumptuous, speculative refuge of liberty. Faced with the merciless dictates of commonsensical practices and discourses, they negotiate with the socially-controlled semiotics. They meticulously spoil and disrupt perception and meaning, aiming to produce unyielding, impenetrable works, as less understandable as possible, and as aesthetically dense as they can. Contrariwise, Ecaterina Vrana indulged in self-protective, chromatic roaming, proffering the desirable objects of internal longings with the suffocating means of flashy, glamorous colors of teeny stories, critically borrowed from the soft, invading industry of mass advertising. Dumitru Gorzo and Nicolae Comănescu enact painterly and ironically the performative domination of a masculine, authoritarian, and violent society, unhinged between excess and decay, and mesmerized by power, sex, and conspicuous (more media, virtual, than real-) consumption. The thrilling audio piece by Regina Ionescu is a dirge-like, murmured concrete poetry filled with dark nostalgia and excruciating anxiety, yet shaped in a smooth and caring voice, as if a soft sound matter enveloping the beholder turned into listening subject. Things in the rear-view mirror are closer than they appear is accompanied by a pseudo-documentary section made up of three video works, as a social backdrop to the canvases on display. A Sort of Fiction by Cristina David is a fake draft of a soap opera, having exclusively Rroma, amateur actors, who humorously follow the pseudo-script for one minute, and then joyfully get rid of the imposed scenery, narrative, acting and filming, hijacking the story to explosive, indiscriminate self-posturing, amidst an enthralling, rural landscape of flowering poppies. In its turn, Video-portrait by Regele Ionescu is a staggering vista of Bucharest, combined with a warm approach to the social, behavioral and even ethnic changes. The film begins as a minute, undercover documentary of a day in the life 3 of an unknown, typical Bucharest inhabitant, picked up at random from a subway station, and then sneakily tracked during his tribulations in the hectic capital city. When, in the twilight, the filmmaker is finally approaching his character in the street, telling of his endeavor, the ”typical Bucharest character” proves to be a young Frenchman cruising through the city to meet his Romanian girlfriend. He is distraught by the filmmaker and jumps into a taxi to escape his proposal of becoming a movie hero. In Generation loss, Michele Bressan investigates the routine of watching. He recorded the House of People, the palace of the former political regime, on old-fashioned VHS tapes. The actual footage of the House of People lasts only a couple of seconds. The rest of the video is filled with its repeated, 20 times copying and re-copying, progressively altering the quality of the recording, which finally becomes illegible. The technical process reflects the political transition through the transition of the image from figurative to abstract, from the specific political representation towards its dissolution, in time, into a white noise of the collective subconscious. Things in the rear-view mirror are closer than they appear is an exhibition conceived by MARe/Museum of Recent Art with works selected from its collection and from the artists themselves. Erwin Kessler Director, MARe/Museum of Recent Art Bucharest 4 H’ART GALLERY — BUCHAREST, ROMANIA One of Bucharest’s Oldest Private-Run Galleries Whilst Romania might still rank among the first in the European Union in terms of relative poverty, its capital Bucharest has been rapidly developing into an influential hub for at we're seeing now is a vibrant, cultural capital that is finally ready for the international attention contemporary art. It's been over thirty years since the country came out of its Communist era and the capital city, along with its artists, have morphed through a host of subsequent phases. What we're seeing now is a vibrant, cultural capital that is finally ready for the international attention its now getting. H'art Gallery opened in late 2002, being the second portfolio private-run gallery in Romania. The main goal is to promote young contemporary art and to consolidate the art market environment. The focus is on the generation of artists educated after the fall of the Communist regime in 1989. Alexandru Paul, Florin Ciulache, Ion Barladeanu, Stefan Triffa, Anca Muresan, Adrian Preda, Nicolae Comanescu, Tets Ohnari, Gili Mocanu, Suzana Dan, Stefan Ungureanu, Marian Zidaru, Dumitru Gorzo, Marin Gherasim, Vioara Bara, Dan Palade, Codruța Cernea are some of the most active artists that H'art Gallery proudly represents. The team of H’art Gallery began working with Romania’s young artists, many of who continued on to become incredibly important for the local contemporary art scene. These days, their roster of artists is smaller, but one thing that they all have in common is the deep passion and dedication to Romanian contemporary art. Founder Dan Popescu started his business because of his friendship with artists, and runs the space together with Ioana Marinescu, who began working for him over ten years ago. Marinescu wanted to study art, but rather than only focus on the theoretical she chose to include the practical study, which is why she first applied for a job at the gallery. She says: “Knowing the artists and the process behind their art is what shaped the curatorial program at H’art. For me, the artistic biography proved to be the most important thing.” Dan Popescu Founder & Director, H’art Gallery Bucharest 5 GILI MOCANU - Date and place of birth: 18 ianuarie 1971, Constanța, Romania - Bachelor's degree: National University of Arts Bucharest, 1999. - Master degree National University of Arts Bucharest, 2000. Personal exhibitions in Romania 2021 CLAR.OBSCUR ⎢G.M., SAC (in preparation) 2018 Dublul, Arcub 2016 Lucrări făcute în America, H’art Gallery 2014 JDS - GM - H’art Gallery, Bucharest 2012 Blindness - H’art Gallery, Bucharest 2011 Gili a murit #3 - H'art gallery, Bucharest 2010 GILI MOCANU. Each of those two moments - National Museum of Contemporary Art, Bucharest, Romania 2009 Lih – Point Contemporary Gallery, Bucharest 2008 GM - Fabrica, Bucharest 2007 CO - National Museum of Contemporary Art, Bucharest CUIB - The Fish Gallery, Constanta, Romania 2006 Mit technik – H’art Gallery, Bucharest Operating parameters - Art Museum, Constanta 2005 Formula - Posibila Gallery, Bucharest Ohne Technik – H’art Gallery, Bucharest 2004 Two Friends - Posibila Gallery, Bucharest XL - Carturesti Bookstore, Bucharest 2003 Inventory - French Institute, Bucharest Without Inspiration - Posibila Gallery, Prometheus Club, Bucharest 2002 Without Title - deINTERESE Gallery, Bucharest 2001 Mioritza Shut Down - S.P.A.C.E Gallery – International Centre for Contemporary Art, Bucharest International exhibitions: 2013 The double - Galeria das Salgadeiras, Lisbon 2007 ...Dont`t complicate the sleeping Baroque... - Kunstraum NOE (Niederösterreich), Vienna Donumenta - Regensburg, Germany Group Shows 2016 Artistul
Load more

Recommended publications
  • 1 Ion Grigorescu from Static Oblivion
    From static From static oblivion, an artbook in line with Avarie’s previous work space or space of daily experience: Grigorescu’s act of oblivion publications, aims to deepen, starting from Ion Grigorescu’s dissidence is not an outcry of provocation, nor is it extreme rich artistic production, the reflection about the status of the or ostentatious; it is an anti-aesthetic operation which uses image as a balance of forces in tension (statics), as form and experimentation and rough or limited techniques to uncover Ion Grigorescu design of what is in continuous movement (rhythm) and as the fiction of art and to denounce the artifice of representation, a paradoxical act of cancellation of the body through its own leaving us with the ambiguity between truth and falsehood, representation (oblivion). not only within the process of creation, but also within society. There is no trespass, Grigorescu’s performances are part of In Grigorescu’s work, as in the book, the body is continually an ongoing and “contained” interrogation of the relationship shown in different ways - from photography to film, from between the body and the space which the book is trying to performance to drawing - and yet it remains absent, match with the choice of its images whose measured surface suspended, obscuring its own identity in an attempt to tries to “keep inside” all that’s possible: the composition question the collective one. The persistent use of the mirror appears dense yet fluid, “cursive”, though never imposing. not only reflects the need to escape the solitude of his own body and to find the other in the multiplication of points of The body of Ion Grigorescu runs (through) the entire book: view, but it comes from the necessity to objectify the only like a line that gradually takes on volume, it transforms itself material that is available to him.
    [Show full text]
  • Moving Images in Romanian Critical Art Practice and Recent History
    MOVING IMAGES IN ROMANIAN CRITICAL ART PRACTICE AND RECENT HISTORY Mihaela Brebenel Goldsmiths, University of London PhD Media and Communications, 2016 .1 I hereby declare that the work presented in this thesis is my own. .2 Acknowledgements It is perhaps commonplace to say that a doctoral research is a journey. Nevertheless, I have only come to understand that this research project has been both a personal journey and an academic one in the final stages of writing, when paradoxically, there was little time for reflection. The time that unfolded between the moment when I was writing a tentative research proposal and the moment I am now in has been intense, incredible, invaluable and rewarding. I am convinced that I would have not experienced either of these without the support, attentive consideration and incredibly fruitful conversations with my supervisor, Dr. Pasi Väliaho. I started this journey under the auspices of his encouragements and could not have carried through without his relentless belief in my academic abilities. I would also like to acknowledge the support and inspiring encounters with Dr. Rachel Moore, always surprising and always refreshing. In different stages of this research, she has acted as a mentor and reader of my work, at the same time showing an empowering collegial attentiveness to my ideas. An extended thank you goes to Prof. Sean Cubitt and Prof. Julian Henriques, for their general support within the Media and Communications department, their suggestions made for various versions of the text and their encouragement to experiment across-disciplines and with methods. This research would not have been possible without the funding received from the Arts and Humanities Research Council and the research exhibition in New Delhi, India would not have happened without the AHRC International Placement Scheme and Fellowship at Sarai CSDS.
    [Show full text]
  • Revista Istorică
    REVISTA ISTORICĂ SERIE NOUĂ TOMUL XXV, NR. 5–6 septembrie – decembrie 2014 SUMAR CONSTITUIREA ŞI CONSOLIDAREA ŢĂRILOR ROMÂNE ŞERBAN PAPACOSTEA, Istorie şi geopolitică: geneza statului în trecutul românesc. II .............. 421 PUTERE ŞI CONTROL MIHAI MĂLĂERU, Dreptul divin de a guverna – legitimarea expansiunii neo-asiriene................ 437 VIRGIL CIOCÎLTAN, Problema Strâmtorilor în politica sultanului Baiazid I (1389–1402)........... 447 EDUCAŢIE ŞI DEZVOLTARE RAMONA CARAMELEA, Concursul, practică de selecţie a profesorilor secundari din România (1864–1898)......................................................................................................................... 467 CRISTIAN VASILE, Towards a New Law on Education: Some Reflections Regarding the Communist Educational Policies under the Ceauşescu Regime........................................... 493 BOGDAN RENTEA, Reprezentări ale Daciadei în ziarul „Sportul” ............................................... 503 MINORITĂŢI – ASPECTE ŞI PROBLEME CĂTĂLIN TURLIUC, Emancipation and Modernization: Minorities in Romanian Trade during the Second Half of the Nineteenth Century.......................................................................... 521 VENERA ACHIM, Particularităţi în aplicarea legii de emancipare a ţiganilor din Ţara Românească (8/20 februarie 1856)............................................................................................................ 533 SURSE ŞI IZVOARE RADU TUDORANCEA, „Cuba – Da, Yankeii – Nu!” Atacul asupra Legaţiei SUA de la Bucureşti
    [Show full text]
  • A Fiery Splash in the Rockaways and Twists on Film at the Whitney
    ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The Grand Tour: Simon Starling 19 Mar 2016 - 26 Jun 2016 Nottingham Contemporary presents Turner Prize-winner Simon Starling’s largest exhibition in the UK to date. The exhibition will include a new artwork developed in collaboration with Not- tingham Trent University, of which Starling is an alumnus and a number of Starling’s major proj- ects, most of which have not been presented in Britain before.
    [Show full text]
  • Anetta Mona Chisa / Lucia Tkacova
    ROTWAND Sabina Kohler & Bettina Meier-Bickel Lutherstrasse 34, CH-8004 Zürich, T/F +41 44 240 30 55/56 www.rotwandgallery.com, [email protected] ANETTA MONA CHISA / LUCIA TKACOVA Born (1975) in Romania / (1977) in Slovakia Live and work in Prague and Berlin Education They both graduated at the Academy of Fine Arts and Design in Bratislava, Slovakia and collaborate since 2000 Selected Solo Exhibitions 2013 a Lack, A touch, an aTavisM, a notiCe, Hit gallery, Bratislava aCtivaTe aMok, not a causaL chAin, waterside contemporary, London, UK 2012 i aM a venus, A conch, a kiT, a Cat, a Lot, Rotwand, Zurich, Switzerland Demonstrationen vom Werden normativer Ordnungen, Frankfurter Kunstverein Either Way, We Lose, Sorry we’re closed, Brussels A B C... (with Jana Zelibska), Make Up Gallery, Kosice, Slovakia 2011 The Diplomatic Tent (with Ion Grigorescu), Salonul de proiecte Bucharest, Romania Performing History, Romanian Pavilion (with Ion Grigorescu), 54 Biennale di Venezia, Italy Material Culture/Things in our Hands, Christine Koenig Gallery, Vienna, Austria The More You Tell Me, the Stronger I Can Hit, Társaskör Gallery, Budapest, Hungary 2010 How to Make a Revolution, MLAC, Rome, Italy Far from You, Karlin Studios, Prague, Czech Republic 2009 Wager, Collectiva Gallery, Berlin, Germany Fair Sex, Hermitage Gallery, Chicago, USA Footnotes to Business, Footnotes to Pleasure, Christine Koenig Gallery, Vienna, Austria 2008 Anetta Mona Chisa & Lucia Tkacova, Neuer Berliner Kunstverein, Berlin, Germany Blondes Must Be Stopped, Purple Room, Rome, Italy Romantic Economies, Medium Gallery, Bratislava, Slovakia 2006 Everything is Work, Tranzit workshops, Bratislava, Slovakia Magical Recipes for Love, Happiness and Health, f.a.i.t.
    [Show full text]
  • “REVOLUTIONS RELOADED Werkstatt Rumänien” May 10Th - Jun
    p r o g r a m www.pushthebuttonplay.com march 2005 edition “REVOLUTIONS RELOADED werkstatt rumänien” May 10th - Jun. 5th, 2004 On Monday, May 10, 2004 play_gallery for still and motion pictures in Berlin is opening Revolutions Re- loaded. This exhibition is dedicated to the present Romanian artistic scene and is the result of a collabora- tion with the MNAC (National Museum of Contemporary Art) of Bucharest. Curated by Marco Scotini and Mihnea Mircan (curator of the MNAC in Bucharest), the aim of this exhibi- tion is to present a selection of the top exponents of recent generations of Romanian artists, through a temporary picture and video archive. It takes place 15 years after the fall of communism in the Eastern European block, at a time in which the importance of the 1989 events seems strongly reduced, if not a remote past. Revolutions Reloaded is not limited to a plain post-communist cartography. It tries to focus on the contra- dictory spaces and the growing disparities of this very real “laboratory of the European future” in which the conflicts between different historical times and different resources coexist within the state of transition from the “welfare” condition to the new-liberal system. Revolutions Reloaded aims in fact to be a sort of database of Romanian artists’ political reactions. A politically oriented art, not defined geographically, which finds a more vulnerable and realistic terrain here, in the impact with globalisation. The “revolutions” to which the title alludes are the sign of diverse ways in which emergency can be faced, freedom is un- derstood, democracy is prepared and Romanian reality after the Revolution of 1989 is registered.
    [Show full text]
  • In—Visible City
    in—visible city Bucharest2021 Candidate — European Capital of Culture 2021 This application has been prepared by ARCUB — The Cultural Centre of the City of Bucharest on behalf of the City of Bucharest. Editorial tEam: Sabina Baciu, Roxana Bedrule, Raluca Ciută, Anca Ioniţă translation, Proof rEading & Edits: Svetlana Cârstean, Claudiu Constantinescu, Simona Fodor, Alexandra Fusoi, Tim Judy art dirEction, Design & dtP: Radu Manelici, Ioan Olteanu (Faber Studio); Alexandru Oriean Photo crEdits: Andrei Bârsan, Vlad Bâscă, Octav Drăgan, Tudor Prisăcariu, Ștefan Tuchilă, Cristian Vasile, KotKi Visuals maPs: Ion Mincu University of Arhitecture and Urbanism, Bucharest Production: Fabrik Bucharest October 6, 2015 © ARCUB Contents Setting the Stage Q3 A city in Transition 03 Q2 Bucharest‑Ilfov Region 09 Q1 Building a Case for Bucharest 12 Q4 in—visible city 15 Contribution to the Long-Term Strategy Q1 Cultural Strategy 16 Q3 Long‑Term Cultural, Social and Economic Impact on the City 17 Q2 Connection between Cultural Strategy and ECoC Actions 19 Q4 Evaluation and Monitoring 20 European Dimension Q1 Working with Europe 23 Q2 European and International Public 25 Q3 Cities as Source of Inspiration 26 Cultural and Artistic Content Q1 Artistic Vision 28 Q2 Programming Principles and Programme Structure 28 Q3 Capacity Development Programme 44 Q4 Heritage and Innovation 47 Q5 Program Development 47 Capacity to Deliver Q1 Sustainable Commitment 49 Q2 Viable Infrastructure 49 Q2a Existing Cultural Infrastructure 49 Q2b City’s Accesibility 50 Q2c City’s Absorption Capacity 51 Q2d City’s Plan in Connection to ECoC 51 Outreach Q1 Civil Society 56 Q2&Q3 Sustainable Opportunities for Participation 60 Management Finance 63 Organisation 69 Contingency Planning 73 Marketing and Communication 74 Additional Information 78 Setting the stage Bucharest’s paradoxical nature is the source of both its strengths and its weakness.
    [Show full text]
  • Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics
    TEL +1 212.219.1222. FAX +1 212.431.5326. newmuseum.org FOR IMMEDIATE RELEASE April 18, 2011 PRESS CONTACTS: Gabriel Einsohn, Communications Director [email protected] Andrea Schwan, Andrea Schwan Inc. [email protected] New Museum to Present “Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics Multi-floor Exhibition Will Be on View from July 14–September 25, 2011 New York, NY… This summer, the New Museum will present “Ostalgia,” an exhibition that brings together the work of more than fifty artists from twenty countries across Eastern Europe and the former Soviet Republics. Contesting the format of a conventional geographical survey, the exhibition will include works produced by Western European artists who have depicted the reality and the myth of the East. “Ostalgia” is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions with Jarrett Gregory, Assistant Curator, and will be on view at the New Museum from July 14 through September 25, 2011, occupying all four gallery floors and the lobby. The exhibition takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago, a process of dissolution began, leading to the break-up of the Soviet Union and of many other countries that had been united under communist governments. From the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations Sergey Zarva, Ogonyok, 2001. Courtesy the artist and Regina Gallery, Moscow/London were reconfigured, their constitutions rewritten, their borders redrawn.
    [Show full text]
  • Crisis. Against Appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca
    www.angelsbarcelona.com Crisis. Against appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca 04.12.08 > 24.01.09 àngels barcelona c. Pintor Fortuny, 27 | tues > sat: 12 > 14h ; 17 > 20:30 h. Opening: 04.12.08, 20h + espai 2 c. dels Àngels, 16 | tues > sat : 17 > 20 h. Crisis. Against appearances , addresses the fundamental proposals of our gallery project. Departing from a certain skepticism, the selected works are based on practices that criticize artistic mediums, the representation of reality and the languages which, from the art world and the media, codify our society. The art object thus takes on a double role as both a social product integrated into a productive medium, such as the arts, and a platform for criticizing these productions. Strategically using the ambiguity of images and sounds, the works question structural systems such as the control of the imaginary, information and environmental sound, the use and production of violence, the rigidity of certain categories, the control of knowledge or the excess of external stimuli. The exhibition invites the observer to construct dialogues among the artists, as well as between the artists and the mediums they work in. Mark Geffriaud | Herbarium | Slide projector and pages framed in Plexiglas. Herbarium is a reflection on the institutionalization of culture and the task of cataloguing knowledge. Using what could be considered a paradigmatic example of an archiving task: the herbarium, the spectator’s attention is directed towards the illuminated reverse of the pages. In this manner, it emphasizes what selection processes and hierarchies devalue: all those things that disappear for lacking institutional worth.
    [Show full text]
  • CV Anettalucia
    ROTWAND Sabina Kohler & Bettina Meier-Bickel Lutherstrasse 34, CH-8004 Zürich, T/F +41 44 240 30 55 www.rotwandgallery.com, [email protected] ANETTA MONA CHISA / LUCIA TKACOVA Born (1975) in Romania / (1977) in Slovakia Live and work in Prague and Berlin Education They both graduated at the Academy of Fine Arts and Design in Bratislava, Slovakia and collaborate since 2000 Selected Solo Exhibitions 2013 „aCtivaTe aMok, not a causaL chAin“, waterside contemporary, London, UK 2012 „i aM a venus, A conch, a kiT, a Cat, a Lot“, Rotwand, Zurich, Switzerland Demonstrationen vom Werden normativer Ordnungen, Frankfurter Kunstverein „Either Way, We Lose“, Sorry we’re closed, Brussels „A B C...“ (with Jana Zelibska), Make Up Gallery, Kosice, Slovakia 2011 „The Diplomatic Tent“ (with Ion Grigorescu), Salonul de proiecte Bucharest, Romania „Performing History“, Romanian Pavilion (with Ion Grigorescu), 54 Biennale di Venezia, Italy „Material Culture/Things in our Hands“, Christine Koenig Gallery, Vienna, Austria „The More You Tell Me, the Stronger I Can Hit“, Társaskör Gallery, Budapest, Hungary 2010 „How to Make a Revolution“, MLAC, Rome, Italy „Far from You“, Karlin Studios, Prague, Czech Republic 2009 „Wager“, Collectiva Gallery, Berlin, Germany „Fair Sex“, Hermitage Gallery, Chicago, USA „Footnotes to Business, Footnotes to Pleasure“, Christine Koenig Gallery, Vienna, Austria 2008 „Anetta Mona Chisa & Lucia Tkacova“, Neuer Berliner Kunstverein, Berlin, Germany „Blondes Must Be Stopped“, Purple Room, Rome, Italy „Romantic Economies“, Medium
    [Show full text]
  • Romanian Art in the Period of “Diversionist Liberalisation” Daria Ghiu*
    Studies in Visual Arts and Communication - an international journal Vol. 7, No 1 (2020) on-line ISSN 2393-1221 Romanian Art in the Period of “Diversionist Liberalisation” Daria Ghiu* Abstract The present text briefly maps the officially presence of Romanian art in international exhibitions of the 1960s. It focuses on major art events held in the West, in particular the large-scale exhibitions at which nations are represented: the Venice Biennale, the Milan Decorative Art Triennale, the São Paulo Biennale, the Paris Biennale, and the Lausanne Tapestry Biennale, on graphic art events, and on the case of Richard Demarco and his interest in Romanian art. What is noteworthy is the recurrence of the names of a number of artists among those taking part in exhibitions and likewise the recurrence of certain collocations in the studies that accompanied the exhibitions and the creation of a discursive typology. The concept of “official” becomes a split concept, placed in-between what is exhibited abroad and how it is presented in the written discourse. Keywords: Venice Biennale, Romanian art, conceptualism, decorative arts, photography. The present text aims briefly to map the the Soviet Gulag, led to the elimination of the officially sanctioned presence of Romanian art in inter-war political class, the decapitation of the international exhibitions of the 1960s. I have intellectual élite, the annihilation of a large focused on major art events held in the West, in number of clergymen, and in general, the particular the large-scale exhibitions at which silencing of anybody who might oppose the nations are represented: the Venice Biennale, establishment of the “people’s democracy.” In the Milan Decorative Art Triennale, the São Paulo the early years, the new power was to control Biennale, the Paris Biennale, and the Lausanne the whole of society, including the arts, Tapestry Biennale, on graphic art events, and on permitting only a single form of artistic the case of Richard Demarco and his interest in expression, in a language “to the understanding Romanian art.
    [Show full text]
  • Mircea Cantor CV
    Mircea Cantor Born in Oradea, Romania in 1977. Lives and works in Paris Awards and Nominations: 2017 Aspen Leadership Prize, Bucharest, Romania 2011 Prix Marcel Duchamp Award, Paris* Best Dance Short Film award, Tiburon International Film Festival, California 2010 Zece pentru Romania Award by Realiatea TV 2008 Nominated for Artes Mundi Prize 3rd edition, Wales* 2004 Prix Fondation d’Entreprise Ricard award, Paris Solo Exhibitions: 2018 VNH Gallery, Paris, France Adjective to your presence, Fondation Hermès, Tokyo, Japan 2017 My Ruins are Your Flag, Fondazione Giuliani, Rome 2016 La partie invisible de l'infini , Centre Pompidou , Atelier Brancusi (France) SOLO SHOW Part III, Fondation Francès, Senlis (France) SOLO SHOW Part II, Fondation Francès, Senlis (France) SOLO SHOW Part I, Fondation Francès, Senlis (France) 5775 (Part II), Dvir Gallery, Tel Aviv (Israel) 2015 ART 45 | Unlimited, Art Basel (presented by Magazzino, Rome), Basel (Switzerland) Anthropsynaptic - performance - Musée Picasso, Paris* 5775, Dvir Gallery, Tel Aviv 2014 Selected Works, Rennie Collection, Vancouver* You Can’t Take It With You, Istitut Culturel Italien, Paris Ti do la mia giovinezza, Magazzino, Rome* 2013 Q.E.D., MNAC National Museum of Contemporary Art, Bucharest 2012 Sic Transit Gloria Mundi, Centre Pompidou, Paris* Special screenings at TIFF- Transilvania Interntational Film Festival, Cluj Napoca* Restless: film and other works, Museum of Moving Image, New York Sic Transit Gloria Mundi - MACRO Museo di Arte Contemporanea, Roma* Via dei Prefetti, 17 I - 00186
    [Show full text]