ateliereartisti2

ioan BOLBOREA

geta BRÅTESCU

alexandru CÅLINESCU-ARGHIRA

v lad CIOBANU

elena COPUZEANU

laura COVACI

mirc ia DUMITRESCU

danie la FÅINIß

theodor GRAUR

ion GRIGORESCU

viore l GRIMALSCHI

gheorghe IACOB

constant in LUCACI

su l tana MAITEC

gheorghe MARCU

viore l MÅRGINEAN

anca MUREßAN

l i la PASS IMA

romelo PERVOLOVICI

mar i lena PREDA-SÂNC

f lor ica PREVENDA

gheorghe RASOVSKI

ioana ßETRAN

doina S IMIONESCU

ana-mar ia SMIGHELSCHI

ion STENDL

s imona TÅNÅSESCU

mircea TOHÅTAN

vas i le TOLAN

iu l iana V ÎLSAN

ATELIERE DE ARTIßTID I N B U C U R E ß T I

partea a II-a

ARTISTS’ STUDIOSI N B U C H A R E S T

part II

ATELIERE DE ARTIßTID I N B U C U R E ß T I

partea a II-aE ARTIST’S STUDIOS O F B

ARTISTS’ STUDIOS INB U C H A R E S T

part II

Editor Coordonator / Coordinating Editor

Mihai OROVEANU

Grafica / Graphic Design

TANIT DESIGN

Fotografii / Photos

Mihai BRÅTESCU

Marius CARAMAN

Ion GRIGORESCU

Traian LUPE

Mihai OROVEANU

Emilian SÅVESCU

Traducere / English Version

Pr. John Downie

Procesare texte / Text processing

Mariana ßTEFAN

Procesare foto

Cristina MIRCIA

Texte critice / Critical texts

Pietro AMATO

Sebastian AMZA

Victoria ANGHELESCU

George BANU

Adriana BOTEZ-CRAINIC

Magda CÂRNECI

Cornel Radu CONSTANTINESCU

Onisim COLTA

Gheorghe CRÅCIUN

Maria Magdalena CRIßAN

C~lin DAN

Liviana DAN

Mica GHERGHESCU

Adrian GU¥Å

Dan HÅULICÅ

Rene HUYGHE

Erwin KESSLER

Aurelia MOCANU

Andrei PLEßU

Magda RADU

Pierre RESTANY

R~zvan THEODORESCU

Pierre Cornette de SAINT CYR

Nicolas SCHÖFFER

Nichita STÅNESCU

Paul ßUßARÅ

Alexandra TITU

Gerard XURIGUERA

Aducem mul]umiri colec]ionarilor, arti[tilor, criticilor de art~ [i fotografilor care au contribuit la realizarea acestei lucr~ri

We would like to thankthe collectors,artists,art critics,and photographerswho have contributed to the making of this book

Aceast~ carte – a doua având ca subiect atelierele arti[tilor

bucure[teni – apare la un an de la publicarea celei dintâi,

oferindu-ne posibilitatea de a l~rgi selec]ia, prin for]a lucrurilor

restrâns~, a arti[tilor prezenta]i cu acel prilej.

Am c~utat s~ evit~m [i de aceast~ dat~ orice sugestie de ierarhie,

s~ ocolim, în selec]ia arti[tilor, prejudec~]ile tematice sau de alt~

natur~, s~ evit~m for]ate grupaje potrivit unor afinit~]i stilistice.

Am inclus în acest al doilea volum, a[a cum am f~cut [i în primul,

arti[ti din genera]ii diferite, cu preocup~ri distincte, lucrând în

medii variate. Le-am solicitat tuturor s~ respecte un format de

prezentare uniform, care cuprinde o imagine a atelierului, câteva

lucr~ri, o informa]ie concis~ privind opera [i cariera lor [i un scurt

text de comentariu critic, ales de ei.

Am pornit, ca [i în prima edi]ie a Atelierelor arti[tilor bucure[teni,

de la ideea c~ al~turarea operei [i a locului concep]iei ei –

atelierul – care r~mâne adesea un spa]iu confiden]ial, necunoscut

publicului larg, ar putea prilejui o privire inedit~ asupra activit~]ii

arti[tilor prezenta]i. Unii dintre cei pe care i-am invitat s~ participe

la acest exerci]iu de auto-prezentare au fost mai reticen]i fa]~ de

expunerea public~ a spa]iului intim al crea]iei; am respectat

aceast~ reticen]~ [i am recurs, în cazul lor, la portrete fotografice.

Nu este o carte destinat~ speciali[tilor, ci unui public mai larg

interesat de arta actual~, c~ruia unii dintre arti[tii prezenta]i aici îi

sunt, poate, mai pu]in cunoscu]i. Am fost [i r~mânem anima]i de

dorin]a de a ar~ta cât de divers~ [i de bogat~ este scena artistic~

bucure[tean~ [i sper~m c~ îi vom convinge de acest lucru pe cei

care vor r~sfoi albumul.

ING Bank România [i-a dovedit o dat~ în plus generozitatea [i

interesul pentru art~, catalizând [i sprijinind apari]ia acestui volum.

Le exprim~m întreaga noastr~ recuno[tin]~.

Mihai OROVEANU

A r t i s t s ’ s t u d i o s i n B u c h a r e s t

It’s been a year since the publication of the first book that

presented artists living and working in Bucharest and their

studios. This second volume is an occasion to expand the

inevitably limited selection presented in the first issue.

As with the first volume, we tried to avoid here as well any

suggestion of hierarchies, to stay away from thematic and other

prejudices, from contrived groupings by affinities. We included in

this second volume, as we did in the first, artists belonging to

different generations, having distinct concerns, and working in

various media. They were all asked to conform to a similar

manner of presentation, consisting of an image of their studio, a

selection of their works, a brief information note on their work

and career, and an excerpt from a text commenting their work,

chosen by themselves.

Our starting point was the idea that setting the works in the

proximity of the place where they are being conceived – the

studio – which is frequently a place of seclusion, unknown to the

general public, may shed an unexpected light on the activity of

the artists presented here. Among those we invited to this

exercise in self-presentation, some expressed their reticence

towards public exposure of the intimate space in which their

work is being conducted. We respected this reserve, and

resorted, in their case, to photographic portraits.

This is not a book aimed at specialists; it addresses a larger public

interested in present art, to which some of the artists shown here

may be insufficiently known. Our wish has been to show the

richness and diversity of the Bucharest art scene, and we hope that

it will become apparent to those who will leaf through this album.

ING Bank Romania has demonstrated once again its generosity

and its constant interest for art, by encouraging and supporting

the publication of this volume. They have our gratitude.

Mihai OROVEANU

Într-o ]ar~ [i într-o vreme în care monumentele de for public

turnate în bronz se rânduiesc, mai curând cumin]i, în tipologii

bine [tiute [i demult v~zute, a fost o noutate pe care am

salutat-o cu entuziasm [i am sprijinit-o pe cât am putut, crea]ia

lui Ioan Bolborea. L-am cunoscut prin „Monumentul infanteriei"

de la ßosea, aidoma unei plato[e - turn care respir~ for]~ pe

paji[tea înverzit~ unde a fost în~l]at~. L-am reg~sit v~zându-l cum

lucra cu fervoare [i d~ruire la „Arcul de Triumf" într-un parc

ar~dean, unde sculptura era voit pus~ în slujba unei idei politice

generoase, cea a reconcilierii între dou~ popoare vecine. Aici

Bolborea a gândit mariajul fericit al pietrei cu bronzul, într-o

compozi]ie dinamic~ care trebuia s~ fie, în contrast cu o foarte

academic~ lucrare de acum mai bine de un secol, o ilustrare

modern~ a luptei ardelenilor [i b~n~]enilor, a muntenilor [i a

moldovenilor pentru mult dorita Unire: figuri modelate nervos,

adunate într-un energic [uvoi, aidoma unei cavalcade venind din

trecut c~tre noi, reliefuri puternice evocând figuri notabile [i

momente memorabile ale istoriei na]ionale. Bolborea, creator al

unei opere sculpturale din ce în ce mai omniprezente [i mai

proprie spa]iului public se v~de[te a fi, deopotriv~, un

monumentalist [i un orfevru. Bronzurile sale, patinate cu migal~,

au pre]iozit~]i de bijuterie, sugerând uneori patina aurului vechi,

cu model~ri savante [i subtile de la decorativele miriapode la

puternicele [i geometricele siluete ale unui proiect de

„monument al unirii" pe care l-am v~zut de curând, menit a

mobila fericit, în desf~[ur~ri concentrice, o pia]~ a Capitalei.

Dar sigur este c~ opera care îl va face pe Bolborea s~ fie

pretutindeni cunoscut [i renumit va fi o superb~ [i nebuneasc~

„C~ru]~ cu actori", care la dimensiuni neobi[nuite va aduna în

str~vechiul vehicol al histrionilor lumii, pe esplanada Teatrului

Na]ional bucure[tean, câteva zeci de personaje lesne

recognoscibile, mon[tri sacri ai scenei române[ti, ca un memento

nepieritor ridicat pentru to]i cei pe care genera]ii de români i-au

aplaudat frenetic decenii de-a rândul.

Slujind cu mijloacele sale plastice istoria [i cultura na]ional~,

Ioan Bolborea îmi pare a fi artistul cet~]ii de care avem ast~zi

atâta nevoie.

Academician R~zvan THEODORESCU

In a country and time where bronze public monuments are usually

well behaved, in well known and long seen typologies, the work of

Ioan Bolborea was something new; I greeted it with enthusiasm

and supported it as much as I could. I encountered him through

“The Monument to Infantry” - on the boulevard, the very image of

a coat of mail – a tower that breathes force on the green clearing

where it was raised. I met him again, noticing the fervor and self-

abandonment with which he worked on the “Arch of Triumph” in

a park in Arad, where the sculpture was put in the service of a

generous political idea, that of the reconciliation of two

neighboring peoples. Here Bolborea contrived the joyous marriage

of rock and bronze, in a dynamic composition that had to be, in

contrast with a very academic piece from more than a century ago,

a modern illustration of the battle of the peoples from Ardeal and

Banat, Muntenia and Moldova for their longed for Union: figures

forcefully formed, gathered in an energetic torrent, the very picture

of a mounted procession coming towards us from the past,

powerful reliefs evoking notable figures and memorable moments

of our national history. Bolborea, the creator of ever more

omnipresent works of sculpture pertaining to public space, has

shown himself to be, at the same time a monumentalist and a

goldsmith. His bronze works, scrupulously plated, are precious

like jewelry, sometimes suggestive of ancient gold plating, with

ingenious and subtle forms, from the decorative centipede to the

powerful geometric silhouette of a project for “the moment of

union” which I have recently seen, intended to embellish, in

concentric trajectories, one of the city squares of the Capital.

But surely the work that will make Bolborea famous and known

for all times is the crazy and superb “C~ru]a cu Actori”; -

”Actors’ Carriage”, with its unusual dimensions, will gather into

the old vehicle the world’s histrions on the promenade of the

National Theater of Bucharest, as a timeless memento raised for

those whom Romanians have frenetically applauded for

generations, for decades on end.

Serving history and national culture through graphic means, Ioan

Bolborea seems to me to be the kind of artist the city needs so

much in our times.

R~zvan THEODORESCU, Member of the Academy


5

ioan BOLBOREA

6

Ioan BOLBOREA

Miriapod 6 / Myriapode 6Bronz / Bronze

Ioan BOLBOREA

Roata / WheelBronz / Bronze

Ioan BOLBOREA


Ioan BOLBOREA


Ioan BOLBOREA

Roata 2 / Wheel 2Bronz / Bronze

Ioan BOLBOREA


Ioan BOLBOREA

N~scut în martie 1956 în Bra[ov

Studii

1981 Absolvent al „Institutului de Arte Plastice Nicolae Grigorescu”

Cluj, sec]ia Sculptur~

Expozi]ii personale - selec]ie

1982 Sala Orizont / Atelier 35 Bursa de studii Perugia / Italia:

lemn, bronz, sticl~

1988 Sala Galateea, Bucure[ti

1992 Sala Simeza, Bucure[ti

Expozi]ii colective - selec]ie

1980 Galeria Amfiteatru, Bucure[ti

1982 „Expresia corpului uman”, Sala Kalinderu, Bucure[ti

1983 „Locul, fapta [i metafora”, Muzeul Satului, Bucure[ti

Atelier 35, Bucure[ti

1988 „Dantesca”, Ravenna, Italia

1992 Expo'92, Sevilla, Spania

1994 „Sculptura Mic~”, Galeria Orizont, Bucure[ti

1995 „Pictori [i sculptori contemporani” Muzeul de Art~ al României,

Bucure[ti

1997 „Sculptura Mic~”, Galeria Orizont, Bucure[ti

Tabere - selec]ie

1982 Tab~ra de sculptur~, M~gura

1983 Tab~ra de sculptur~, Str~ule[ti

Burse

1982 Burs~ de studii, Perugia, Italia

1983 Burs~ de studii, Roma, Italia

Adresa: Str. Ceasornicului, nr. 12 C, sector 1 Bucure[ti, Romania

Atelier: Drumul S~b~reni, nr. 167-173, sector 6, Bucure[ti, Romania

Tel.: 0040 21 2217722

E-mail: [email protected]

www.bolborea.ro

Ioan BOLBOREA

Born in Bra[ov in March, 1956

Education1981 Graduated Nicolae Grigorescu’s Institute of Fine Art in Cluj,

sculpture

Selected Solo Exhibitions1982 Orizont / Studio 35, Perugia scholarship / Italy:

wood, bronze, glass1988 Galateea Hall, Bucharest1992 Simeza Hall, Bucharest

Selected Group Exhibitions1980 Amphitheater Gallery, Bucharest 1982 “The Expression of the Human Body”, Kalinderu Hall,

Bucharest1983 “The Place, Fact and Metaphor”, the Village Museum,

Bucharest Studio 35, Bucharest1988 “Dantesca”, Ravenna, Italy1992 Expo ’92, Sevilla, Spain1994 “Small Sculpture”, Orizont Gallery, Bucharest1995 “Contemporary Painters and Sculptors”, The Romanian Art

Museum, Bucharest1997 “Small Sculpture”, Orizont Gallery, Bucharest

Art Camps1982 Sculpture camp, M~gura1983 Sculpture camp, Str~ule[ti

Scholarships1982 Perugia, Italy1983 Rome, Italy

Address: 12C, Ceasornicului St., Bucharest 1, RomaniaStudio: 167-173, Drumul Sabareni St., Bucharest 6, RomaniaPhone: 004 021 2217722e-mail: [email protected]


9

For Geta Br~tescu the notion of "immediacy" was felt to be

problematic in her surrealist attempt of achieving the same

spontaneity in painting and drawing as in writing, because this

equivalence is rendered impossible by the intervention of memory.

Geta Br~tescu seeks to surpass this difficulty by incorporating in

her “automatic” drawings the emergence of forms, as the hand

strives to record what gradually comes to mind, in a movement

that cannot and will not let go its creative impetus.

The artist has evinced a constant preoccupation with the idea of

process in art. One of her most emblematic works is her installation

Towards White (1976), in which several artistic ideas, previously

developed, are made to converge into a unique synthesis. The

series of photo actions show the artist and the surrounding space

of the studio being gradually covered in white, a transformation of

the interior that brings to mind Kurt Schwitters’ constructivistic

assemblage of white wood and plaster – Merzbau.

Many of Geta Br~tescu’s works are concerned with the idea of

artifice. For her, this concept is of primary importance for

understanding art and human creativity in general. Many of her

works evince the artificiality inherent in them, seizing the transitory

movement from nature to culture.

Geta Br~tescu is caught in a contradictory movement that discloses

the artificiality of the artist’s persona and at the same time

acknowledges its inevitability. Particularly revealing in this sense are

the objects which feature her impersonal, mask-like face,

accentuating or downplaying the presence of the artifice. In other

examples, fragments of her face appear in various combinations

with other materials taken from the daily life, building up

heterogeneous objects or collages that are often assembled with a

sense of play and humor, conjuring the viewer’s participation. As

elsewhere, she seems to move from seriousness to humor, from

gravity to the game of nonchalant fantasy and caprice, from

conceptual rigor to unstoppable invention.

Magda RADU

Accep]iunea suprarealist~ a ob]inerii unei spontaneit~]i egale în

desen [i pictur~ ca în scris este problematic~ pentru Geta

Br~tescu, deoarece exigen]a «imediate]ei» este bruiat~ de

intruziunea memoriei. Artista dep~[e[te aceast~ dificultate,

încorporând în desenul «automatic» emergen]a formelor atunci

când mâna transcrie ceea ce îi dicteaz~ mintea, într-o mi[care

care nu renun]~ la imboldul ei creator.

Artista a demonstrat o preocupare permanent~ pentru

procesualitate. Una din lucr~rile ei emblematice este instala]ia

C~tre alb (1976) în care mai multe idei artistice dezvoltate

anterior converg într-o sintez~ unic~. În seria de fotografii alb-

negru artista este treptat acoperit~ de alb, absorbit~ de spa]iul

înconjur~tor al atelierului supus aceleia[i metamorfoze c~tre alb –

o transformare a interiorului care ne aminte[te de Merzbau,

asamblajul constructivist al lui Kurt Schwitters.

Multe din lucr~rile Getei Br~tescu pornesc de la ideea de artificiu.

Pentru ea, conceptul este de o importan]~ central~ în în]elegerea

artei [i a creativit~]ii în general. Multe din lucr~rile ei surprind

artificialitatea lor inerent~, captând mi[carea tranzitorie de la

natur~ la cultur~.

Geta Br~tescu este prins~ într-o mi[care contradictorie, devoalând

artificialitatea [i admi]ând în acela[i timp inevitabilitatea ei.

Revelatoare în acest sens sunt obiectele cu chipul ei ca o masc~,

accentuând sau diminuând prezen]a artificiului. În alte exemple,

tr~s~turi ale chipului ei sunt combinate cu materiale din via]a

cotidian~, construind obiecte compozite sau colaje care sunt

asamblate de multe ori cu umor, c~utând participarea privitorului.

Ca în alte rânduri, artista trece de la seriozitate la umor, de la

gravitate la fantezie non[alant~ [i capriciu, de la rigoare

conceptual~ la inventivitate de neoprit.

Magda RADU


11

geta BRÅTESCU

Geta BRÅTESCU

C~tre alb / Towards WhiteFotografii pe suport textil /Photographs on canvas1976

Geta BRÅTESCU

Surâsul / SmileFotografii, tifon, tempera, ipsos /Photographs, tempera, gauze, plaster 1978

Geta BRÅTESCU

AthanorTehnic~ mixt~, colaj / Mixed media1974

13

Geta BRÅTESCU

Doamna Oliver [i Cavalerul Thonet / Lady Oliver and Sir Thonet

Instala]ie / Installation1991

14

Geta BRÅTESCU

Autoportret în oglind~ /Self-portrait in the mirror

Tehnic~ mixt~ / Mixed media 1985

Geta BRÅTESCU

Compozi]ie /CompositionColaj / Collage2005

Geta BRÅTESCU

Nud pe sofa / Nude on the sofaObiect / Object1991

Geta BRÅTESCU

N~scut~ în 1926

Începutul anului 1946 "Expozi]ia oficial~ de Grafic~ Alb [i Negru",

Sala Dalles, Bucure[ti


1975 "Studio 3. Towards White", Galeria Galateea, Bucure[ti [i

Accademia di Romania, Roma

1980 Colec]ia Michael Winter, Hamburg, cu albumul de litografii

"Mythology"

1981 "Portretele Medeei", Galeria Simeza, Bucure[ti

1992 "Miturile [i pove[tile Getei Br~tescu". Muzeul Universit~]ii

din Missouri, Columbia, U.S.A

1999-2000 "Retrospectiv~", Muzeul Na]ional de Art~, curator

Ruxandra Balaci

2006 HT003 Gallery, curator Teodor Graur

2008 Galerie în Taxispalace, Innsbruck

Expozi]ii de grup - selec]ie

1974 "Arta [i Energie", New Gallery, Bucure[ti

1991 "Cartea-obiect", Muzeul de Art~ al Colec]iilor, Bucure[ti

"Sexul lui Mozart", Artexpo, Bucure[ti

1993 "Ex Oriente Lux", Sala Dalles, Bucure[ti

1996 "Experiment în Arta Româneasc~ dup~ 1960", Bucure[ti,

curator Alexandra Titu

2000 "In Full Dress", Muzeul Brukhental, Sibiu, curator Liviana Dan

2001 "Transitionland", Muzeul Na]ional de Art~,

curator Ruxandra Balaci

2007 "Geta Br~tescu [i Ion Grigorescu. Resurse", MNAC, Bucure[ti,

curator Ruxandra Balaci [i Magda Radu

Expozi]ii de grup [i interna]ionale - selec]ie

1965, 1969 A doua [i a patra Bienal~ Interna]ional~ de

Tapiserie, Lausanne

1983, 1987 Bienala de la Sao Paolo, Brazilia

1984 Bienala European~ de Gravur~, Fredrikstad, Norway

1993 "OSTranenie"- Primul festival interna]ional video de la

Bauhaus, Dessau

1994 "Europa, Europa", Bonn, Germania

2000 „Arta Europei de Est în dialog cu Occidentul. De la 1960 pân~

în prezent“, Moderna Galerija, Ljubljana, curator Zdenka

Badovinac

2002 "În c~utarea Balcaniei", Neue Galerie Graz, curator

Roger Conover. Eda Cufer, Peter Weibel

Premii - selec]ie

1993 Premiul "Ion Andreescu" decernat de Academia Român~

2008 Premiul na]ional pentru arte vizuale

Adresa: Str. Sp~tar Milescu nr.26, Bucure[ti, România

Tel: 0040 21 653 2182, 0040 21 653 8522

Geta BRÅTESCU

Born in 1926

1946 Debut, "The Official Exhibition of Black and White Graphics", Dalles Hall, Bucharest

Selected Solo Exhibitions1975 "Studio 3. Towards White", Galateea Gallery and Accademia di

Romania, Roma1980 Michael Winter Collection, Hamburg, with the lithograph

album "Mythology"1981 "Medeea's Portraits", Simeza Gallery, Bucharest1984 "I have drawn for Faustus", Culture House of West

Germany, Bucharest1992 "The Myths and Stories of Geta Br~tescu". Museum of Art

and Archeology, University of Missouri, Columbia, U.S.A 1999-2000 - "Retrospective", National Museum of Art, curator

Ruxandra Balaci2006 HT003 Gallery, curator Teodor Graur2008 Galerie im Taxispalais, Innsbruck

Selected Group Exhibitions1974 "Art and Energy", New Gallery, Bucharest1991 "Book-object", Museum of Art Collections, Bucharest

"Mozart's Sex", Artexpo, Bucharest1993 "Ex Oriente Lux", Dalles Hall, Bucharest1996 "Experiment in Romanian Art after 1960", Bucharest,

curator Alexandra Titu 2000 "In Full Dress", Brukhental Museum, Sibiu, curator

Liviana Dan2001 "Transitionland", National Museum of Art, curator

Ruxandra Balaci2007 "Geta Br~tescu and Ion Grigorescu. Resources", MNAC,

Bucharest, curator Ruxandra Balaci and Magda Radu

Selected Group Exhibitions - International Exhibitions1965, 1969 2eme et 4eme Biennale Internationale de la

Tapisserie, Lausanne1983, 1987 Sao Paolo Biennial, Brasil1983 European Biennial of Engraving, Baden-Baden, Germany1984 European Biennial of Engraving, Fredrikstad, Norway1993 "OSTranenie"- 1st International Video Festival at the

Bauhaus, Dessau1994 "Europa, Europa", Bonn2000 "The Art of Eastern Europe in Dialogue with the West.

From the 1960s to the Present", Moderna Galerija, Ljubljana, curator Zdenka Badovinac

2002 "In Search of Balkania", Neue Galerie Graz, curators Roger Conover, Eda Cufer, Peter Weibel

Awards and Honors1993 "Ion Andreescu" prize awarded by the Romanian Academy 2008 National Award for Visual Arts

Address: 26, Sp~tar Milescu St., Bucharest, RomaniaPhone: 0040 21 653 2182, 0040 21 653 8522


15

„Opera realizat~ la Olimpiada Artelor de la Seul, cu materialenaturale - p~mânt, iarb~, ap~, pietre de râu - î[i trage for]a dinmarea puritate a liniilor în~l]ate c~tre cer, o adev~rat~ sfidare alegilor gravita]iei, [i aduce un plus peisajului, integrându-se totodat~de o manier~ simpl~ [i armonioas~. Deplina reu[it~ a acestei opere ne d~ speran]a [i previziunea unuiviitor str~lucit acestui artist sobru [i original, a c~ruimonumentalitate este deja recunoscut~.”

Nicolas SCHÖFFER sculptor, membru al Academiei Franceze Paris

„Lucr~rile sale sunt dominate de o înclina]ie nativ~ c~tre arhitectur~în majoritatea cazurilor bazat~ pe o tehnic~ de asamblaj.Este mai degrab~ un dialog constant cu p~mântul, cerul [i lumina,în consecin]~ o adaptare foarte personal~ a spa]iului natural dat,acolo unde relieful topografic convoac~, printr-o ambian]~particular~, o nou~ percep]ie a spa]iului deschis.”

Gerard XURIGUERA, critic de art~

„Arghira este un sculptor care porne[te de la un neo-realism foartemodern, dar curios, traversat de inspira]ii medievale ce exprim~tendin]ele revenirii la spiritualitate a tinerei genera]ii.”

Rene HUYGHE, membru al Academiei Franceze

„L-am cunoscut cu ani în urm~ pe Arghira participând la un simpozionde sculptur~ în marmur~ într-un mic or~[el din sudul Fran]ei. Opera saa fost pentru mine o fericit~ cunoa[tere - un soi de revela]ie - aceeaa unei monumentalit~]i intrinseci - a unui talent înn~scut pentrucontrolul volumelor. Firesc - la el m-am gândit pentru Parcul Olimpicdin Seul - 1988.Sculptura tobogan - asamblaj în form~ de coad~ de rândunic~ - afost primit~ cu mare entuziasm de c~tre oficialita]i coreene [iconstituie una din celebrit~]ile Parcului.Arghira apar]ine de acum inspiratei familii a sculptorilor arhitec]i - aarti[tilor publici al c~ror rol este de a „însemna locul” [i de atransmite taina genera]iilor viitoare. Construc]iile sale acoperite cuun ve[mânt de iarb~ - reprezint~ monumentele megalitice [imenhirele modernit~]ii noastre.”

Pierre RESTANY, „Megalitice [i Menhire ale Modernit~]ii”, Paris

“The work realized at the Art Olympics of Seoul, in naturalmaterials – earth, grass, water, river stones – draws its power fromthe purity of lines raised to heaven, a true defiance of the laws ofgravity, and brings something new to the landscape while at thesame time being integrated itself in a simple and harmoniousmanner. The achievement of this work gives us the hope and thepremonition of a radiant future for this sober and original artist,whose monumentality is already recognized.”

NIicolas SCHÖFFER, sculptor, Member of the French Academy, Paris.

“His works are dominated by an inborn inclination towardsarchitecture, based on the technique of assembling.It is more like a constant dialogue with the earth, sky and light,and consequently a very personal adaptation of the naturally givenspace, where the topographic relief occasions a new perception ofopen space through a particular treatment of the environment.

Gerard XURIGUERA, art critic

“Arghira is a sculptor that starts from a very modern neo-realism,but curiously, marked by a medieval inspiration which expressesthe tendency to return to spirituality of the young generation.”

Rene HUYGHE , Member of the French Academy

“I met Arghira years ago, when he took part in a marble sculpturesymposium in a small town in southern France. For me his work was ajoyful encounter – a kind of revelation of an intrinsic monumentality –a native talent for the control of volume. Naturally – it was of him thatI thought for the Olympic Park in Seoul, 1988.The slide sculpture – an assembly in the form of a swallow’s-tail,was received with great enthusiasm by the Korean officials and isone of the celebrities of the Park.Arghira belongs to the inspired family of the sculptors architects –of public artists whose role is to “mark the place” and to transmitits mystery to the future generations. His constructions coveredwith grass represent the megalithic and monolithic monuments ofour modernity.

Pierre RESTANY, “Modernity’s Megaliths and Monoliths”, Paris


17

alexandru CÅLINESCU-ARGHIRA

Alexandru CÅLINESCU-ARGHIRA

Pat nup]ial pentru doi copaci,Oloron, Fran]a / Wedding bed for two treesOloron, France1990


Parcul olimpic,Seul, Coreea de Sud / The Olympic Park, Seoul, South Korea1987



Trecerea albastr~,Madrid, Spania / Blue Passage, Madrid, Spain1992


Salzburg, Austria 1992

20


Trecerea albastr~ (detaliu),Madrid, Spania /Blue Passage (detail),Madrid, Spain1992


Como, Italia / Como, Italy1986


N~scut în 1935 în Bucure[ti

Studii

1962 Absolvent al Academiei de Art~ Bucure[ti

1968 Membru al Uniuni Arti[tilor Plastici din România

1983-1985 Bursa - atelier la "Cite internationale des Arts", Paris

1990-1991 Bursa - atelier a ora[ului Mannheim, Germania

1991 Membru de onoare al Academiei de Art~, Madrid


1968, 1971, 1974, 1982, 1993 - la Galeria "Simeza", Bucure[ti

1970 Galeria de art~ modern~ "Gaeta", Italia

1984 Cite Internationale des Arts, Paris, Fran]a

1985 Galeria "Nora" Heilbron, Germania

1991 Kulturzentrum Mannheim, Germania


1970, 1985 Bienala Interna]ional~ de Sculptur~ "Funda]ia Pagani",

Milano, Italia

1971 Salonul tinerei sculpturi, Paris, Fran]a

1983 Edi]ia a VI-a a Bienalei Interna]ionale de Sculptur~, Ravena,

Italia

1984, 1985 Expozi]ia Interna]ional~ organizat~ de Cité Internationale

des Arts, Paris, Fran]a

1985 Art~ contemporan~ româneasc~, Stuttgart, Germania

A II-a Expozi]ie Interna]ional~ de Sculptur~ Mic~,

"Funda]ia Pagani", Milano, Italia

1985 A X-a Bienal~ Intera]ional~ de la Cannes, Fran]a

1986 Al XV-lea salon Interna]ional de Art~ Contemporan~ de

la Nisa, Fran]a

1987 Expozi]ia Interna]ional~ de Sculptur~ Centrul Olimpic,

Seul, Coreea de Sud

1992 Art~ Contemporan~ Româneasc~, Barcelona, Spania

1998 Expo "Dante în România" Sala Apolo, Bucure[ti

Premii - selec]ie

1985 Premiul de sculptur~ la a XV - lea Salon Interna]ional al

Funda]iei Michelangelo - Corsica

Crucea de Argint pentru merit [i devotament francez

1996 Premiul pentru sculptur~ la "Grand Prix", Nisa, Fran]a

Premiul I pentru sculptur~ la simpozionul Interna]ional

de la Pognana Lario (Como), Italia

1991 Premiul Uniunii Arti[tilor Plastici din România pentru

sculptur~ monumental~

2000 Ordinul na]ional pentru merit în grad de Comandor

conferit prin decret preziden]ial

Lucr~ri în colec]ii

România, Belgia, Austria, Bulgaria, Fran]a, Italia, Polonia,

Germania, Suedia, Cehoslovacia, Turcia, Canada, Statele Unite.

Adresa: B-dul. Ion Mihalache, nr. 158, bl. 4. sc. D, ap. 102, sect. 1, C.P.32415, Bucure[ti, Romania

Tel: 0040 21 352 2425 Mobil: 0040 744 138 565e-mail: [email protected]


Born in Bucharest, 1935

Education1962 Graduates from the Art Academy of Bucharest1968 Member of the Artists’ Union of Romania1983-1985 Scholarship – studio at the “Cité internationale des Arts”, Paris1990-1991 Scholarship – studio in Mannheim, Germany1991 Honorary Member of the Art Academy of Madrid

Selected Solo Exhibitions1968, 1971, 1974, 1982, 1993 at the “Simeza”Gallery, Bucharest1970 The Modern Art Gallery “Gaeta”, Italy1984 Cité Internationale des Arts, Paris, France1985 “Nora” Gallery, Germany

Dresdener Bank – Winnenden, Germany 1991 Kulturzentrum Mannheim, Germany

Selected Group Exhibitions1970, 1985 International Biennial of Sculpture “Fondazione Pagani”,

Milan, Italy1971 Salon of Young Sculptors, Paris, France1983 The 6th edition of the International Biennial of Sculpture,

Ravenna, Italy1984,1985 – The International Exhibition organized by

Cité Internationale des Arts, Paris, France1985 The Exhibition of Contemporary Romanian Art, Stuttgart, Germany

The 2nd International Exhibition of Small Sculpture, “Fondazione Pagani” Milan, Italy

1985 The 10th International Biennial, Cannes, France1986 The 15th International Salon of Contemporary Art, Nice, France1987 The International Exhibition of Sculpture, the Olympic

Center, Seoul, South Korea1992 Exhibition of Contemporary Romanian Art, Barcelona, Spain1998 Exhibition “Dante in Romania” Apolo Hall, Bucharest

Awards and Honors1985 Prize for sculpture of the Michelangelo Foundations 15th

International Salon, Corsica, Croix d’argent pour le mérite, France

1996 Prize for sculpture at the “Grand Prix”, Nice, France1st prize for sculpture at the International Symposiumat Pognana Lario (Como), Italy

1991 Prize of the Romanian Artists’ Union for monumental sculpture2000 National order for merit in the rank of commander

Works in CollectionsRomania, Belgium, Austria, Bulgaria, France, Italy, Germany, Sweden, Czechoslovakia, Turkey, Canada, the United States.

Home adress: 158, Ion Mihalache Blvd, Bucharest 1, RomaniaC.P. 32415

Home phone: 0040 21 352 2425Mobile: 0040 744 138 565email: [email protected]


21

Vlad Ciobanu [i-a însemnat decis locul în arta noastr~ de ast~zi.

Înc~ de la prima lui expozi]ie personal~, cea de la Galeria Simeza,

eveniment amânat mult~ vreme [i, poate, nu f~r~ o anume strategie, [i

pân~ ast~zi, el s-a manifestat constant ([i compensatoriu!), deopotriv~

ca sculptor [i desenator, oferind, dintr-o dat~, un spa]iu de referin]~

mult mai larg [i o baz~ de discu]ii extins~ [i ea în consecin]~. De[i

nu s-a remarcat printr-o activitate expozi]ional~ ostentativ~,

sus]inut~ ritmic [i bogat~ cantitativ, Vlad Ciobanu a avut grij~ s~-[i

construiasc~ una solid~, profund~ [i foarte diversificat~.

Mai întâi, diversitatea vine din îns~[i coabitarea sculpturii cu desenul

[i din faptul c~ ambele se sprijin~ pe proiecte teoretice [i pe tensiuni

mentale mereu surprinz~toare. Ceea ce se poate constata, îns~, înc~

de la primul contact cu arta lui Vlad Ciobanu, este determinismul

doar aparent în rela]ia desen-sculptur~ sau invers, în esen]~ fiecare

dintre limbaje având un statut de sine st~t~tor.

...

Oscilând între monumentalismul imaginii [i grija pentru detaliu, între

pura expresivitate [i retorica intrinsec~ a motivului, Vlad Ciobanu

sugereaz~ [i cel de-al doilea nivel al diversific~rii deja amintite; acela

formal, care determin~, pân~ la un punct, chiar anumite oscila]ii

stilistice. Chiar dac~ diferit~ în esen]~, sculptura se înscrie [i ea cam

în acela[i scenariu. Diversitatea ei material~ [i formal~ arat~, ca [i în

cazul desenului, dac~ nu o continu~ mobilitate a proiectului, oricum

o anumit~ stare de urgen]~ în ceea ce prive[te nevoia de a r~spunde

unor solicit~ri interioare cu o discontinuitate bine controlat~.

Modelator [i cioplitor în aceea[i m~sur~ – de altfel gipsul, bronzul [i

lemnul au în proiectul s~u o prezen]~ aproape egal~ – Vlad Ciobanu

încearc~ s~ imprime fiec~rui material, prin tehnicile specifice, forma

optim~ care deriv~ din îns~[i natura lui.

Vlad Ciobanu are un demers implicat [i sobru, înc~rcat de sensuri [i

purt~tor de mesaje, ceea ce-l face s~ par~ u[or mefient în fa]a

virtualit~]ii formei, tenta]ia fiind aceea de a o alege pe cea mai pu]in

riscant~ [i cu [ansele cele mai mari de a fi imediat acceptat~.

Rezultatul este o permanent~ aspira]ie spre clasicism, spre forma

viguroas~ [i a[ezat~ ferm, în pofida faptului c~ acest vis cere uneori

sacrificii; de imagina]ie [i de spontaneitate, în primul rând.

Pavel ßUßARÅ

Vlad Ciobanu has decidedly marked his place in our

contemporary art. From his very first personal exhibition at the

Simeza Gallery, a long delayed event, (perhaps due to some

strategy on his part) he has consistently manifested himself as

both sculptor and master of drawing, offering, at the same time,

a very expansive space for reference and an extensive basis for

discussion as a consequence. Though he has not made his mark

through ostentatious exhibition of his works, rhythmically

sustained and quantitatively rich, Vlad Ciobanu took care to build

his mark solidly, profoundly and in a very diversified manner.

First, the diversity comes from the very cohabitation between

sculpture and drawing and from the fact that both are supported by

theoretical projects and mental tensions that are always surprising.

What can be verified, however, from the first contact with the art of

Vlad Ciobanu, is the merely apparent determinism in the relationship

between drawing and sculpture or conversely, in essence each of the

mediums having a self-sustaining status.

...

Oscillating between the images’ monumentality and the care for

detail, between pure expressiveness and the intrinsic rhetoric of

the motif, Vlad Ciobanu suggests the second level of the

diversification already mentioned; the formal one, that

determines, up to a point, certain stylistic oscillations.

Even if different in essence, sculpture is also included in the same

scenario. Its material and formal diversity, as is the case with

drawing, continues, if not the mobility of the project, a certain state

of urgency regarding the need to respond to interior urges with a

well controlled discontinuity. A carver and one who models at the

same time – so that the plaster, bronze and wood have an almost

equal presence in his projects – Vlad Ciobanu attempts to impress

each kind of material through specific techniques, with the

optimum form that comes from its own nature.

Vlad Ciobanu has a serious and sober approach, loaded with

meaning and messages, which makes him appear slightly bearing

towards the form’s virtualities, the temptation being to choose

what is less risky, more likely to be immediately accepted. The

result is a permanent aspiration towards classicism, towards

vigorous and firmly placed forms, in spite of the fact that this

vision sometimes asks for sacrifice; that of imagination and of

spontaneity, first of all.

Pavel ßUßARÅ


23

vlad CIOBANU

24

Vlad CIOBANU

Trecere (Dante [i Virgiliu) /Passage (Dante and Virgilius)

Bronz / Bronze1987

Vlad CIOBANU

BrâncoveanuLut / Clay1986


Vlad CIOBANU

Deal (Peisaj) / Hill (Landscape)Piatr~ / Stone

1982

Vlad CIOBANU

Punte / BridgeTab~ra S~li[te / S~li[te Camp

Lemn / Wood1983

26

Vlad CIOBANU

Inhotep Hereke, Turcia / Hereke, TurkeyMarmur~ / Marble103 x 200 cm 2007

Vlad CIOBANU

Personaje mitice / Mythical FiguresBronze / Bronze2004

Vlad CIOBANU

N~scut la 11 aprilie 1948 în comuna Punge[ti, jude]ul Vaslui

StudiiSculptura - Institutul de Arte Plastice "N. Grigorescu" Bucure[ti

Expozi]ii personale1997, 2001 Galeria Simeza2004 Galeria „Artis"

Expozi]ii de grup - selec]ie1982 "Sec]iuni în atelier", Galeria Orizont, Bucure[ti1983 "Locul - fapta [i metafora", Muzeul Satului, Bucure[ti1999 "51 arti[ti contemporani", Galeriile Artexpo, Bucure[ti

Expozi]ii române[ti în str~in~tate - selec]ie1985 Rotterdam, Olanda; Milano, Italia1992 Sevilla, Spania1993 Muzeul Na]ional, Belgrad, Serbia1996 "Desene de sculptori", Budapesta, Ungaria2004 Belgrad, Serbia; Sofia, Bulgaria

Viena, Austria; Berlin, Germania; Strassbourg, Fran]a;

Concursuri interna]ionale - selec]ie1984 Concursul interna]ional de desen "Juan Miró",

Barcelona, Spania1984 Concursul interna]ional de sculptur~ mic~ - bronz "Dantesca",

Ravenna, Italia1985, 1986 Concursul interna]ional de pictur~ [i desen

"Amici del Ponero" – Milano, Italia1990 Bienala de sculptur~ mic~, Budapesta, Ungaria

Simpozioane na]ionale - selec]ie: 1981 Hobi]a, Gorj1982 S~li[te, Sibiu1983 M~gura, Buz~u1984 C~soaia, Arad1986, 1990, 1996 Oarba de Mure[1991 Centrul "George Apostu", Bac~u2005 Ipote[ti, Boto[ani2006 Negre[ti, Oa[

Simpozioane interna]ionale - selec]ie1994 Bor, Yugoslavia2001 Trojan, Bulgaria; Uzice, Serbia2003 Trojan, Bulgaria2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania2005 "Constantin Brâncu[i", Tg. Jiu

Monumente - selec]ie„Eroul Necunoscut”, Alexandria„Regele Ferdinand”, Alba Iulia“Dimitrie Cantemir”, One[ti, Bac~u

Premii1985 Premiul Concursului pentru Desen [i Sculptur~

"Amici del Pomero", Milano, Italia1999 Premiul Uniunii Arti[tilor Plastici pentru Art~ Ambiental~ 1999 Medalia de aur "Dantesca", Ravenna, Italia2005 Premiul Uniunii Arti[tilor Plastici pentru Sculptur~

Atelier: C~derea Bastiliei nr. 24, s 1, Bucure[ti, Romaniae-mail: [email protected]

Vlad CIOBANU

Born in the village of Pungesti, Vaslui on April 11th, 1948

EducationSculpture – The Institute of Fine Art, Nicolae Grigorescu, Bucharest

Selected Solo Exhibitions1997, 2001 Simeza Gallery, Bucharest2004 Artis Gallery, Bucharest

Selected Group Exhibitions1982 “Sections of a studio”, Orizont Gallery, Bucharest1983 “Place – Fact and Metaphor”, Village Museum, Bucharest1999 “51 Contemporary Artists”, Artexpo Gallery, Bucharest

Selected Romanian Exhibition in foreign countries 1985 Rotterdam, Holland; Milan, Italy1992 Seville, Spain1993 The National Museum, Belgrade, Serbia1996 “Sculptors Drawings”, Budapest, Hungry2004 Belgrade, Serbia; Sophia, Bulgaria;

Vienna, Austria; Berlin, Germany; Strassbourg, France;

Selected International Exhibition1984 The “Juan Miró” International drawing competition

Barcelona, Spain1984 The “Dantesca” International small bronze sculpture competition,

Ravenna, Italy1985-1986 – The “Amici del Ponero” International painting competition,

Milan, Italy1990 The Biennial for small sculpture, Budapest, Hungary

Selected National Sculpture Symposiums1981 Hobi]a, Gorj1982 S~li[te, Sibiu1983 M~gura, Buz~u1984 C~soaia, Arad1986, 1990, 1996 - Oarba, Mure[1991 "George Apostu" Center, Bac~u2005 Ipote[ti, Boto[ani2006 Negre[ti - Oa[

Selected International Symposiums 1994 Bor, Yugoslavia2001 Trojan, Bulgaria; Uzice, Serbia2003 Trojan, Bulgaria2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania2005 "Constantin Brâncu[i", Tg. Jiu

Public works – Monuments“The Unknown Hero”, Alexandria, Romania“King Ferdinand”, Alba Iulia“Dimitrie Cantemir”, One[ti, Bacau

Awards and Honors1985 “Amici del Pomero” - Prize in the Competition for Graphics and

Sculpture, Milan, Italy1999 Award of the Artists Union for Environement Art (collective)1999 Gold medal “Dantesca”, Ravenna, Italy2005 Award of the Artists Union for sculpture

Studio: 24, C~derea Bastiliei St., Bucharest 1, Romaniae-mail: [email protected]


27

Desenele Elenei Copuzeanu se situeaz~ la antipodul explicitului [i

al certitudinilor con[tiente. Ele tind c~tre fenomenalitatea

inscrutabil~, dens~ si confuz~, a lumii ac]iunilor [i afectelor, a[a

cum le resim]im \n adev~rata lor manifestare, aceea tr~it~,

neambalat~ [i netrucat~ de prezum]ia de claritate [i eviden]~ ce

domin~ comunicarea vizual~ din spa]iul public al civiliza]iei

divertismentului post-industrial. În acest sens, desenele sale nici

nu par create, produse, ci pur [i simplu izbucnite din perplexitatea

unui om \n fa]a propriilor emo]ii. Desenele sale par grafice de

stare ale imponderabilului, ale indefinitului, dominate de

consonan]a [i disonan]a formal~ a unei lumi tensionate sau,

dimpotriv~, rarefiate, \n care afectele devin for]e mecanice cu o

cauzalitate obscur~ [i efecte paradoxale.

...

Entuziasmul, revela]ia, abandonul, revolta, aspira]ia,

retragerea, cinismul, iluminarea, dezechilibrarea, curiozitatea,

dominarea, intui]ia, indiferen]a, fragilitatea, exasperarea,

contemplarea sunt doar câteva cuvinte ce dau ocol gesturilor,

mi[c~rilor [i interac]iunilor ce prolifereaz~ \n desenele sale, ca

o flor~ afectiv~ intern~, cu contururi ascu]ite, negre,

concomitent acid~ [i benefic~.

...

Ceea ce desemneaz~ desenele Elenei Copuzeanu este \nsu[i

faptul c~ experien]a tr~irilor nu poate fi nicidecum desemnat~, ci

doar ar~tat~, dezv~luit~. Neputând fi reduse la cuvinte, la sensuri,

desenele sale oglindesc poate cel mai bine ideea de expunere, de

\nf~]i[are nemediat~ a ceea ce survine \n lumea propriilor noastre

tr~iri, l~sate a[a cum sunt ele la origine: dense [i de nep~truns.

Erwin KESSLER

Fragment din ”A desemna”

The drawings of Elena Copuzeanu are situated at the antipode of

explicit and conscious certainty. They tend towards inscrutable

phenomenality, dense and confusing, from the world of actions

and affects, as we feel them in their true manifestation, that

which is lived, devoid of the tricks and untouched by the

presumption of clarity and evidence that dominates visual

communication in the public space of post-industrial commercial

civilization. In this way, her drawings do not appear created,

produced, but simply bursting from the perplexity of a person in

front of her own emotions. Her drawings appear to be graphs

registering a state of imponderability, of the indefinite,

dominated by the formal consonance and dissonance, of a tense

world, or on the contrary, a rarefied one, in which affections

become mechanical forces with an obscure causality and

paradoxical effects.

...

Enthusiasm, revelation, abandonment, revolt, aspiration,

withdrawal, cynicism, illumination, imbalance, curiosity,

dominations, intuition, indifference, frailty, exasperation,

contemplation are just a few words that circle the gestures,

movements and interactions that proliferate in her drawings, like

an internal affective flora, with sharp, contours, black, acid and

soothing.

...

What distinguishes Elena Copuzeanu’s drawings is the fact that

the experience of life cannot in any way be designated but only

revealed, unveiled. Being irreducible to words, to meanings, her

drawings mirror perhaps in the best way the idea of exposure, of

unmediated presentation of what supervenes in the world of our

own feelings, left as it originally was, dense and impenetrable.

Erwin KESSLER

A fragment from “To Designate”


29

elena COPUZEANU

30

Elena COPUZEANU

1, 2, 3, 4 Exerci]ii de supravie]uire / 1, 2, 3, 4 Execises in SurvivalC~rbune compresat pe hârtie / Charcoal on paper200 x 250 cm 2006-2008

2.1. 3.

4.

Elena COPUZEANU

Exerci]ii de supravie]uire / Execises in Survival

C~rbune compresat pe hârtie /Charcoal on paper

200 x 250 cm 2006-2008

32

Elena COPUZEANU

Exerci]ii de supravie]uire / Execises in SurvivalC~rbune compresat pe hârtie / Charcoal on paper200 x 250 cm 2006-2008

Elena COPUZEANU

N~scut~ la 13 Iulie 1969 \n Constan]a


1999 Pictura [i desen, Galeria Anixis, Baden, Elve]ia

2000 Desen, Vox-Humana, Republica Ceh~

2004 ”În jurul lui Velázquez”, Galeria ArtExpo Bucure[ti, România

2006 Genera]ia 1996, Palatul Mogo[oaia, România


1995 ”Semn-Desen”, Desen, Atelier–35, Bucure[ti, România

”Joc [i pictur~”, Performance, Bucure[ti, România

1997 ”Forme de prad~”, Desen, Muzeul Literaturii Române,

Bucure[ti, Romania

1999 Desen [i pictur~, Galeria Art-Felchlin, Zürich, Elve]ia

2000 Desen [i pictur~, Galeria Orizont, Bucuresti, România

2001 ”Negru Profund”, Desen, Centrul Cultural Berlin, Germania

2001 ”C~tre Negru”, Desen, Galeria Dalles, Bucure[ti, România

2005 ”A desemna”, Desen, Palatul Mogo[oaia,România

2007 ”Chip filmat” desen [i video, Galeria Simeza, Bucure[ti,

România

”C~rbune sintetic”, Desen, Institutul Cultural Român,

Bucure[ti, România

Premii :

1995 Premiul Ziarului ZIUA pentru poster [i performance ”Omagiul

lui Mandela”

1997 Premiul Uniunii Arti[tilor Plastici

Adresa: Grigore Ionescu 63, Bl T 73, sc 2, ap 36, sector 2,

Bucure[ti, Romania

Tel: 0040 21 2100099

Mobil: 0040 723 132539

e-mail: [email protected]

Elena COPUZEANU

Born in Constan]a, Romania on July 13th, 1969

Selected Group Exhibitions1999 “Painting and Drawing”, Anixis Gallery, Baden, Switzerland2000 “Drawing”, Vox-Humana, the Czech Republic2004 “Around Velázquez”, the Artexpo Gallery, Bucharest2006 “Generation 1996”, Mogo[oaia Palace, Bucharest

Selected Solo Exhibitions1995 “Sign-Drawing”, drawing, Studio 35, Bucharest

“Play and Painting”, performance, Bucharest1997 “Forms of Prey”, drawing, the Romanian Literature Museum,

Bucharest1999 Drawing and painting, the Felchlin Art Gallery, Zurich,

Switzerland 2001 “Towards Black”, drawing, Dalles Hall, Bucharest

“Profound Black”, drawing, The Cultural Center of Berlin, Germany

2005 “To Designate”, drawing, Mogo[oaia Palace, Bucharest2007 “Filmed Image”, drawing and video, the Simeza Gallery,

Bucharest“Synthetic Charcoal”, drawing, the Romanian Cultural Institute, Bucharest

Awards and Honors1995 Prize of the newspaper “Ziua” for poster and

performance “Homage to Mandela”1997 Prize of the Artists Union

Address: 63, Grigore Ionescu St., Bucharest 2, RomaniaTel: 0040 21 2100099 Mobile: 0040 723 132539 Email: [email protected]


33

Avem [ansa s~ tr~im o schimbare de civiliza]ie extraordinar~... 90%

din descoperirile [tiin]ifice [i tehnologice din istoria umanit~]ii au

fost f~cute în a doua jum~tate a secolului XX... Rezult~ c~ singura

materie prim~ a acestei noi lumi este creativitatea.

Laura Covaci ne arat~ viitorul, inteligen]a artificial~, robo]ii,

umanoizii... [i poate extratere[trii acestui prodigios univers pe

care-l descoperim... Ea ne face s~ în]elegem aria imens~ a

inteligen]ei umane, incredibilele sale posibilit~]i. Este o pictori]~

minunat~, un univers plastic care-]i accelereaz~ respira]ia, o

artist~ profund~ care a ie[it r~nit~ din oroarea comunist~, ca s~

ne fac~ s~ vedem viitorul palpitant al civiliza]iei cuceririi

universului prin inteligen]~ [i îndr~zneal~.


We have the chance to live an extraordinary change of

civilization… 90% of the scientific and technologic discoveries

in the history of mankind were made in the second half of the

20th century… Hence, the only raw material of this new world

is creativity.

Laura Covaci shows us the future, the artificial intelligence, the

robots, the humanoids… And perhaps the extraterrestrials of this

prodigious universe we discover… She makes us understand the

enormous field of human intelligence, its incredible possibilities.

She is a wonderful painter, a fine art universe that catches our

breath, a profound artist who came wounded out of the

communist abomination to make us see the hectic future of our

civilization conquest of the universe by means of intelligence and

boldness.



35

laura COVACI

36

Laura COVACI

Hibrid / HybridAcrilic pe pânz~ / Acrylic on canvas2007


Laura COVACI

Hikykomori - viziunea nr. 2 /Hikykomori - vision nr. 2Acrilic pe pânz~ / Acrylic on canvas2007

Laura COVACI

Hikykomori - viziunea nr. 1(Sângele de plastic) / Hikykomori - vision nr. 1 (Plastic blood)Acrilic pe pânz~ / Acrylic on canvas2007

Laura COVACI

Copil / ChildAcrilic pe pânz~ / Acrylic on canvas2007

38

Laura COVACI

Var~ / SummerAcrilic pe pânz~ / Acrylic on canvas2007

Laura COVACI

N~scut~ pe 8 februarie 1964, în Bucure[ti

Studii

1997 Absolvent~ a Academiei de Art~ „Nicolae Grigorescu”,

Bucure[ti


1993 "De Markten", Bruxelles, Belgia


1991 Expozi]ia interna]ional~ "Erotika", Budapesta, Ungaria

1992 International Impact Art Festival, Kyoto, Japonia

"Sexul lui Mozart", Galeria Etaj 3/4 de la Teatrul Na]ional,

Bucure[ti

1993 Galeria A.J.L., Paris, Fran]a

Saga - Grand Palais, Paris, Fran]a

Galeria Damien Bouquet, Paris, Fran]a

1998-1999 Expozi]ie de desen, Saint Rémy de Provence

2001 Galeria Trinity, Atlanta, SUA

Lucr~ri în colec]ii particulare

1998 Banca European~ de Dezvoltare

Compania D.H.L.

Austrian Bank

"Elle" Magazine, Los Angeles

1999 "Vermont Company", România

2000 Banca ¥iriac

Adresa: Str. Theodor Aman, nr. 9A, s. 1 Bucure[ti, România

Adres~ Paris: 19 Rue de l’Evangrile, 75018 Paris, Fran]a

Tel: 01 40 34 74 53 / 06 12 67 51 85


Laura COVACI

Born on February 8, 1964, in Bucharest, Romania

Education1997 Graduated from The Fine Arts Academy Nicolae Grigrescu,

Bucharest, Romania

Selected Solo Exhibitions1993 "De Markten", Brussels, Belgium

Selected Group Exhibitions1991 "Erotika", International Exhibition in Budapest, Hungary 1992 International Impact Art Festival, Kyoto, Japan

"Mozart’s sex", The National Theatre, Bucharest, Romania 1993 A.J.L. Galerie, Paris, France

Saga Grand Palais, Paris, FranceGalerie Damien Bouquet, Paris, France

1998-1999 Drawings exhibition, Saint Rémy de Provence 2001 Trinity Gallery, Atlanta, USA

Works in private collections1998 The European Bank for Development

D.H.L. Company Austrian Bank "Elle" Magazine, Los Angeles

1999 "Vermont Company", Romania 2000 Tiriac Bank

Address: 19 Rue de l’Evangrile, 75018 Paris, FranceTel: 01 40 34 74 53 / 06 12 67 51 85Address: 99A, Theodor Aman St, Bucharest 1, Romaniae-mail: [email protected]


39

Laura COVACI

Compozi]ie / CompositionAcrilic pe pânz~ / Acrylic on canvas2007

DECALOGUL PENTRU MIRCEA

1. S~ nu-]i min]i ochii cu ochi.

2. S~ nu-]i furi realul în real.

3. S~ nu te în[eli pe tine însu]i ca [i cum ai fi altul.

4. S~ nu vorbe[ti în numele nim~nuia, c~ci numele t~u al

nim~nuia este.

5. S~-]i faci chip cioplit.

6. S~-]i faci chip din linii.

7. S~-]i faci chip din trilul ciocîrliei.

8. Dup~ ce le-ai f~cut toate acestea, încearc~ s~ le-mbr~]i[ezi

dac~ po]i.

9. Îmbr~]i[area chipului cu chip s~rut se nume[te.

10. Numai chipul se îmbr~]i[eaz~ cu chipul, c~ci bra]ele sunt

f~cute pentru ararea câmpului.

Amin.

Nichita STÅNESCU

DECALOGUE TO MIRCEA

1. Yon shall not lie to your eyes with eyes.

2. You shall not steal your real in the real.

3. You shall not deceive yourself as though you were another.

4. You shall speak up on nobody's behalf as your name belongs

to nobody.

5. Make your face in carvings.

6. Make your face in lines.

7. Make your face in the nightingale's song.

8. After you've made all these, try to embrace them all if you can.

9. A face embracing another face is called a kiss.

10. Nothing but a face can embrace another face, as arms are

needed for laboring the earth.

Amen

Nichita STÅNESCU

English by Bucskó Marianna


41

mircia DUMITRESCU

42

Mircia DUMITRESCU

Minotaur / Minotaurus Lemn / Wood

Mircia DUMITRESCU

Pisica nr. 2 / Cat nr. 2Lemn / Wood

Mircia DUMITRESCU

Oaia 9 / Sheep Nr. 9Lemn / Wood

Mircia DUMITRESCU

Damieni / DamiensAcuarel~ pe hârtie /

Watercolour on paper

Mircia DUMITRESCU

Damieni / DamiensAcuarel~ pe hârtie /

Watercolour on paper

44

Mircia DUMITRESCU

În[urubare A / Unscrew Alitografie / lithograph

Mircia DUMITRESCU

Ziua [i noaptea / Day and nightlitografie / lithograph

Mircia DUMITRESCU

N~scut pe 3 iulie 1941 în satul C~scioarele, jud. Ilfov

Studii1959-1965 - Institutului de Arte Plastice „Nicolae Grigorescu“1969 Membru Uniunii Arti[tilor Plastici din România 1993 Profesor universitar2006 Membru al Uniunii Gravorilor [i Litografilor Maghiari,

Budapesta, Ungaria

Expozi]ii personale - selec]ie1973 Galeria Simeza, Bucure[ti 1983 Dresda, Germania 1998 Galeria Glaskasten Intermedia, Leonberg, Germania 1999 Galeria Madách2006 Galeria IX,

Galeria Vincze László,Capela “Sf. Mihai”, Budapesta, Ungaria

2008 Sala “Constantin Brâncu[i”, Bucure[ti

Expozi]ii de grup - selec]ie1968 Cracovia, Polonia;

Frankfurt, Germania; Floren]a, Italia;

1969 Helsinki, Finlanda; Praga, Rep. Ceh~

1970 Regensburg, Düsseldorf, Stuttgart, Germania; Torino, Roma, Italia; Lodz, Cracovia, Polonia

1972 Bruxelles, Belgia; Leipzig, Germania; Vene]ia, Italia 1980, 1985 Tel Aviv / Israel1981 Baden-Baden, Germania1988 Stockholm, Suedia; Berlin, Germania 1990 Paris, Fran]a2002 Stockholm, Suedia 2006 Bucure[ti; Budapesta, Ungaria 2007 Stuttgart, Germania; Viena, Austria; Paris, Fran]a2008 Bucure[ti, Paris, Fran]a

Premii - selec]ie1969 Premiul pentru grafic~, Cracovia, Polonia1970 Premiul I pentru ilustra]ie - volumul Ion Creang~, Leipzig,

Germania1972 Premiul I pentru ilustra]ie - volumul Ovidiu, Tristele [i Ponticele,

Leipzig, Germania1975 Premiul Uniunii Arti[tilor Plastici pentru grafic~, Bucure[ti2002 Premiul na]ional pentru construc]ia c~r]ii, decernat de

Ministerul Culturii [i Cultelor2002 Premiul na]ional pentru carte - volumul Ion Luca Caragiale,

Teatru, edi]ie bilingv~, ap~rut~ sub egida UNESCO 2003 Ordinul pentru Merit în grad de Cavaler

Premiul na]ional pentru rena[terea c~r]ii bibliofile, decernat de Ministerul Culturii [i Cultelor

2006 Premiul „Bogdan Petriceicu Ha[deu”, pentru viziunea grafic~ [i tipografic~ a volumelor Manuscrisele Mihai Eminescu, decernat de Academia Român~

Adresa: Str. Dridu nr. 7, S.1, Bucure[ti, RomaniaMobil: 0040 722 926005

Mircia DUMITRESCU

Born on July 3, 1941 in C~scioarele, Ilfov district

Education1959-1965 - Fine Arts Institute “Nicolae Grigorescu”, Bucharest 1969 Member of the Romanian Artists’ Union1993 Professor, Bucharest Art University2006 Member of the Hungarian Engravers and Lithographers Union,

Budapest, Hungary

Selected Solo Exhibitions1973 Simeza Gallery, Bucharest 1983 Dresden, Germany 1998 Glaskasten Intermedia Gallery, Leonberg, Germany1999 Madách Gallery, Budapest, Hungary2006 Vincze László Gallery,

St. Michael’s Chapel, Budapest, Hungary2008 “Constantin Brâncu[i” Hall, Bucharest

Selected Group Exhibitions1968 Kracow, Poland

Frankfurt, GermanyFirenze, Italy

1969 Helsinki, FinlandPrague, Czech Republic

1970 Regensburg, Düsseldorf, Stuttgart, GermanyTorino, Rome, Italy

1972 Brussels, Belgium; Leipzig, Germany; Venice, Italy1980, 1985 Tel Aviv, Israel1981 Baden-Baden, Germany1988 Stockholm, Sweden; Berlin, Germany 1990 Paris, France2002 Stockholm, Sweden 2007 Stuttgart, Germany; Vienna, Austria; Paris, France2008 Bucharest, Romania; Paris, France

Awards and Honors1969 Award for graphic art, Kracow, Poland1970, 1972 - I Prize for illustration, Leipzig, Germany 1975 Award of the Romanian Artists’ Union for graphics 2002 National Award for book creation

National Award for the book “Ion Luca Caragiale, Theatre”, bilingual edition, edited under the aegis of UNESCO

2003 Order of Merit in the rank of Knight National Award for the rebirth of bibliophile books

2006 „Bogdan Petriceicu Ha[deu” Award, for the graphics andprinting of the manuscripts of the poet Mihai Eminescu, awarded by the Romanian Academy

Address: 7, Dridu St., Bucharest 1, RomaniaMobile: 0040 722 926005


45

Într-o lume în care mai to]i încearc~ s~ fac~ altceva decât le

impune calificarea, Daniela F~ini[ construie[te ceea ce [tie ea mai

bine, adic~ pur [i simplu forme ceramice. C~ rela]ia lor cu spa]iul

[i, în multe cazuri, dimensiunile, propor]iile [i figurativismul trimit

c~tre sculptur~, c~ desenele care anim~ suprafa]a sau

comenteaz~ volumul trimit c~tre grafic~ ori c~ obiectele parietale,

cu o volumetrie minimal~, pot invoca ideea de pictur~, de tablou,

nu are absolut nici o importan]~.

De[i artista folose[te cu voluptate imaginea figurativ~, atât în

tridimensional cât [i în desen, de[i se joac~ insistent cu ideea de

portret, de fapt cu aceea de autoportret, [i multe dintre lucr~rile

sale ar putea fi asociate, ca inten]ie [i ca finalitate, sculpturii, la o

privire mai atent~ nu se poate descoperi nimic care s~ tr~deze

vreo încercare de a ie[i din propriul s~u univers. Seria de capete,

u[or asimilabil~ unei galerii de portrete, nu are de fapt nici o

leg~tur~ cu portretul. În timp ce sculptorul individualizeaz~,

palpeaz~ psihologii [i sondeaz~ via]a interioar~ a personajului,

Daniela F~ini[ construie[te chipuri generice, regizeaz~ expresii

goale [i, finalmete, pune în mi[care o lume halucinant~ de m~[ti.

...

ßi oricât ar fi de variate din punct de vedere morfologic, ca regim

existen]ial sau ca stare de agregare, obiectele Danielei F~ini[ nu

se supun nici unei scheme ierarhice [i au, ambiental, acela[i

statut, iar în reala]ie cu materialul [i cu tehnica au aceea[i valoare

de document [i de martor. Minusculul obiect care comenteaz~

structura alveolar~ [i porozitatea coralului, textila încremenit~ în

emulsia de por]elan, meandrele vegetale, chipul uman care se

exfoliaz~ pentru a-[i deconspira, cu o ironie amar~, intimitatea

mecanic~ [i pungile de vid abia camuflate, au aceea[i importan]~

individual~ [i edific~ împreun~ o imagine inepuizabil~ a unei lumi

în acela[i timp vii [i încremenite.

În afara oric~rei agresivit~]i [i total eliberat~ de obsesiile

traumatizante ale cotidianului, arta sa este puternic~ [i cople[itoare

prin ea îns~[i; prin consecven]a gândirii, prin claritatea proiectului,

prin cunoa[terea impecabil~ a materialului [i a tehnicii [i, mai ales,

prin imponderabila care le une[te pe toate [i pe care privitorul are

libertatea s~ o numeasc~ dup~ cum crede el de cuviin]~.

Pavel ßUßARÅ

In a world dominated by those trying to prove themselves in areas

other than their qualification, Daniela Fr~ini[ makes what she

knows best - ceramic forms. Whether these forms’ relation with

space and, in many cases, dimensions, proportions and figurative

character refers to sculpture, whether drawings that animate the

surface or comment the volume suggest graphic, or whether

objects to be hanged on walls, with minimal volumes art, may

invoke the idea of painting, of canvas, this has no importance.

Though the artist voluptuously uses the figurative image, both in

three dimension and in drawing, though she insistently plays with

the idea of “portrait” - in fact, with that of self-portrait - and many

of her works could be associated in intent and effect to sculpture,

at a closer look one can not discover anything that would reveal

any attempt to depart from her own universe. The series of heads,

easily construed as a gallery of portraits, has in fact no connection

with the portrait. While the sculptor individualizes, touches

psychologies and probes the character’s inner life, Daniela F~ini[

creates generic faces, directs empty expressions and, finally, sets in

motion a hallucinating world of masks.

...

No matter how diverse from the morphological point of view, from

the existential status or in terms of aggregation state, Daniela F~ini[

objects do not submit to a hierarchy and have the same

circumstantial status - and, in relation to material and technique,

have the same value as documents and witnesses. The minute

object that comments the alveolar structure and the porosity of the

coral, the textile frozen in the porcelain emulsion, the vegetal

meanders, the human face that peels off to reveal with bitter irony

its barely disguised mechanical intimacy and voids, have the same

individual importance and form together an inexhaustible image of

a world both vivid and frozen.

Beyond any aggressiveness and entirely freed from the traumatizing

obsessions of everyday life, her art is powerful and overwhelming

through itself, through the consistency of her idea, the clarity of

the project, the impeccable mastery of the material and technique

and, above all, through the imponderable quality that unites all,

and that the viewer has the freedom to name at his will.

Pavel ßUßARÅ


47

daniela FÅINIß

48

Daniela FÅINIß

Dantesc~ / DantescaPor]elan incizat, par]ial colorat / Coloured engraved drawings on porcelain2000-2004

Daniela FÅINIß


49

Daniela FÅINIß


Daniela FÅINIß

Dantesc~ / DantescaPor]elan incizat, par]ial colorat /

Coloured engraved drawings on porcelain2000-2004

50

Daniela FÅINIß

P~durea de por]elan / The porcelain forestPor]elan [i o]el / Porcelain and steel2005-2007

Daniela FÅINIß

N~scut~ 3 Octombrie 1961, România

Membru al Uniunii Arti[tilor Plastici din România

Studii

1981-1985 Academia de Art~ “Nicolae Grigorescu”, Bucure[ti

Expozi]ii personale-selec]ie

2004 Lapidarium – Centrul Cultural Palatele Brâncovene[ti,

Mogo[oaia, România

2003 Accademia di Romania, Roma, Italia

2002 Galeria Allianz-¥iriac, Bucure[ti, România

2001 Muzeul Sanshokan, Hida Furukawa, Japonia

2000 Centrul Cultural Paris, Fran]a

1999 Muzeul Brukenthal Sibiu, Romania

1999 Consiliul Europei, Strasburg, Fran]a

1998 Galeria Sala Rond~ Teatrul Na]ional, Bucure[ti, România

1996 Galeria “Funda]ia Gerhart - Hauptman”, Dusseldorf, Germania

1992 Galeria “Simeza”, Bucure[ti, România

1992 Galeria “La Source”, Brüxelles, Belgia

Lucr~ri în muzee [i colec]ii - selec]ie

Hetjens Museum, Deutsches Keramik Museum, Düsseldorf,

Germania

“ The Clay Studio Collection “, Philadelphia, United States of

America

Muzeul Na]ional Cotroceni, Bucure[ti, România

B.C.I.C. Bank, Craiova, România

Société Générale Sécurités, Bucure[ti, România

ING. Bank N.V., Bucure[ti, România

Funda]ia “Support Organization for Overseas Ceramist“,

Tajimi, Japonia

Ogiso School, Tajimi, Japonia

“Kano“ High School, Gifu-shi, Japonia

Premii [i distinc]ii

2004 “ Meritul cultural “ în gradul de Comandor

2002,1998, 1992 “Honourable Mention “, Mino, Japonia

1998 Marele Premiu al Bienalei Interna]ionale “Artele Focului“

Bucure[ti, România

1997 Premiul I – Bienala Interna]ional~ de Ceramic~ Artistic~,

Aveiro, Portugalia

1992 “Premiul Uniunii Arti[tilor Plastici pentru Art~ Decorativ~“,

România

1990 “Premiul pentru Tineret – Art~ Decorativ~”, România

1990, 1989 “Targa d’Oro“ (Medalia de Aur) XXXI Concorso

Internazionale Della Ceramica D’arte Gualdo Tadino, Perugia,

Italia

Adresa: Comuna Cernica, Ilfov, Str. Veronica Micle nr. 5

Mobil: 0040 723 235370e-mail: danielafainis @ yahoo.com

Daniela FÅINIß

Born October 3, 1961, RomaniaMember of the Union of Romanian Artists

Education1981-1985 Academy of Fine Arts “Nicolae Grigorescu”, Bucharest

Selected Solo Exhibitions2004 Lapidarium – Cultural Center “Palatele Brancovenesti”

Mogo[oaia, Romania2003 Accademia di Romania, Roma, Italy2002 Allianz-Tiriac Gallery , Bucharest, Romania2001 Sanshokan Museum, Hida Furukawa, Japan2000 Romanian Cultural Center, Paris, France1999 Brukental Palace Museum, Sibiu, Romania

European Council, Strasburg, France1998 National Theatre’s “Round Hall Gallery”, Bucharest, Romania1996 “ Foundation Gerhart- Hauptman” Gallery, Dusseldorf,

Germany1992 “Simeza” Gallery, Bucharest, Romania1992 “La Source” Gallery, Brussels, Belgium

Works in Museum and Collection

Hetjens Museum, Deutsches Keramik Museum, Dusseldorf, Germany“The Clay Studio Collection“, Philadelphia, United States of AmericaNational Museum Cotroceni, Bucharest, RomaniaB.C.I.C Bank, Craiova, RomaniaSociété Générale Sécurités, Bucharest, RomaniaING BANK N.V. Bucharest, RomaniaOgiso School, Tajimi, Japonia“ Kano “ High School, Gifu-shi, JaponiaFoundation “Support Organization for Overseas Ceramist “,Tajimi, Japonia

Awards and Honors2004 “Cultural Merit” order in the rank of Commander Arts of Fire 2002 “Honorable Mention“, Mino, Japan1998 “Honorable Mention“, Mino, Japan1998 The Great Award of the International Biennale “The Fire Arts“,

Bucharest, Romania1997 1st Prize – International Biennale of Artistic Ceramics, Aveiro,

Portugal1992 “Union of Fine Artist’s Award for Decorative Arts“, Romania1992 “Honorable Mention “, Mino, Japan1990 “Targa d’Oro“ (Golden Medal) XXXI Concorso, Internazionale

Della Ceramica D’arte Gualdo Tadino, Perugia, Italia1990 “Youth award – Decorative Art”, Romania1989 “Targa d’Oro“ (Golden Medal) XXX Concorso Internazionale

Della Ceramica D’arte Gualdo Tadino, Perugia, Italy

Address: 5, Veronica Micle St., Cernica, Ilfov countyMobile: 0040 723 235370e-mail: danielafainis @ yahoo.com


51

Muzeul personal constituie axul unui demers ce se construie[te din

episoade efemere (inaugurat în expozi]ia de la Simeza în 1990) ca o

declarat~ coborâre din estetic în derizoriul cotidian, mai mult chiar,

ca o op]iune ostentativ~ pentru derizoriu [i inestetic (inestetizabil,

antimit), adi]ioneaz~ urmele precare ale asum~rii, ipostazierii în

diversele posturi ale unui destin istoric autohton, ale unei rela]ii

ironice cu arta [i cu metodologiile ei, mitizante [i demitizante în

aceea[i m~sur~.

T. G. abordeaz~ mitul navigatorului (politic) din cele dou~

perspective complementare, la fel de perdante. Perspectiva

emigrantului (clandestin), cu precara sa recuzit~, comprimând

sumarul sau destin, [i cel al “navigatorului sedentar”, liber de

istorie, de presiunea nostalgiilor geografice, de exigen]ele

progresului (liber).

“Hran~ pentru art~ / Art~ pentru hran~” ofer~ sloganul ultimei

triumfale abdic~ri de la libertatea declarat~, ca expresie social~,

recognoscibil~. Arta accept~ termenii ecua]iei societ~]ii de consum.

Libertatea sa este aceea de a deveni moneda de schimb, într-un

sistem de valori imediat convertibile. Odat~ prefigurate aceste

instan]e ale decaden]ei mitului libert~]ii, artistul liber de chiar acest

mit, se expune, cu ironie, practicându-l.

În ultim~ instan]~, T. G. este un artist care opteaz~ pentru estetica

dominant~ a momentului, contradictoria, conflictuala, estetic~ a

postmodernismului, distan]ându-se ironic de ea. Atent cu tot acest

“aparat critic” de actualitate, se situeaz~ în ea, ca singura

perspectiv~ ce activeaz~ [i justific~ dimensiunea trecutului ca flux

cultural, denun]ându-i actualit~]ii, germenele deja sesizabil, active,

al propriei deveniri spre trecut.

Alexandra TITU

“Românii sunt navigatori sedentari” (T. G.), 1999

A personal museum is the axis of an approach constructed from

ephemeral episodes (inaugurated in the Simeza exhibition in

1990) like a declared descent from the aesthetic into laughable

quotidian, even more, as an ostentatious option for the laughable

and the un-aesthetic (anti-mythic) adds the perilous traces of the

assumptions, manifestations of an indigenous historical destiny in

different postures, of an ironic relationship with art and its

methodologies, mythologized and demythologized both to the

same extent.

T. G. approaches the myth of the (political) navigator from two

complementary perspectives, equally unpromising. The

perspective of the (clandestine) immigrant, with all his poor outfit

and props, summarily compressing his destiny, with that of the

“sedentary navigator”, free from history, from the pressure of

geographic nostalgia, the exigencies of (free) progress.

“Food for art / art for food” offers the slogan for the last

triumphant abdication from the declared freedom, a recognizable

social expression. Art accepts the terms of the consumer society’s

equation. Its freedom is that of becoming an exchange currency,

in an immediately convertible system of values. Once these

instances of the decadence of freedom’s myth are prefigured, the

artist who is free of this very myth, expresses himself with irony,

by practicing it.

In the last resort, T. G. is an artist who chooses the dominant

aesthetic of his time, a contradictory, conflictual, postmodernist

aesthetic, ironically distancing himself from it. Attentive to the

current “critical apparatus”, he places himself with respect to the

present as the only perspective that activates and justifies the

dimension of the past as a cultural flux, denouncing its

contemporanity the already tangible, active, seeds of its own

“heading towards the past”.

Alexandra TITU

“Romanians are sedentary Navigators” (T. G.), 1999


53

theodor GRAUR

54

Theodor GRAUR

Camera 2 / Room nr. 2Instala]ie / Installation

Theodor Graur

Balkania 2Instala]ie / Installation

Theodor Graur

Balkania 1Instala]ie / Installation

56

Theodor Graur

Persona 7Instala]ie / Installation

Theodor Graur

(sus / up)

La nave 1Instala]ie / Installation

Theodor Graur

Transit 2Instala]ie / Installation

Theodor GRAUR

N~scut în1953, Pog~ceaua, jude]ul Mure[, România

Studii:

1978 Institul de arte plastice, Bucure[ti

Expozi]ii personale - selec]ie:

2002 “Walk”, (fotografie), Galeria nou~, Bucure[ti.

2004 “T. G. – Lucr~ri din anii 80 & 90 din colec]ia autorului”,

HT003 Gallery, Bucure[ti.

2005 “Camera uitat~” (instala]ie), HT003 Gallery, Bucure[ti,

2006 “Made in East Europe” (instala]ie), galeria Fabs, Var[ovia.

2006 “Persona” (instalatie), Galeria Noua, Bucure[ti, 2006.

Expozi]ii collective - selec]ie:

1994 Particip~ la Bienala de la Sao Paulo, în cadrul proiectul

“Meta”, de C~lin Dan

1995 Participare, cu E. B., la cea de a 4-a Bienal~ Interna]ional~ de la

Istanbul

1997 „La Nave Romania” (instala]ie), a 47-a Bienal~ de la Vene]ia

2000 “Transitionland”, Muzeul Na]ional de Arta, Bucure[ti.

2001 Participare în cadrul proiectului „Context”, de Alexandru

Patatics, la Bienala de la Vene]ia

2002 “In Search of Balkania”, Neue Galerie, Graz

(curatori Roger Connover, Eda Cufer, Peter Weibel).

2003 “Blood & Honey – The Future is in the Balkans”, Sammlung

Essl, Vienna, (curator: Harald Szeemann).

“Towers of Babel”, art action, The State Museum, Meinz,

(curator: Gunter Minas).

2004 “Shake the Limits”, Bucure[ti (curator: Maria Rus Bojan).

“Opening MNAC”, Bucure[ti (curator: Ruxandra Balaci).

Lucr~ri în colec]ii:

MNAC, Bucure[ti;

Muzeul Ludwig, Budapesta;

Colectia Essl, Viena;

Galerie Nächst St. Stephan, Viena;

K + K Hotel Elisabeta, Bucure[ti;

colec]ii private.

Premii:

2000, 2006 Premiul Uniunii Arti[tilor Plastici

Theodor GRAUR

Born in Pog~ceaua Mure[, Romania in 1953

Education1978 The Fine Arts Institute, Bucharest

Selected Solo Exhibitions2002 “Walk” (photographs), New Gallery, Bucharest2004 “T.G.- Works from the 80’s and 90’s from the author’s

collection”, HT003 Gallery, Bucharest2005 “Forgotten Room”, (installation), HT003 Gallery, Bucharest2006 “Made in East Europe” (installation), Fabs Gallery, Warsaw

“Persona” (installation), New Gallery, Bucharest

Selected Group Exhibitions1994 Participant with the Sao Paulo Biennial, in the “Meta” project

of C~lin Dan 1995 Participant in E.B., the fourth international Biennial of Istanbul1997 “La Nave Romania” (installation), the forty-seventh

Biennial of Venice2001 Participant in Alexandru Patatics’ project “Context”, at

the Venice Biennial2002 “In Search of Balkania”, Neue Gallery, (curators: Roger

Connover, Eda Cufer, Peter Weibel).2003 “Blood & Honey – The Future is in the Balkans, Sammlung

Essl, Vienna, (curator: Harald Szeemann)“Towers of Babel”, art action, The State Museum, Meinz, (Curator, Gunter Minal

2004 “Shake the Limits”, Bucharest, (curator: Maria Rus Bojan)“Opening MNAC”, Bucharest, (curator: Ruxandra Balaci)

Works in collectionsMNAC, Bucharest; Ludwig Museum, Budapest; Essl Collection, Vienna; Nächst St. Stephan, Vienna; K+K Hotel Elisabeta, Bucharest; private collections

Awards and Honors2000, 2006 Romanian Artists Union award


57

For Grigorescu the ruin, both in its meaning and outward

appearance (his works can take the shape of fragments on the

point of disintegration, inconspicuous interventions and leftovers

from the everyday environment or recovered detritus from

demolished houses) is in keeping with his stance as an artist: "I

am against the imposition of a style, which is why I have never

been a complete painter. I don't like to see my works in the

studio, so I would not feel indebted to them". Whenever he

stumbles upon natural formations like molehills or nests, he

photographs and collects them, because they act for him as

compelling evidence of a broader dialectic of disappearance and

reappearance which is active in the world, indeed at the very

heart of it. Ion Grigorescu's artistic practice is marked by an inner

contradiction, for although his art is often built on negation, he

nevertheless seeks to achieve a unification of art and life, thus

expressing a commitment to this tenet, that has been so central

for the avant-garde. The impulse to free art from its limitations

was also inspired by the example of Joseph Beuys, who saw

himself simultaneously as artist and non-artist, and for whom

"everything was art, and every aspect of life could be approached

creatively, with a sense of inventiveness and ritual". Indicative of

this influence are numerous photographs that depict Ion

Grigorescu being involved in everyday activities, which are

invested by him with a ritualistic dimension: "For me, all daily

tasks, like washing clothes, preparing a meal, shopping, or

working in construction are performances, art, acts of survival".

… The artist thus voices a distrust regarding the means and

mission of art, a distrust which acts at the core of his conception

about art, threatening to annihilate its forms of manifestation. As

Peter Bürger once stated, in a context in which he was

attempting to identify modalities of return of the avant-garde in

contemporary art, "When the work is put into question today, it

is no longer carried by the pathos of revolutionizing the everyday

life, but rather by the pathos of disappearance". Indeed, the

"pathos of disappearance" seems to characterize Ion

Grigorescu's art and persona only too well.

Magda RADU

Pentru Ion Grigorescu ruina, atât în privin]a con]inutului cât [i a

apari]iei ei, este în concordan]~ cu crezul lui artistic: «Sunt

împotriva impunerii unui stil, de aceea nu am fost niciodat~ un

pictor complet. Nu îmi place s~ îmi privesc lucr~rile în atelier,

pentru a nu m~ sim]i îndatorat lor». Lucr~rile lui pot lua forma

unor fragmente în curs de dezintegrare, se pot constitui ca

interven]ii discrete, utilizând resturi provenite din mediul cotidian

sau reziduri ale caselor demolate. Atunci când descoper~

întâmpl~tor în natur~ mu[uroaie sau cuiburi de p~s~ri le

fotografiaz~ sau le colecteaz~, deoarece acestea reprezint~

pentru el dovezi ale unei dialectici a dispari]iei [i reapari]iei care

ac]ioneaz~ în lume. Practica artistic~ a lui Ion Grigorescu este

marcat~ de o contradic]ie intern~; de[i aceasta se constituie

adeseori printr-o nega]ie, artistul încearc~ s~ unifice arta [i via]a,

exprimându-[i ata[amentul fa]~ de unul dintre ]elurile principale

ale avangardei. Impulsul de a elibera arta de limitele ei a fost

inspirat [i de exemplul lui Joseph Beuys care se considera în

acela[i timp artist [i non-artist [i pentru care «totul era art~ [i

fiecare aspect al vie]ii putea fi abordat în mod creativ, cu

inventivitate [i cu un sim] al ritualului». Exemplare pentru aceast~

atitudine sunt numeroase fotografii care îl prezint~ pe Ion

Grigorescu angajat în activit~]i cotidiene, investite de el cu o

dimensiune ritualic~: «Pentru mine, toate activit~]ile zilnice ca

sp~latul hainelor, preg~tirea mesei, cump~r~turile sau munca pe

[antier sunt performance-uri, sunt art~, sunt acte de

supravie]uire.»

…Artistul î[i exprim~ astfel neîncrederea în privin]a mijloacelor [i

a misiunii artei, neîncredere care p~trunde în miezul concep]iei

sale despre art~, amenin]ând s~ anihileze formele ei de

manifestare. Dup~ cum spunea Peter Bürger, într-un context în

care identifica modalit~]i ale reîntoarcerii avangardei în arta

contempoaran~: «Când opera de art~ se interogheaz~ ast~zi

asupra sensului ei, ea nu mai este animat~ de patosul

revolu]ion~rii vie]ii, ci mai degrab~ de un patos al dispari]iei».

Într-adev~r, «patosul dispari]iei» pare s~ caracterizeze exemplar

arta [i personalitatea lui Ion Grigorescu.

Magda RADU


59

ion GRIGORESCU

60

Ion GRIGORESCU

Hermes BuddhaGhips / Plaster1982

61

Ion GRIGORESCU

Sf. Gheorghe / Saint GeorgeTehnic~ mixt~ pe hârtie / Mixed media on paper1987

Ion GRIGORESCU

Tenta]ii / TemptationsTehnic~ mixt~ pe pânz~ /

Mixed media on canvas1987

Ion GRIGORESCU

Strangularea Postelnicului Cantacuzino / The strangling of Seneschal Cantacuzino

Instala]ie / Installation1992

Ion GRIGORESCU

Dialog postmortem cu C. /Postmortem dialogue with mister C.Tehnic~ mixt~ / Mixed media2007

Ion GRIGORESCU

O singur~ camer~ / Only one roomFotografie / Photography1980

Ion GRIGORESCU

Reportaj din Gorj / Reportage from GorjTehnic~ mixt~ / Mixed media1982

Ion GRIGORESCU

N~scut pe 15 martie 1945 în Bucure[ti

Studii

1969 Institutul de Arte Plastice „N. Grigorescu”- Bucure[ti

Expozi]ii - selec]ie

1981 Sao Paulo Biennale, curator Radu Procopovici

1990 Third’s Eye Gallery Glasgow, Points East, Sco]ia, curator

Andrew Nairne

1991 Wanderlieder, Stedelijk Museum Amsterdam, Olanda, curator

Wim Beeren

1997 Bienala de la Vene]ia, curator Coriolan Babe]i

1998 Muzeul Na]ional de Art~, Sala Kretzulescu, Bucure[ti

(expozi]ie personal~?), curator Ruxandra Balaci

1999 Una Bisanzio Latina, Biserica S.Maria del’Popolo, Roma, Italia,

curator Sorin Dumitrescu

2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac

Festival de performan]~, Mücsarnok, Budapesta, Ungaria,

curator Beke Laszlo

2001 Double Life, Generali Foundation Viena, Austria, curator

Sabine Breitwieser

Remedy for Melancholy, Edwik Kunsthalle Stockholm,

Suedia, curator Anders Kreuger

2002 Auf der Suche nach Balkanien, Graz neue Gallerie,

curatori: P.Weibel, R. Connover

2004 Arta Balcanic~, Salonic, Grecia, curator Ruxandra Balaci

Formate Bukarest, Kunsthalle Wien, curator ßtefan Tiron

2005 Lisabona, Funda]ia Gulbenkian, Paradoxes, Embodying

the City, curator Nuno Faria

2006 Kontakte, colec]ia Erstebank, MUMOK Viena, Austria,

curator Walter Seidl

Juc~rii, Protokol, Cluj, cu Mircea Cantor

2007 Documenta 12, Kassel, Germania, curatori: Cosmin Costina[,

Georg Schollhammer

Exit, memory, desire, October, galeria ARTRA, Milano,

Italia, curator Marco Scotini

2008 Galeria Jean-Gabriel Mitterand, Paris, Fran]a

(expozi]ie personal~)

Galeria Enseigne des Oudin, Paris, Fran]a (expozi]ie personal~)

Premii - selec]ie

1972 Premiul Tineretului, UAPR

1978, 1989 Premiul criticilor de art~

1998 Premiul pentru restaurare de pictur~ bisericeasc~

Premiul revistei „Cuvântul”

Adresa: Str. Pitar Mo[, nr. 23, sector 1, Bucure[ti

Tel: 0040 21 6100842


Ion GRIGORESCU

Born in Bucharest on the 15th of March, 1945

Education1969 Graduated from the Art Institute Nicolae Grigorescu,

Bucharest

Selected Solo Exhibitions1981 The Sao Paulo Biennial, curator Radu Procopovici1990 Third’s Eye Gallery, Glasgow, Points East, Scotland, curator

Andrew Nairne1991 Wanderlieder, Stedelijk Museum Amsterdam Olanda, curator

Wim Beeren

1997 Venice Biennial, curator Coriolan Babe]i1998 The National Art Museum, Kretzulescu Hall, Bucharest

(personal exhibition), curator Ruxandra Balaci1999 Una Bisanzio Latina, Saint Mary’s Church del’ Popolo, Rome,

Italy, curator Sorin Dumitrescu2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac

Performance Festival, Mücsarnok, Budapesta, Hungary, curator Beke Laszlo

2001 Double Life, Generali Foundation Vienna, Austria, curator Sabine BreitwieserRemedy for Melancholy, Edwik Kunsthalle Stockholm, Sweden,curator Anders Kreuger

2002 Auf der Suche nach Balkanien, Graz neue Gallerie, curators: P.Weibel, R. Connover

2004 Balkan Art, Thessalonica, Greece, curator Ruxandra BalaciFormate Bukarest, Kunsthalle Wien, curator ßtefan Tiron

2005 Lisbon, Gulbenkian Foundation, Paradoxes, Embodying the City, curator Nuno Faria

2006 Kontakte, collection Erstebank, MUMOK Vienna, Austria, curator Walter SeidlToy, Protokol, Cluj, with Mircea Cantor

2007 Documenta 12, Kassel, Germany, curators: Cosmin Costina[, Georg SchollhammerExit, memory, desire, October, Gallery ARTRA, Milan, Italy, curator Marco Scotini

2008 Gallery Jean-Gabriel Mitterand, Paris, France (personal exhibition)Gallery Enseigne des Oudin, Paris, France (personal exhibition)

Awards and Honors1972 Youth Award, Romanian Union of Artists1987, 1989 Award of the art critics 1998 Award for the restoration of church painting

Award from the magazine “Cuvântul” (The Word)

Address: 23, Pitar Mo[ St., Bucharest 1, RomaniaPhone: 0040 21 6100842email: [email protected]


63

Viorel Grimalschi îmi apare drept un gânditor „silit” s~ se

exprime, prin fatalitatea voca]iei, în limbajul picturii - o pictur~

vizionar~, imaginând cu concrete]ea sculpturii defini]ii simbolice

ale omului etern [i for]elor mistice c~rora se supune. S-ar zice c~

el este oficiantul unei religii noi [i în acela[i timp str~vechi,

îmbinând dincolo de timp [i spa]iu, în c~utarea esen]ei sacrului,

identit~]ile mo[tenite de la egipteni pân~ la cre[tinism. Coeren]a

discursului vizual ne poart~ cu gândul la sistem.

...

În senina deta[are a privirii [i în]elegerii lui se insinueaz~ teribila

singur~tate a omului, închis în propriul înveli[ vremelnic [i în

propria lui idee despre instan]a care creeaz~ [i distruge, face [i

desface, adâncind într-un mereu care seam~n~ atât de mult cu

ve[nicia, misterul fiin]ei [i al destinului ei în lume.

Pictura lui Viorel Grimalschi, auster~ pân~ la ascez~, uneori nu

antreneaz~, ca sugestie, sensul unei active [i istorice finalit~]i

umane, ci m~re]ia înfrico[at~ a petrecerii condi]iei umane într-un

timp vast, f~r~ început [i sfâr[it, indiferent la în~l]~ri [i coborâri, la

învieri [i treceri în neant. Privirea care na[te imaginea picturii

invoc~ privirea Sfinxului, îmb~tat~ de propria lui nemi[care [i

t~cere, dominând timpul prin atâta efemer~ moarte, a[teptând ca

el s~ se reverse ca o ap~ a vie]ii, egal [i pur, dintr-un viitor c~ruia

nu-i putem nici m~car întrez~ri hotarele.


22 iunie 1990, Contemporanul

Viorel Grimalschi appears to me to be a thinker “forced” to

express himself, through the fatality of vocation, in the language

of painting - a visionary painting, imagining with the

concreteness of sculpture the symbolic definitions of eternal man

and the mystical forces to which he is subjected. It could be said

that he is the priest of a new, but at the same time ancient

religion combining beyond space and time, through the search

for the essence of the sacred, the identities inherited from the

Egyptians to Christianity. The coherence of the visual discourse

suggests that we are dealing with a system.

...

In the detachment of his gaze an understanding the terrible

loneliness of man is insinuated, closed inside his own ephemeral

wrappings and his own idea about the force that creates and

destroys, makes and unmakes, deepining into an always that is so

similar to eternity, the mystery of being and of its destiny in the

world.

The painting of Viorel Grimalschi, austere to the point of

asceticism, sometimes does not leave in its wake (as a suggestion)

the meaning of active, historic human finality, but the dreadful

greatness of the human condition over a vast period of time,

without beginning or end, indifferent to the ascents and descents,

resurrections and passages into the void. The gaze that gives birth

to the painting’s images the gaze of the Sphynx intoxicated with its

own steadfastness and silence, dominating time through such an

ephemeral death, awaiting its outpoor like the water of life, clear

and pure, from a future whose borders we can hardly see.


Contemporary, the 22nd of June, 1990


65

viorel GRIMALSCHI

Viorel GRIMALSCHI

Curtea / CourtyardUlei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

Cerdac la Cozia / Porch at Cozia

Ulei pe pânz~ / Oil on canvas

67

Viorel GRIMALSCHI

Curte la Livezi /Courtyard at Livezi

Ulei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

Bolta de vi]~ / VineyardUlei pe pânz~ / Oil on canvas

68

Viorel GRIMALSCHI

Flori / FlowersUlei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

P~r / PeartreeUlei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

N~scut în 1947 la Podoleni, jud. Neam], România

Studii

1971 Institutul "N. Grigorescu", Bucure[ti, sec]ia pictur~

monumental~


1974 Galeria Orizont, Atelier 35, Bucure[ti

(cu sculptorul Adrian Popovici)

1990 Galeria Simeza, Bucure[ti

2001 Prim~ria sectorului 3, Bucure[ti

2002 Centrul cultural Mogo[oaia

Particip~ri la expozi]ii tematice - selec]ie

1999 "Sacrul în art~", Galeria Parlamentului, Bucure[ti

"Timpul în artele spa]iului", Salonul de art~, Bucure[ti

2001 "Arta sacr~ - Restaurare [i crea]ie", Galeria Apollo, Bucure[ti

2004 "Vizitându-l pe Velázquez", Galeria Artexpo, Bucure[ti

Expozi]ii de grup în str~in~tate - selec]ie

1979 "Festivalul interna]ional de pictur~", Cagnes-Sur-Mer, Fran]a

1986 "Arta româneasc~", The Hall Galleries, Londra, Glasgow, Marea

Britanie

1994 "Zilele culturii române[ti în Anglia", Londra, Marea Britanie

2005 "Arta româneasc~ religioas~", Belgrad, Serbia

2006 "Art~ [i spiritualitate româneasc~", Kiev [i St. Petersburg, Rusia

"Arta româneasc~", Academia di Romania, Italia, Roma

Premii

1979 "La Mention speciale du jury", Cagnes-sur-Mer, Fran]a

1989 Premiul U.A.P. pentru Art~ monumental~

1999 Premiul "P~mântul [i arta", Salonul de art~, Bucure[ti

2000 Premiul U.A.P. pentru Restaurare

2005 Premiul U.A.P. pentru Restaurare pictur~ mural~

Adresa: Str. Vechii Bucure[ti Noi, nr. 62A, s 1, Bucure[ti, Romania

Mobil: 0040 726 200773

Viorel GRIMALSCHI

Born in Podoleni, Neam] County, Romania, in 1947

Education1971 Graduated Nicolae Grigorescu Institute, with a degree in

monumental painting

Selected Solo Exhibitions1974 Gallery Orizont, Studio 35, Bucharest

(with sculptor Adrian Popovici)1990 Gallery Simeza, Bucharest2001 City Hall of sector 3, Bucharest2002 Cultural Center of Mogo[oaia

Participation in thematic exhibitions (selection)1999 “The Sacred in Art”, Parliament Gallery, Bucharest

“Time in the Arts of Space”, Art Salon, Bucharest2001 “Sacred Art – Restoration and Creation”, Apollo Gallery,

Bucharest2004 “Visiting Velázquez”, Artexpo Gallery, Bucharest

Selected Group Exhibitions1979 “International Painting Festival", Cagnes-Sur-Mer, France1986 “Romanian Art”, the Hall Galleries, London, Glasgow,

Great Britain1994 “The Romanian Culture Days in England”, London,

Great Britain 2005 “Romanian Religious Art”, Belgrade, Serbia2006 “Romanian Art and Spirituality”, Kiev and St.Petersburg, Russia

“Romanian Art”, Romanian Academy, Italy, Rome

Awards and Honors1979 “Special Mention”, Cagnes-Sur-Mer, France1989 The Union of Artists award for monumental art1999 “The Earth and Art” Award, Art Salon, Bucharest2000 The Union of Artists. Award for Restoration2005 The Union of Artists. Award for Restoration of Mural

Painting

Address: 62A, Vechii Bucure[ti Noi St., Bucharest 1, RomaniaMobile: 0040 726 200773


69

Gheorghe Iacob ajunge la o sintez~ str~lucitoare a geometriei [i a

culorii. El a [tiut s~ p~streze bogatele armonii ale unei tradi]ii

române[ti care s-a rostit în covor [i în ]es~turi, în costum [i-n

icoane pe sticl~, în toate obiectele ie[ite dintr-un artizanat

]~r~nesc care, f~r~ îndoial~, e unul din cele mai minunate din

Europa. Aceast~ culoare vibrant~, Iacob a pus-o în serviciul unui

proiect intelectual asemenea aceluia care i-a animat odinioar~ pe

arti[tii constructivi[ti [i care se poate rezuma ca un spectacol al

lumii ordonat dup~ canoanele geometriei. Îns~ arce, triunghiuri,

linii drepte sau frânte sunt purtate de un suflu care le d~ un

dinamism straniu. Formele se mi[c~ sub privire [i caut~ parc~ a se

logodi cu fervoarea fauve a culorii care le str~bate.

Nu po]i aproxima un sus [i un jos, într-atât pulsa]ia tabloului se

vrea liber dezm~rginit~. Iar timpul, la rândul lui, i se a[terne

pictorului în chip imperturbabil. S~-l urm~m f~r~ exces livresc [i

f~r~ grimas~, pa[ii lui îmi pare c~ traduc în]elepciunea unui acord

fundamental, între vocea insului creator [i întinderile nem~surate

ale lumii.

L'Arche, 28 XI 1968

Dan HÅULICÅ

Pre[edinte de Onoare

al Asocia]iei Interna]ionale a Criticilor de Art~

Gheorge Iacob achieves a brilliant synthesis of geometry and color.

He knew how to preserve the rich harmonies of a Romanian

tradition that found its fulfillment in carpets and in weaving, in

costumes and in icons painted on glass, in all the objects that come

from a peasant craft that, is without doubt, one of Europe’s most

splendid. Iacob used vibrant colors in the service of an intellectual

project similar to the one that animated the constructivist artists of

days gone by, and that can be summarized as a spectacle of a

world ordered according to geometrical canons. However, arcs,

triangles, straight or bent lines are carried by a breath that gives

them a strange dynamism. The forms move under our gaze and

seem to long for a fervent union with the fauve colors that

penetrate them.

You cannot identify an up or a down in such pulsation of the

painting that desires unbridled freedom. And time, in its turn, is

poured out to the painter in an unperturbed way. We should

follow him without excessive bookishness and without pretense;

his steps seem to translate the wisdom of a fundamental balance

between the voice of the isolated creator and the inmeasurable

expanse of the world.

L’Arche, the 28th of November, 1968

Dan HÅULICÅ

Honorary President of the

International Association of Art Critics


gheorghe IACOB

72

Gheorghe IACOB

F~r~ titlu / Without titleUlei pe pânz~ / Oil on canvas1986

Gheorghe IACOB

P~pu[arul / PupeteerUlei pe pânz~ / Oil on canvas

1988


73

Gheorghe IACOB

Suprapunere / OverlappingUlei pe pânz~ / Oil on canvas1974

Gheorghe IACOB

Devenire / BecomingUlei pe pânz~ / Oil on canvas1988

Gheorghe IACOB

Seninul din semne / The limpidity of singsUlei pe pânz~ / Oil on canvas(nedatat)

Gheorghe IACOB

Vestigii galbene / Yellow tracesUlei pe pânz~ / Oil on canvas1980

Gheorghe IACOB

N~scut la 5 septembrie 1925 în comuna Scutelnici, jud. Buz~u

Studii

1946 -1953 Institutul de Arte Plastice „N. Grigorescu”


2008 “Revela]iile unei sinteze” în 3 expozi]ii, Sala Dalles, Palatul

Mogo[oaia, Galeria Dialog a Prim~riei Sectorului 2

Expozi]ii de grup în ]ar~ - selec]ie

1967 Expozi]ia prilejuit~ de Colocviul Interna]ional "Brâncu[i"

1967 Expozi]ia Ora[ului Bucure[ti

1972-73 Expozi]ia „25 de ani de Art~ româneasc~", la Muzeul

Na]ional de Art~

1974 Expozi]ia"Art~ [i energie", Galeria Nou~

1975 Expozi]ia "Arta [i ora[ul", Galeria Nou~

1975 Expozi]ia „Arti[tii plastici [i omul", Galeria Nou~

1978 Expozi]ia Colectiv~; / „Studiul“, Galeria Bastion, Timi[oara

1984 Expozi]ia de Art~ Plastic~ Româneasc~ - U.N.E.S.C.O.,

Paris, Fran]a

1996 Expozi]ia Filialei U.A.P., Bucure[ti

Expozi]ii de grup în str~in~tate - selec]ie

1966 Plovdiv, Bulgaria

1967 Expozi]ia Interna]ional~ de Sculptur~, Parcul Middelheim,

Anvers, Belgia

1968 „Six jeunes peintres Roumains”, Galeria Lambert, Paris, Fran]a

1969 „8 arti[ti români”, Mesdag, Haga, Olanda

1970 Expozi]ie de Art~ Româneasc~, Torino, Italia

1974 Expozi]ia de Pictur~ Româneasc~, Damasc, Siria; Teheran, Iran

1984 Expozi]ia Româneasc~ de Art~ Contemporan~, Mannheim,

Germania

Expozi]ie de pictur~, Muzeul Na]ional de Art~ Contemporan~,

Atena, Grecia

1990 Expozi]ie Municipal~, Lyon, Fran]a

Premii, decora]ii - selec]ie

1958 Premiul Uniunii Arti[tilor Plastici din România, pentru Pictur~

1971, 1978 Premiul pentru Art~ Monumental~ a U.A.P., Bucure[ti

2004 „Meritul Cultural” în gradul de Comandor

Gheorghe IACOB

Born in Scutelnici village, Buzau County, on September 5th 1925

Education1946-1953 Art Institute “Nicolae Grigorescu“

Selected Solo Exhibitions2008 “Revelations of a Synthesis” in three exhibitions,

Dalles Hall, Mogo[oaia Palace, the Dialogue Gallery of sector 2 City Hall; Bucharest

Selected National Group Exhibitions1967 Exhibition on the occasion of The International Symposium

“Brâncu[i”1967 Exhibition of the City of Bucharest1972-73 Exhibition “25 Years of Romanian Art”, at the National

Art Museum1974 Exhibition “Art and Energy”, New Gallery1975 Exhibition “Art and the City”, New Gallery 1975 Exhibition “Fine Arts and Man”, New Gallery 1978 Collective Exhibition, “The Study”, Bastion Gallery,

Timi[oara1984 Exhibition of Graphic Romanian Art U.N.E.S.C.O. Paris, France1996 Exhibition of the Union of Artists, Bucharest

Selected Group Exhibitions1966 Plovdiv, Bulgaria1967 The International Art Exhibition, Middelheim Park,

Anvers, Belgium1968 “Six Young Romanian Painters”, Lambert Gallery, Paris, France1969 “Eight Romanian Artists”, Mesdag, Hague, Holland1970 Romanian Art Exhibition, Turin, Italy1974 Exhibition of Romanian Painting, Damascus, Syria, Tehran, Iran1984 Contemporary Romanian Art, Mannheim, Germany

Painting Exhibition, National Museum of Contemporary Art, Athens, Greece

1990 City Exhibition, Lyon, France

Awards and Honors1958 Award of the Romanian of the Artists Union for painting1971, 1978 Award for Monumental Art of the Artists Union, Bucharest2004 “Cultural Merit” order in the rank of Commander


75

SCULPTÂND LUMINA

Este tulbur~tor când vezi prima dat~ sculpturile în o]el inoxidabil

(crom, nichel [i molibden) ale lui Constantin Lucaci. O lumin~

metalic~, metafizic~, lunar~, care-]i gole[te spiritul, punând în

mi[care imaginarul. Lumina din zori: curat~, vibrant~, abia

n~scut~. Asemenea celei ce trebuie s~ se fi ivit, într-o sublim~

extensie în indefinibil, la originile cosmosului. Un cosmos în

dilatare, f~r~ frontiere, plutind în tenebre, lipsit de via]~ [i de

ritmul pulsant care marcheaz~ timpul [i organizeaz~ spa]iul.

Lumina este prima oper~ de crea]ie pe care a cunoscut-o

universul. Scripturile povestesc c~ Dumnezeu „a desp~r]it lumina

de întuneric". A creat lumina, f~când ca întunericul s~ capete

form~, culoare [i mi[care.

Informul [i-a început, astfel, uimitoarea istorie a formelor infinite,

a c~ror crea]ie continu~. Culorile, izvorâte din mirajul luminii, au

pornit s~ se multiplice în vibra]ii f~r~ de limite. Mi[carea, precum

apele v~lurite ale m~rii, a îndrumat Geneza infinitului, necuprins~

de gândul sau de cuvântul omului. Via]a a izbucnit [i s-a

descoperit înotând liber~ în apa luminoas~. Lumina a început s~

sculpteze istoria.

Sculptura lui Lucaci s-a n~scut, înc~ de la început, dintr-o viziune

luminoas~, din c~l~toria interioar~ a luminii. O lumin~ care i-a

ar~tat Maestrului valoarea ritmului [i a muzicalit~]ii compozi]iei

clasice, crescând într-o [lefuire figurativ~, sculptat~ doar de

lumin~. Lumina care creeaz~ forma, dinamizeaz~ spa]iul,

însufle]e[te emo]ia, sugereaz~ [i trimite spre infinit. Infinitul vie]ii

ce nu îng~duie crea]iei odihn~.

Pietro AMATO

2005

CARVING LIGHT

When seeing Constantin Lucaci's stainless steel sculptures (made

of chrome, nickel and molybdenum) for the first time, one is

thrilled. A metallic, metaphysical, lunar light, which empties the

soul and sets imagination into motion. A break of daylight: pure,

vibrant, freshly born. Like the one that must have dawned at the

beginning of the cosmos, as a sublime extension in the

indefinable. The dilating, limitless cosmos, drifting in the

darkness, lifeless, free of the tempo that measures time and

organizes space. Light was the first created work in the Universe.

The sacred texts tell us that God separated light from darkness.

He created light - and thus darkness acquired form, colour and

motion.

Shapelessness thus started its amazing, endless history, turning

into infinite forms, the creation of which is still in progress.

Colours, miraculously sprung from light, set up to multiply in

limitless vibrations. Motion, like the sea's curly waves, led to the

genesis of the infinite, unbound by man's mind or discourse. Life

burst and revealed itself, swimming freely in the bright waters.

And so, light started to carve history.

Since the very beginning, Lucaci's sculptures have come to life

out of a shining vision, on an inner journey of light. Light that

showed the Master the value of rhythm and the musicality of

classic composition, chiselled into figurative polishing through

light and light only. Light that creates the shape, enlivens the

space, sparkles emotion and suggests the infinite. The infinite of

life that allows creation no rest.

Pietro AMATO

2005


77

constantin LUCACI

78

Constantin LUCACI

Spa]iu [i lumin~ / Space and LightO]el inox / Stainless steel80 x 60 x 28 cm 2005

Constantin LUCACI

Spa]iu [i lumin~ / Space and LightO]el inox / Stainless steel80 x 65 x 45 cm 2003

79

Constantin LUCACI

Spa]iu [i lumin~ / Space and LightInox / Stainless steel1986

80

Constantin LUCACI

Spa]iu [i lumin~ / Space and LightO]el inox / Stainless steel1989

Constantin LUCACI

Spa]iu [i lumin~ / Space and Light

O]el inox / Stainless steel1988

Constantin LUCACI

N~scut pe 7 iulie 1923, în localitatea Boc[a (Banat)

Studii

1945 Frecventeaz~ Academia Liber~ de Art~ „Guguianu", Bucure[ti

1953 Licen]iat al Institutului de Arte Plastice „Nicolae Grigorescu”,

Bucure[ti

1963 Academia de Belle Arti „Pietro Vannucci” de la Perugia, Italia

Din 1988 Membru în juriul interna]ional la „Bienala Dantesca”,

Ravenna, Italia

Din 1993 Profesor la catedra de sculptur~ a Academiei de Belle Arte din

Cluj-Napoca


1974 „Spa]iu [i Lumin~", Sala Dalles, Bucure[ti

1976 Bienala de la Vene]ia, Italia

1982 Expozi]ie la Palazzo dei Diamanti, sala „Benvenuto Tissi",

Ferrara, Italia

1983 Galeria Editalia, Roma, Italia

1986 Muzeul Palatului Pálffy, Viena, Austria

1992-1993 Galeria Kara, Geneva, Elve]ia

Particip~ri expozi]ii interna]ionale - selec]ie

1954 Bienala de la Vene]ia, Italia

1967 Parcul de sculptur~, Middelheim, Anvers, Belgia

1975 “Plastik und Blumen”, Berlin, Germania

Lucr~rile artistului se afl~ în principalele muzee din ]ar~ [i în colec]ii de

stat [i private la:

Vene]ia, Roma, Milano, Ferrera, Italia;

Anvers, Belgia;

Copenhaga, Danemarca

Premii - selec]ie

1982 Ordinul „Cavaler al Meritului Republicii Italiene"

1984 Premiul „Herder", Universitatea din Viena, Austria

1999 Medalia de aur a Bienalei Interna]ionale Dantesca, Ravenna,

Italia

2001 Premiul Funda]iei Culturale Române

Adresa: Str. Av. Theodor Iliescu, nr. 3-7, sector 1, Bucure[ti, Romania

Tel / Fax: 0040 21 2311494

Tel. atelier: 0040 21 2304820

www.geocities.com/lucaci_constantin

Constantin LUCACI

Born on July 7, 1923 in Boc[a (Banat), Romania

Education1945 Attended the courses of the "Guguianu" Free Academy

of Arts in Bucharest, Romania1953 Graduated from the "Nicolae Grigorescu" Fine Arts Institute1963 Attended courses at the Fine Arts Academy "Pietro Vannucci",

Perugia, ItalySince 1988 Member of the international jury of the Biennale of

Art dedicated to Dante, Ravenna, Italy Since 1993 Professor at the Fine Arts Academy, Sculpture

Department, Cluj, Romania

Selected Solo Exhibitions1974 “Space and Light”, Dalles Hall, Bucharest, Romania1976 Biennale in Venice, Italy1982 Exhibition at Pallazzo dei Diamanti, Benvenuto Tissi Hall, Ferrara1983 Editalia Gallery, Roma, Italy1986 Pálffy Palace, Vienna, Austria1992-1993 Kara Gallery, Geneva, Switzerland

Selected Participations in International Exhibitions1954 Biennale di Venezia, Italy1967 Middelheim Sculpture Park, Antwerp, Belgium 1975 "Plastik und Bulmen", Berlin, Germany

Works of Constantin Lucaci are to be found in the main museums inRomania and in many state and private art collections abroad:

Antwerp, Belgium; Copenhagen, Denmark; Venice, Rome,Milan, Ferrara, Italy

Awards and Honors1982 "Knight of the Italian Republic" Order of Merit1984 Herder Prize of the University of Vienna, Austria 1999 Gold Medal at the International Biennale of Art dedicated to

Dante, Ravenna, Italy2001 Award of the Romanian Cultural Foundation

Address: 3-7, Theodor Iliescu Av., Bucharest 1, RomaniaPhone / Fax: 0040 21 2311494Phone studio: 0040 21 2304820www.geocities.com/lucaci_constantin


81

Pictura Sultanei Maitec este un drum spre sud. Aurul: plaja,

marea, soarele, turgescen]a ofensiv~ a fructului circumscriu,

laolalt~, o aspira]ie (sau o surs~) meridional~, a c~rei emblem~ e,

nu întâmpl~tor, Pomona, zei]a gr~dinilor [i a roadelor. Un mic

studiu din 1955, v~dind o foarte matur~ dota]ie plastic~ de tip

"central-european", e punctul de pornire, îndep~rtat, al acestei

evolu]ii, care avanseaz~, mereu, spre Europa sudului. Mijloacele

se simplific~, se sacrific~ aproape, pentru a se ajunge - c~tre

sfâr[itul anilor '60 - la o gesticula]ie radical~, la o viziune de mari

suprafe]e destinse, de tente cromatice ample, care vorbesc cu o

elementar~ vigoare [i cu o dezarmant~ sinceritate. Imaginile tind,

de multe ori, s~ dispar~ în lumin~. Soarele alb apare abia

perceptibil - ca un efect de timbru sec - pe o întindere alb~.

Pictura se desf~[oar~ la limita vizibilului. Într-un spa]iu care î[i

pierde spa]ialitatea. Tradi]ia bizantin~ ne-a obi[nuit, de altfel, s~

socotim auriul, atât de abundent în pictura Sultanei Maitec, ca pe

o pojghi]~ vizibil~ a nev~zutului, ca pe un ve[mânt al spa]iului

f~r~ de spa]iu. ßi totu[i, nu de aurul Bizan]ului e vorba aici: nu de

Balcani, ci de Mediterana. Nu fundalul aurit al icoanei e analogia

corect~ în statuile chrysoelephantine din Athena clasic~. E, cu alte

cuvinte, un aur p~gân, cosmogonic, un fel de substan]~

primordial~. Într-o Pomon~ din 1983, el transpare, de altfel, ca un

substrat necesar, sub ro[ul surd al câtorva mere. Iar când se

întâmpl~ invers, când ro[ul iese deasupra aurului, din el s-ar

spune, aurul înc~ î[i p~streaz~ func]ia lui de "obâr[ie", de temei

atotn~sc~tor. Ro[ul, cu implica]ia lui caloric~, e, de altfel, tot un

semn al sudului: în China veche, sudul avea drept corespondent

simbolic o pas~re ro[ie. Cât despre verde, prezent [i el masiv în

expozi]ia Sultanei Maitec, el nu e, în fond, decât un galben

r~corit de albastru, un auriu devenit materie, cum [i lujerul verde

al plantei e lumin~ solar~, devenit~ materie.

Andrei PLEßU

“Spre Sud”, Sultana Maitec (catalog), 1988

Sultana Maitec’s paintings are a journey towards the south. The

gold: the beach, the sea, the sun, the aggressive swelling of the fruit

come together to give shape to an aspiration (or a source) that is

meridional, whose emblem is Pomona, not by chance the garden

and fertility goddess. One small study from 1955, revealing a very

mature talent of a “central European“ type, is punctuated by the

beginning , far away of this evolution that always advances towards

Southern Europe. The means are simplified, almost sacrificed in order

to arrive – towards the end of the 60’s – at a radical gesture at a

vision of an expansive surface, of ample chromatic hues that speak

with an elemental vigor and with a disarming sincerity. The images

tend, oftentimes, to disappear into the light. The white sun seems

barely perceptible – as an effect of dry tonality – on a white expanse.

The paintings unfold at the limits of the visible. In a space that loses

its spatiality. Byzantine tradition has familiarized us, however, to

consider gold, so abundant in Sultana Maitec’s paintings, as a visible

sign of the unseen, as a vestment of space that has no space.

However, this is not the Byzantine gold: these are not of the Balkans,

but the Mediterranean. The golden background of icons is not the

correct analogy for the chryselephantine statues of classical Athens.

In other words, this is a cosmogenic, pagan gold, a kind of

primordial substance. In a Pomona from 1983 it shined through, like

a necessary substratum under the dull red of a few apples. And

when the opposite happens, when the red spills over the gold, from

within it, you could say, the gold still performs its role as the “root”

of the theme giving birth to all. Red, with its caloric implications is, in

a way, also a sign for the South: in ancient China the south had a

red bird as its symbolic correspondent. As for the green, also very

present in the exhibition of Sultana Maitec, it is, in essence, only a

yellow cooled by blue, a gold that has become material, just as the

green stalk of plants is the light of the sun, turned into matter.

Andrei PLEßU

“Towards the South”, Sultana Maitec (catalog), 1988


sultana MAITEC

84

Sultana MAITEC

Pomona Ulei pe pânz~, foi]~ de aur / Oil on canvas, gold leaf

Sultana MAITEC

Soare negru / Black sunUlei pe pânz~, foi]~ de aur / Oil on canvas, gold leaf2001


85

Sultana MAITEC

Pomona Ulei pe pânz~, foi]~ de aur /Oil on canvas, gold leaf2001

Sultana MAITEC

Soare / SunUlei pe pânz~, foi]~ de aur /

Oil on canvas, gold leaf2002

86

Sultana MAITEC

MeninaUlei pe pânz~ / Oil on canvas2005

Sultana MAITEC

Marea neagr~ / Black SeaUlei pe pânz~ / Oil on canvas2001

Sultana MAITEC

N~scut~ la Livezi, Grecia

Studii

1955 Academia de Arte, Bucure[ti

Debut expozi]ional, membr~ a Uniunii Arti[tilor Plastici Bucure[ti.

Expozi]ii personale – selec]ie

1967 Expozi]ie personal~, Sala Dalles, Bucure[ti

1968 Expozi]ie personal~, Sala Dalles, Bucure[ti

1992 Galeria "Art of the Century", Paris

1993 Centrul Cultural Român, Paris

2000 Muzeul ¥~rii Cri[urilor

2001 Muzeul Na]ional de Art~ al României

Particip~ri la expozi]ii române[ti peste hotare - selec]ie

1969 Torino, Italia; Tel Aviv, Israel

1971 Düsseldorf, Germania


1984 Pinacoteca Na]ional~, Atena, Grecia

1986 The Mall Galleries, Londra, Anglia

1987 Glasgow, Anglia

Expozi]ii interna]ionale - selec]ie

1968 Expozi]ia “Femei pictori”, Edinburgh, Sco]ia

1983, 1985 - “Art contre / against apartheid”, Foundation Nationale des

Arts Plastiques, Paris, Fran]a; Lund,

Suedia; Madrid, Barcelona, Spania

1991 "Pentaconale Ptus", Demarco Gallery, Edinburgh, Sco]ia

1992 "Cité Internationale des Arts", Paris, Fran]a

1993 "Hommage à M. Eliade et E. Cioran", Paris, Fran]a

1994, 1995 - "Janne Castel", Paris, Fran]a

1998 Mücsarnok, Budapesta, Ungaria

2002 Palatul Parlamentului European, Bruxelles, Belgia

Premii, ordine - selec]ie

1975 Ordinul Meritul Cultural

1989 Premiui Academiei Române, Bucure[ti

Adresa: Str. Emanoil Porumbaru nr. 14, S 1, Bucure[ti, România

Sultana MAITEC

Born in Livezi, Greece

Education1955 The Art Academy of Bucharest

Debut, as member of the Artists Union of Bucharest

Selected Solo Exhibitions1967 Personal Exhibition, Dalles Hall, Bucharest1968 Personal Exhibition, Dalles Hall, Bucharest1992 “Art of the Century” Gallery, Paris1993 Romanian Cultural Center, Paris 2000 The Museum of the Cri[ County2001 National Art Museum of Romania

Selected Romanian Exhibitions Abroad 1969 Torino, Italy;Tel Aviv, Israel1971 Düsseldorf, Germany1979 Romanian Academy, Rome, Italy1984 The National Gallery of Painting, Athens, Greece1986 The Mall Galleries, London, England1987 Glasgow, England

Selected International Exhibitions 1968 “Women Painters” exhibition, Edinburgh, Scotland1983, 1985 “Art against Apartheid”, National Foundation for the

Fine Arts, Paris, France; Lund, Sweden; Madrid, Barcelona, Spain

1991 “Pentaconale Ptus”, Demarco Gallery, Edinburgh, Scotland1992 "Cité Internationale des Arts", Paris, France1993 “Homage to Mircea Eliade and Cioran”, Paris, France1994, 1995 “Janne Castel”, Paris, France1998 Mücsarnok, Budapest, Hungary2002 The European Palace of Parliament, Brussels, Belgium

Awards and Honors1975 Order for Cultural Merit1989 Award of the Romanian Academy, Bucharest

Address: 14, Emanoil Porumbaru St., Bucharest 1, Romania


87

Gheorghe Marcu este în acela[i timp artist [i poet, formele [i

cuvintele se întâlnesc câteodat~ în operele sale. Metafora este

profund integrat~ în vocabularul lui de crea]ie.

Sculptura sa provoac~ uneori surprize, reflect~ st~rile afective ale

autorului iar ele, adesea, determin~ op]iunile formale [i pe cele

care privesc materialele. Ideea [i sensibilitatea, for]a expresiei [i

subtilitatea sunt armonizate în universul lucr~rilor lui Gheorghe

Marcu. Ironia se constituie la rându-i în component~ a exprim~rii

artistului. Figurativul [i abstractul „m~r[~luiesc" împreun~.

La începuturile sale, autorul practica o sculptur~ „arhitectural-

arhaizant~". Cu trecerea anilor, s-a dovedit conving~tor [i ca

modelator de mici efigii, [i atunci când î[i „coloreaz~"

personajele în „nuan]e" fantastice, sau când î[i construie[te

discursul artistic cu ajutorul ready-made-urilor modificate.

Câinele cu dou~ capete, realizat în teracot~ („Crepuscul", 1998),

este rezultatul unei tulbur~toare experien]e onirice. Crepusculul

se instituie în semnul for]elor contrare care se lupt~ în noi; ele ne

devoreaz~, dar în acela[i timp pot s~ reprezinte vitalitatea sau

chiar îndoiala în calitatea ei de condi]ie profund~ a existen]ei...

Dac~ aceast~ creatur~ fantastic~ nu mai este liber~ (ci prizonier~

în coloana de c~r~mid~), nici noi nu mai suntem liberi.

Adrian GU¥Å

Gheorghe Marcu is at the same time an artist and poet, forms and

words meet occasionally in his works. The metaphor is profoundly

integrated into his vocabulary of creation.

His sculpture sometimes determine surprises; it reflects the

affective states of their creator and they oftentimes determine

the formal options as well as those regarding materials. The idea

and sensitivity, the force and subtlety of expression are

harmonized in the universe of Gheorghe Marcu’s works. Irony is,

in its turn, a component of the artist’s expression. The figurative

and the abstract “march” together.

In his early period, the artist practiced an “architectural-archaic”

sculpture. With the passing of time, he proved himself convincing

as a molder of small effigies as well, when he “colors” his figures

in fantastic nuances, or when he builds up his artistic discourse

with the help of ready-mades aides.

Dogs with two heads, realized in terracotta (“Dusk”, 1998) is the

result of a troubling dream - like experience. Dusk is instituted as

the sign of contrary forces that fight within us; they devour us and

at the same time are able to represent vitality or even doubt in their

quality as the profound condition of existence… If this fantastic

creature is no longer free (but a prisoner of the brick column), nor

we are free any longer.

Adrian GU¥Å


89

gheorghe MARCU

Gheorghe MARCU

Punte / BridgeLemn [i piatr~ / Wood and stone1994

Gheorghe MARCU

Citadela / CitadelLemn / Wood1995

91

Gheorghe MARCU

Zidire / Walling -in C~r~mid~, ceramic~ /

Brik, ceramic 1998

Gheorghe MARCU

Tronul conjugal / Marital Throne

Ceramic~ [i metal /Ceramic and metal

1998

92

Gheorghe MARCU

Crepuscul / DuskCeramic~ / Ceramic1998

Gheorghe MARCU

12Instala]ie, metal [i piatr~ /Installation, metal and stoneGala]i,1995

Gheorghe MARCU

N~scut pe 6 februarie 1952 în comuna Pietro[ani, jud. Arge[

Studii

1981 Absolvent al Institutului de Arte Plastice "Nicolae Grigorescu",

Bucure[ti

Membru al Uniunii Arti[tilor Plastici din România

Lector la Universitatea Na]ional~ de Arte, Bucure[ti


1998 „St~pânul câinilor s~i”, Galeria Simeza, Bucure[ti


1985 "Experimental Art", Budapesta, Ungaria

"Day Art", Budapesta, Ungaria

1986, 1987, 1988 "Impact Art Festival", Kyoto, Japonia

1992 Bienala "Desene de sculptor", Budapesta, Ungaria

1995 Galeria De Gele Rijder, Arnhem, Olanda (grup)

2001 Bienala interna]ional~ de desen "Josep Amat", Spania

2007 Sculptura contemporan~ româneasc~,

Muzeul Ianchelevici, La Louvière, Belgia

Simpozioane de sculptur~ - selec]ie

1983 M~gura, Buz~u (piatr~)

1985,1987 Oarba de Mure[, Mure[ (piatr~)

1991, 1995 Gala]i (metal)

1992 Simpozionul "P~mânt-semn-p~mânt", Gustrow, Germania

2000 Funda]ia Muzeul Florean, Baia Mare

2006 Simpozionul de sculptur~ în metal, Gr~dina Triade, Timi[oara

2007, 2008 Sângeorz B~i

Premii

1988 Premiul tineretului, Cluj-Napoca

1998 Premiul Primarului capitalei, Salonul Municipal, Bucure[ti

Adresa: Str. G-ral Berthelot 99, corp B, apart. 2, s 1,

Bucure[ti, Romania

Atelier: Str. Olimpului 2, s 4, Bucure[ti, Romania

Tel: 0040 21 3164600

Mobil: 0040 720 095742

Gheorghe MARCU

Born in Pietrosani village, Arges County, on February 6, 1952

Education1981 Graduated the Fine Arts Institute “Nicolae Grigorescu”,

BucharestMember of the Romanian Artist’s UnionLecturer at the National University of Arts, Bucharest

Selected Solo Exhibitions1998 “Lord of His Dogs”, Simeza Gallery, Bucharest

Selected International Exhibitions 1985 “Experimental Art”, Budapest, Hungary

“Day Art, Budapest, Hungary1986, 1987, 1988 “Impact Art Festival”, Kyoto, Japan1992 Biennial “Drawings of Sculptors”, Budapest, Hungary1995 De Gele Rijder Gallery, Arnhem, Holland (group exhibition)2001 International Drawing Biennial “Joseph Amat”, Spain2007 Contemporary Romanian Sculpture, Museum Ianchelevici,

La Louvière, Belgium

Selected Sculpture Symposiums 1983 M~gura, Buz~u (stone)1985, 1987 Oarba de Mure[, Mure[ (stone)1991, 1995 Gala]i (metal)1992 “Earth-Sign-Earth”, Gustrow, Germany 2000 The Florean Museum Foundation, Baia Mare2006 Sculpture in Metal, Triade Garden, Timi[oara2007, 2008 Sângeorz B~i

Awards and Honors1988 Youth Award, Cluj-Napoca1998 Award of the Mayor of Bucharest, City Salon

Studio: 2, Olimpului St., Bucharest 4, RomaniaAddress: 99, G-ral Berthelot St., Bucharest 1, RomaniaTel: 0040 21 3164600Mobile: 0040 720 095742


93

„Culoare în mi[care, pas~re zburând~, sânge al privirii, negru

de p~mânt.

Ah, voi ochi, risipi]i pretutindeni în p~mântul în care suntem, în

p~mântul în care sunt.

Splendoare a vederii din afar~ – vol d’oiseau – cum ar spune alt~

dat~ Baudelaire, el însu[i îndr~gostit de pictorii lui.

Ce vis [i cât~ lini[te! Ce pat cu vise! Ce fluturi!

Artistul realizeaz~ lini[tea nelini[tii. Nici nu mai sunt p~s~ri, sunt

sentimente de p~s~ri!

Dac~ vulturii ar clipi, dac~ pe[tii ar clipi, dac~ pas~rea [i-ar clipi ea

îns~[i zborul, ah, dac~ pietrele ar avea pleoape [i ar clipi din ele!

Vede]i ce ar vedea! Gândi]i ce ar vedea!

Ce coroan~ de ochi poate s~ aib~ zborul lui!

Ce vedere de vederi ale vederii poate s~ aib~ pas~rea lui,

minunata lui pas~re. El se uit~ cu to]i ochii no[tri, de aceea îl

iubim, de aceea îl stim~m.

Iat~-ne, într-un fel, pe to]i privind, de acolo, din tandra lui

alc~tuire de culori!

Realul se scurge fin în vis, iar paradisul se scurge în p~mânt. Acest

om este tot numai gând. Acest om este tot numai gând!

Cântecul lui e în zbor, culorile lui curg aidoma trecerii timpului

prin irisul nostru.

M~rginean! N-o fi având el vreun bunic vultur de a prins în creier

atâta zbor!

Înf~ptuirea e grea, e delicat~, materialul zborului e dur, pana e

trec~toare, soarele etern…“

Nichita STÅNESCU

„Culorile zborului“

“Colors in motion, flying bird, the look is blood, earth’s black.

Ah, you eyes, spread out everywhere on the earth which we are

in, the earth in which I am.

The splendor of seeing from the outside – vol d’oiseau – as

Bauldelaire once said, he himself in love with his painters.

What dream, and what peace! What bed of dreams! What

butterflies!

The artist realizes the peace of the lack of peace. There are no

more birds, they are the feelings of birds!

If the eagle were to wink, if the fish winked, if the bird winked its

own flight, ah, if rocks had eyelids they would wink! See what

they would see! Think what they would see!

What crown of eyes his flight could have!

What sight of sights’ sight could his bird have, his miraculous

bird. He looks with all our eyes, that is why we love him, why we

honor him.

Look at us, in a way, all of us looking, from there, from his gentle

construction of colors!

The real finely drains into dream, and paradise drains into earth.

This man is wholly thought. This man is wholly thought!

His song is in flight, his colors flow simultaneously with the

passage of time through our iris.

M~rginean! Has he an eagle for a grandfather that so much

flight has caught in his mind!

Accomplishment is hard, it is delicate, the material of flight is

harsh, the feather is passing, the sun is eternal…”

Nichita STÅNESCU

“The Color of Flight”


95

viorel MÅRGINEAN

96

Viorel MÅRGINEAN

Coco[i pe fond ro[u /Roosters on a red fieldUlei pe pânz~ / Oil on canvas2003

Viorel MÅRGINEAN

Pas~rea [i mediul / The Bird and the environment

Ulei pe pânz~ / Oil on canvas1988


97

Viorel MÅRGINEAN

Zbor / FlightUlei pe pânz~ / Oil on canvas1969

98

Viorel MÅRGINEAN

Soare ascuns / Hidden sunUlei pe pânz~ / Oil on canvas1992

Viorel MÅRGINEAN

Peisaj ritmat /Rhythmic landscapeUlei pe pânz~ / Oil on canvas2003

Viorel MÅRGINEAN

Petale pe trotuar / Petals on the pavementUlei pe pânz~ / Oil on canvas

1988

Viorel MÅRGINEAN

N~scut pe 12 decembrie 1933 în comuna Cenade, jude]ul Alba.

Studii

1953-1959 Institutul de Arte Plastice „Nicolae Grigorescu“, Bucure[ti,

clasa profesor Ioan Maric.

1958 Debuteaz~ la Expozi]ia interregional de pictur~, sculptur~

[i grafic~, Bucure[ti, sub pseudonimul Gheorghe Sandu.

1981 Membru al Academiei Europene de ßtiin]e, Arte [i Litere, Paris

1999 Membru al Academiei Interna]ionale de Art~ Modern~, Roma

2006 Membru de onoare al Academiei Române

Expozi]ii personale

1970 Sala Dalles, Bucure[ti

Galeria Hartmann, New York, SUA

1974 Galeria „Lübke“, Hamburg, Germania

1979 Galeria Bausback, Mannheim, Germania

1980 Palatul Palffy, Viena, Austria

1983 Expozi]ia retrospectiv~ de la Sala Dalles, Bucure[ti

1988 Galeria Kutscha, Salzburg, Austria

1992 Palatul UNESCO, Paris, Fran]a


Institutul Cultural Român, Viena, Austria

1995 Muzeul Brukenthal, Sibiu

1996 Muzeul de Art~, Craiova

Institutul Cultural Român, Madrid, Spania

2003 Muzeul Na]ional de Art~ al României

2006 Parlamentul European - Bruxelles, Belgia

Premii

1981 Marele Premiu Interna]ional „Trionfo ‘81“ acordat de

Sindicatul Liber Italian al Arti[tilor Profesioni[ti, Roma

Premiul „Omagiu lui Picasso“ acordat de Centrul Cultural

„Caravaggio“, Roma

1984 Marele Premiu al Uniunii Arti[tilor Plastici

1995 Diploma "Ad Honores" a Academiei Europene a Artelor.

2003 Ordinul Na]ional „Serviciul Credincios“ în Grad de Cavaler

2004 Premiul "Ion Andreescu", acordat de Academia Român~

2005 Ordinul "Steaua solidarit~]ii” «Commendatore II Classe»"

acordat de Pre[edintele Italiei

Adresa: Str. Aviator S~n~tescu nr. 46, ap. 1, S 1, Bucure[ti, România

Viorel MÅRGINEAN

Born on December 12, 1933 in Cenade, district Alba.

Education1953-1959 Fine Arts Institute “Nicolae Grigorescu”, Bucharest,

the class of professor Ioan Maric.1958 Debut at the Interregional Painting, Sculpture and Graphics

Exhibition, Bucharest, under the pseudonym Gheorghe Sandu.1981 Member of the European Academy of Sciences, Arts and

Letters, Paris, France1999 Member of the International Academy of Modern Art,

Rome, Italy2006 Honorary Member of the Romanian Academy

Selected Solo Exhibitions1970 Dalles Hall, Bucharest

Hartmann Gallery, New York, USA1974 „Lübke“ Gallery, Hamburg, Germany1979 Bausback Gallery, Mannheim, Germany1980 Palffy Palace, Vienna, Austria 1983 Retrospective exhibition at the Dalles Hall, Bucharest1988 Kutscha Gallery, Salzburg, Austria1992 UNESCO Palace, Paris, France1993 Accademia di Romania, Rome, Italy

Romanian Cultural Institute, Vienna, Austria1995 Brukenthal Museum, Sibiu1996 Museum of Art, Craiova

Romanian Cultural Institute, Madrid, Spain2003 Romanian National Museum of Art2006 European Parliament - Brussels, Belgium

Awards and Honors1981 Great Award „Trionfo ‘81“, Rome

The „Homage to Picasso“ Award, Rome1984 Great Award of the Romanian Artists’ Union1995 Diploma "Ad Honores" of the European Arts Academy.2003 National order "Faithful Service" in the rank of Knight2004 The "Ion Andreescu" Award, Romanian Academy 2005 The "Star of Solidarity” order «Commendatore II Classe»",

awarded by the President of Italy

Address: 46, Aviator S~n~tescu St., Bucharest 1, Romania


99

Anca Mure[an pare o „divizionist~” atâta vreme cât este

raportat~ la Seurat. Lucr~rile ei degaj~ aceea[i senza]ie de

înst~pânire total~, unde nimic nu este l~sat la întâmplare. Totul

este ordonat cu grij~, conform opticii personale, for]ând tonurile

divizate s~ se aglutineze într-o luminozitate ireal~. Time-off

pentru o clip~ de frumuse]e pur~, de pace [i lini[te. Momentul

astral când arta transcende cotidianul. Privirea ei sfâ[ie impetuos

v~lul, focalizând n~prasnic ]esutul de dincolo. Din acest punct se

declan[eaz~ tirania Anc~i Mure[an, atributele ei care nu sunt

fictive, ci viguros de net~g~duite. Prin alternan]a energiilor din

lentilele sale, prin acest blow-up continuu, Anca Mure[an ne

aduce aproape aproapele din spatele departelui. Atomizeaz~

aparen]a, alungând esen]a în desfigurativ. Subiectele se

descompun în puncte vizuale de baz~, precum alt~dat~ poza din

ziar, sub lup~. Apoi, subit, printr-un procedeu invers (de ast~

dat~, al min]ii!), ele se recompun. S~ nu crede]i îns~ c~ tensiunea

conexiunilor dintre aceste celule nu se simte la fiecare tablou! Din

contr~. ßtim c~ fiecare structur~ con]ine în sine cupluri de for]e

ce pot oricând anula ordinea. Numai c~, la Anca Mure[an, v-am

spus, situa]ia e sub control. Dinamica aceasta poten]ial~ nu e un

joc gratuit al flexibilit~]ii, ci o staz~. De pasiune. De genul

feminin; autoironie blând~, izvorât~ din mul]umirea artistului care

a îmblânzit esen]a.

Sebastian AMZA

Anca Mure[an, expozi]ia “Atribute fictive”, 2008

When compared to Seurat, Anca Muresan seems almost a

„divisionist“. Her works radiate the same feeling of full mastery,

since nothing happens there by chance. Everything is carefully

thought-out, in accordance with a personal outlook, forcing the

divided tonalities to agglutinate in an unreal lighting. Time-off for

pure beauty, peace and composure. The very moment when art

transcends daily life. Her insight penetrates the veil, impetuously

focusing on the weft behind it. From this point Anca Muresan’s

tyranny starts, that is her vigorously undeniable, not fictitious,

attributes. By alternating the energies inside her lens, by means

of this continuous blow-up, Anca Mure[an brings close the

nearness at the back of remoteness. She atomizes the

appearance, pushing away the essence towards dis-figuration.

The subjects are decomposed in their basic visual points, like the

newspaper photographs under the magnifying glass. Then,

suddenly, by means of a reversed procedure, this time one of the

mind, they recompose. You shouldn’t imagine that the tension of

interconnecting all these cells is not experienced by each and

every painting! On the contrary, each structure contains couples

of forces able to cancel the order anytime. But, as was previously

said, the situation is under control with Anca Mure[an. This

potential dynamic is not a flexible, gratuitous play, but a stasis, a

passionate one. A feminine one too - the bland self-irony sprung

from the content of an artist who has tamed the essence.

Sebastian AMZA

The exhibition Fictitious Attributes, by Anca Mure[an, 2008


101

anca MUREßAN

Anca MUREßAN

În~untru / InnermostAcrilic pe pânz~ / Acrylic on canvas

2007

102

Anca MUREßAN

Serie f~r~ titlu / Untitled seriesAcrilic pe pânz~ / Acrylic on canvas2007

Anca MUREßAN

Cap / HeadUlei pe pânz~ / Oil on canvas1999


Anca MUREßAN

Cuplu / PairAcrilic pe pânz~ / Acrylic on canvas2000

Anca MUREßAN

(stânga / left)

Parc / ParkAcrilic pe pânz~ / Acrylic on canvas

2000

(dreapta / right)

Diagonala / The DiagonalUlei pe pânz~ / Oil on canvas

2008

104

Anca MUREßAN

ElisaAcrilic pe pânz~ / Acrylic on canvas2008

Anca MUREßAN

Born 1965, Bucharest.

Education1990 MA in Painting, Bucharest Art Academy1998 MA Studies with Professor Konrad Klapheck2000 Akademiebrief, Kunstakademie Düsseldorf

Selected Solo Exhibitions1991 Studio 35 Gallery, Bucharest1997 ArTei Gallery, Bucharest2001 Manfred Zischke Gallery, Düsseldorf2005 „Fell ein!“, Alte Post, Düsseldorf2006 „Even“, Mogo[oaia Palace, Bucharest 2008 „Fictive Atributes”, Curtea Veche Gallery, Bucharest

Selected Group Exhibitions1996 „Fracture fermée“, French Institute, Bucharest

„Vertrauen ins Bild“, Goethe Institut, Bucharest1997 „Ad hoc“, Ludwig Museum, Budapest1999 Bruno Goller Museum, Gummersbach2000 „Ilse Frankenthal“ Prize, Brunssum2002 „Octopus“, Ulrike Rathert Gallery, Minden2005 „Storage”, The National Museum of Contemporary Art,

Bucharest2008 40 Jahre Kunstverein Gelsenkirchen

Awards and Honors1992 The Painting Prize of the Union of the Romanian Artists1996 Karl-Schwesig-Preis, Gelsenkirchen Museum

Works in public collectionsThe National Museum of Contemporary Art, Bucharest,Gelsenkirchen Museum,PriceWaterhouseCoopers, DüsseldorfPSD Bank, Düsseldorf

Public commission2000 The Kult Building, Düsseldorf

Studio: 13 ßelari St., Bucharest 6, RomaniaMobile: 0040 749 396230


105

Anca MUREßAN

N~scut~ în 1965 în Bucure[ti

Studii

1990 Academia de Art~ din Bucure[ti

1998 Meisterschuelerin, Profesor Konrad Klapheck, Kunstakademie

Düsseldorf

2000 Akademiebrief, Kunstakademie Düsseldorf


1991 Atelier 35, Bucure[ti

1997 Galeria ArTei, Bucure[ti

2001 Galeria Manfred Zischke, Düsseldorf

2005 „Fell ein!”, Alte Post, Düsseldorf

2006 „Neted”, Palatul Mogo[oaia, Bucure[ti

2008 „Atribute fictive”, galeria Curtea Veche, Bucure[ti


1996 „Fracture fermée”, Institutul francez, Bucure[ti

Vertrauen ins Bild, Institutul Goethe, Bucure[ti

1997 „Ad hoc”, Muzeul Ludwig, Budapesta

1999 Muzeul Bruno Goller, Gummersbach

2000 Premiul „Ilse Frankenthal”, Brunssum

2002 „Octopus”, Galeria Ulrike Rathert, Minden

2005 „Depozit”, Muzeul Na]ional de Art~ Contemporan~,

Bucure[ti

2008 40 Jahre Kunstverein Gelsenkirchen

Premii - selec]ie

1992 Premiul pentru pictur~, UAP

1996 Premiul Karl-Schwesig, Muzeul din Gelsenkirchen

Lucr~ri în colec]ii publice

Muzeul Na]ional de Art~ Contemporan~, Bucure[ti

Muzeul din Gelsenkirchen

PriceWaterhouseCoopers, Düsseldorf

PSD Bank

Luc~ri monumentale

2000 Cl~direa Kult, Düsseldorf

Atelier: Str. ßelari nr.13, S 6, Bucure[ti, România

Mobil: 0040 749 396230

Arta Lilei Passima este profund autoreferen]ial~ (deocamdat~).Lucrurile st~teau a[a înc~ de la personala din 1997, “De vorb~ cuiarba verde-verde”, o instala]ie „total~” (termenul lui Kabakov), lagaleria C~minul Artei (parter). Dup~ trei ani, tân~ra artist~ continu~s~-[i pun~ crea]ia în slujba autodescoperirii, autodefinirii. Acum,îns~, nu mai asist~m la un simplu discurs autobiografic. Autoarea nepune la dispozi]ie repere care îi amprenteaz~ senza]iile, sentimentele[i gândurile, conexiunile familiale, ambian]a intim~, dar ne [i invit~ca, intrând în aceast~ lume, s~ r~spundem printr-un comportamentfiresc, s~ dialog~m cu ea, s~-i ad~ug~m contribu]iile personale cares~ o transforme într-un loc al comunic~rii (ceea ce nu îi dizolv~particularit~]ile). Astfel, prin extrapolare, universul Lilei Passimadevine unul generic în care ar putea s~ se reg~seasc~ multe altele,pentru a se împlini miza umaniz~rii realului.

Lila Passima nu este adepta operei finite în atelier [i expuse ca atare.ßi-a mutat, pentru aceast~ expozi]e, „bazarul” atelierului în salaEforie (...) Configura]ia ultimului act – „Începe timpul” – a depins deîntreaga evolu]ie de pân~ la el [i a însemnat reg~sirea resorturilorcelor mai intime, înc~ o dat~ impregnate de leg~turile familiale, într-o stare de relativ~, m~car, împ~care cu lumea.

Stratificarea timpilor, ce au ritmat expozi]ia, a condus ([i de aceast~dat~) la o instala]ie total~. Care nu s-a alc~tuit doar prin adi]ionarede repere materiale (desene parietale, texte, obiecte confec]ionate,ready-mades), ci [i prin suflul viu al unor performances – coregrafice[i sonore, cu interven]iile personale ale reprezentan]ilor unorcategorii diverse de public. (...)

Ceea ce a realizat Lila Passima prin Bazarul s~u Estic a fost ooper~ interdisciplinar~. Nu doar gra]ie coresponden]elor dintrediverse limbaje artistice, între ele [i cel literar, ci [i prin jonc]iuneaartei cu ini]iativa sociologic~ (vezi [i vânzarea la pre] simbolic aunor obiecte second-hand). Puteam vorbi de o strategieasem~n~toare celei definite ca sculptur~ social~ de c~tre Beuys –cu alte cuvinte, prieteni sau necunoscu]i, intrând în expozi]ie,erau îndemna]i de comunicabilitatea autoarei s~ î[i manifestepropriile impulsuri creatoare.

Bazarul Estic, prin pluralitatea func]iilor [i deschiderilor sale, i-apermis Lilei Passima libera mi[care între registrul grav, cel meditativ[i registrul ludic; nu a lipsit, astfel, nici ironia, nici chiar, uneori,autoironia – poate o contrapondere la inflexiunile nostalgice,acestea din urm~ având îns~ contribu]ia lor întru conturarea unuiunivers personal subtil [i bogat nuan]at.

Adrian GU¥ÅFirst Bazar [i Timpii s~i

Lila Passima’s art is profoundly self-referential (currently). Things havebeen this way since 1997 with the personal exhibition “Speakingwith grass, green – green”, a “complete” installation (Kabakov’sterm), at the C~minul Artei Gallery (ground floor). After three years,the young artist continued to use her creations in the service of self-discovery, self definition. Now, however, we no longer witness asimple autobiographical discourse. The artist places reference points atour disposal that imprint their sensations, sentiments, and thoughts,familial connections, intimate ambiance, but she also invites us, whileentering into this world, to a dialogue with her, to add our personalcontributions that will be transformed into a place for communication(which does not dissolve particularities). So that through extrapolation,the universe of Lila Passima becomes a generic one, where manyothers can be found, so as to fulfill the goal of humanizing the real.

Lila Passima is not an adept of works finished in studio and shown assuch. She moved into the exhibition hall from the whole “bazaar“ ofthe studio (...) The configuration of the last act – Time Begins –depends on the entire previous evolution and it meant the rediscoveryof the most intimate resources, yet again pregnant with familialconnections, in a state of at last relative coming to peace with theworld.

Times’ stratification, which creates the rhythm for the exhibition, lead(this time) to the complete installation. Which was not made just byhand adding material references (mural wall drawings, texts, madeobjects, ready-mades), but rather through the living breath ofperformances – choreographed and melodious – in addition todialogues with, and personal interventions of certain categories ofbeholders. (...)

What Lila Passima accomplished through her Eastern Bazaar was aninterdisciplinary work. Not only due to the correspondence betweendiverse artistic languages, literature being among them, but throughthe junction of art with sociological initiative (see selling second-handobjects at a symbolic price). We can speak of a strategy like the onedefined as social sculpture by Beuys – in other words, friends orstrangers entering the exhibition were urged by the communicabilityof the artist to manifest their own creative impulses.

From the East Bazar, through the plurality of her functions andopenness, Lila Passima has been able to move freely between aserious, meditative and a playful register; in this way irony was notabsent, not even, occasionally, self-irony – perhaps as a balance tothe nostalgic inflexions that contribute to the shaping of a personal,subtle and richly toned universe.

Adrian GU¥ÅHer First Bazaar and Times


107

lila PASSIMA

108

Lila PASSIMA

De 13 ori Eu, spa]iu personal - portrete / 13 times Me, personal space - portraitsInstala]ie / Installation1996

Lila PASSIMA

East-Bazar Instala]ie / Installation2001

Lila PASSIMA

Val / WaveEast Bazar

(detalii / details)

Instala]ie / Installation

Lila PASSIMA

East BazarInstala]ie / InstallationWork in progress2000

Lila PASSIMA

E timpul verzei / It’s cabbage’s timeInstala]ie / Installation1999

Lila PASSIMA

N~scut~ pe 19 iulie 1967 în Bucure[ti

Studii

1996 Academia de Arte, Bucure[ti


1997 “De vorb~ cu iarba verde-verde”, instala]ie, Galeria C~minul

Artei, Bucure[ti

2000 “Ist BAZAR“ experiment / work in progress, Galeria Eforie,

Bucure[ti

2004-2003 “Închipuiri subterane” / “Blocul de sub noi” – interven]ii

artistice în spatiu public / instala]ii,

proiecte interdisciplinare realizate la metrou

2004 “Desene mici [i mijlocii”, libr~ria C~rture[ti

Expozi]ii na]ionale [i de grup - selec]ie

1994 “Installation - the most spoken language”, Galeria UNA,

Bucure[ti

1995 “Textil Art”, Muzeul Na]ional de Art~, Bucure[ti

2001 “Periferic 1’’, Bienala de Art~ Contemporan~, Ia[i

2003 “P~durea din frumoasa adormit~”, Galeria C~minul Artei,

Bucure[ti

2004 “Lucruri mici [i mijlocii”, Galeria Jean [i Sabina Negulescu,

Bucure[ti

Expozi]ii Interna]ionale - selec]ie

1994 Bienala Interna]ional~ de miniatur~ textil~, a X-a edi]ie,

Szombathely, Ungaria

1996 “It’s about time”, Wentz Gallery, Portland / Oregon, USA

1996, 1998 “Fibre Art on the outside”, Muzeul Norton Priory, Cheshire,

Anglia

1999 Arti[ti Contemporani Români, Muzeul Ianchelevici,

La Louvière, Belgia

2002 “Motherland / Fatherland”, Moscow International Forum of Art

Initiatives

2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento,

Florida

Lucr~ri în colec]ii publice

Muzeul Na]ional de Art~ Contemporan~, România

Galeria de Art~ Contemporan~, Szombathely, Ungaria

Norton Priory Museum, Cheshire / Bebington Civic Centre

Library, Anglia

Lucr~ri în colec]ii private

Romania, Canada, Marea Britanie

Atelier: Bd. D. Cantemir, nr. 21, bl. 4, sc. C, ap. 67, s 4,

Bucure[ti, Romania

Tel: 0040 21 3304283

Mobil: 0040 743 752260


Lila PASSIMA

Born in Bucharest, on the 19th of July, 1967

Education1996 The Art Academy, Bucharest

Selected Solo Exhibitions1997 “Speaking with the Grass Green – Green”, installation,

C~minul Art Gallery, Bucharest2000 “Ist BAZAAR” experiment / work in progress, Eforie Gallery,

Bucharest2004-2003 “Subterranean Imaginings” / “The Building Beneath

Us” artistic interventions in public space / installation, interdisciplinary projects realized in subway stations

2004 “Medium and Small Drawings”, C~rture[ti bookstore

National Group Exhibitions Abroad1994 “Installation – the most spoken language”, Gallery UNA,

Bucharest1995 “Textile Art”, The National Art Museum, Bucharest2001 “Peripheric 1”, The Biennial of Contemporary Art, Ia[i2003 “The Forest from the Sleeping Beauty”, C~minul Art Gallery,

Bucharest2004 “Small and Average Size Things”, Jean and Sabina Negulescu

Gallery, Bucharest

Selected International Exhibitions 1994 The Tenth International Biennial of Miniature Textiles,

Szombathely, Hungary1996 “It’s About Time”, Wentz Gallery, Portland, Oregon, USA1996, 1998 “Fibre Art on the Outside”, the Norton Priory Museum,

Cheshire, England2002 “Motherland / Fatherland”, Moscow International Forum of Art

Initiatives2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento,

Florida

Works in Public CollectionsThe National Contemporary Museum of Art, BucharestContemporary Art Gallery, Szombathely, HungaryNorton Priory Museum, Cheshire / Bebington Civic Center Library, England

Works in Private CollectionsRomania, Canada, Great Britain

Studio: 21, D. Cantemir Blvd., Bucharest 4, RomaniaPhone: 0040 21 3304283 Mobile: 0040 743 752260 email: [email protected]


111

Crea]ia lui Romelo Pervolovici se situeaz~ undeva la întâlnirea

dintre dimensiuni. E [i multi-dimensional~, e [i hiperdimensional~.

Prolifereaz~ f~r~ s~ intre în disolu]ie, pentru c~ nu î[i

abandoneaz~ niciodat~ punctul de origine. Se sparge în

fragmente, în decupaje [i r~mâne, în acela[i timp, totalizant~.

Porne[te de la materii [i materiale, p~trunde abil în structuri

noetice, de cunoa[tere [i în]elegere obiectiv~ a proceselor de

crea]ie, c~rora le testeaz~ validitatea pentru a ajunge în ultim~

instan]~ la un exerci]iu hermeneutic... Nelini[te[te pentru c~

atinge frontierele [i limitele atât ale experien]ei sensibile, cât [i pe

cele, mai riscante, ale fenomenului fizic [i ale experimentului

[tiin]ific.

E dificil s~ îl plasezi într-o formul~ de unitate stilistic~ în istoria

sculpturii contemporane române[ti. A fost, rând pe rând, neo-

expresionist, experimentator, „intermedial”, factor subversiv,

mitograf [i c~ut~tor de arhetipuri. Postmodern, în mod necesar.

Odat~ cu formarea grupului 2 META (proiect conceput împreun~

cu Maria Manolescu) se întoarce, în aceea[i încercare de testare a

limitelor, spre zona conceptual~ [i spre investiga]ia de tip

sociologic. Refuz~ imaginea sculpturii ca simplu obiect material în

favoarea ludicului, a ironiei, a interven]iei sociale [i a crea]iilor

hibride ale „artopologiei”.

Investiga]ia [i explorarea sunt modalit~]ile sale predilecte de

cercetare. Inoculeaz~ o metod~, construie[te forme [i probeaz~

concepte. Iar cele trei instan]e nu pot fi scindate în sculpturile lui

Pervolovici, pentru c~ îns~[i aceast~ interdependent~ d~ coeren]~

propunerilor sale estetice. Îmi place s~ cred c~ artistul face parte

din categoria celor care „cerceteaz~”; adic~ face parte din rândul

„c~ut~torilor”, al „exploratorilor”. Modific~rile care apar sau

muta]iile pe care obiectul sau imaginea le sufer~ în proiectele lui

nu înseamn~ alterare a conceptului, ci un nou stadiu al cercet~rii,

etap~ a experimentului. ßi odat~ experimentul construit,

exploratorul-c~ut~tor p~trunde într-una dintre bre[ele sale, îi

plaseaz~ strategic o cantitate suficient~ de explozibil [i îl

detoneaz~ pentru a-i descoperi noile resurse, noile poten]ialit~]i.

Mica GHERGHESCU

Romelo Pervolovici’s work is located somewhere at the meeting

point of dimensions. It is multi-dimensional, and hyper dimensional.

It proliferates without entering into dissolution, because it never

abandons its place of origin. It breaks up into fragments, in cuts and

remains, at the same time, totalizing. It starts from matter and

material, and ably penetrates into noetic structures of knowledge

and objective understanding of the processes of creation, whose

validity he tests, to ultimately end up in a hermeneutical exercise…

He upsets, because he reaches the frontiers and limits of both sense

experience, and those, more adventurous, of the physical

phenomenon and of the scientific experiment.

It is difficult to put him in a formula of stylistic unity in the history

of contemporary Romanian sculpture. He was called, in turn

expressionist, experimental, “inter-medial”, a subversive factor,

mythographer, and a searcher of archetypes. Surely postmodern.

With the establishment of 2 META group (a project conceived

together with Maria Manolescu) he returned in the same attempt

of testing the limits, towards a conceptual zone and towards

sociological investigation. He refuses the image of sculpture as a

simple material object in favor of game, of irony, of social

intervention, and of hybrid creations of “atr-apology”.

Investigation and exploration are his favored methods of

research. He inoculates a method, builds up forms and probes

concepts. But these three instances cannot be separated in

Pervolovici’s sculpture, because this very interdependence gives

coherence to his aesthetic proposals. I would like to believe that

the artist belongs in the category of those who “research”; in

other words, who belong to the world of “seekers”, of

“explorers”. The changes that appear and the mutations that the

object or image suffers in his projects does not mean an

alteration of the concept, but a new stage of research, a new

step in the experiment. And once the experiment is built, the

explorer-searcher penetrates into one of its openings, where he

strategically places a sufficient quantity of explosive, and

detonates it to discover new resources, new potentialities.

Mica GHERGHESCU


113

romelo PERVOLOVICI

114

Romelo PERVOLOVICI

Euro meduze / Euro Jelly FishesInstala]ie / Installation

Romelo PERVOLOVICI

Meduze / Jelly FishesInstala]ie / Installation

115

Romelo PERVOLOVICI

Meduza / Jelly FishInstala]ie / Installation

Romelo PERVOLOVICI

Meduza / Jelly FishInstala]ie / Installation

116

Romelo PERVOLOVICI

OsirisLemn pictat / Painted wood

Romelo PERVOLOVICI

3 RInstala]ie / Installation

Romelo PERVOLOVICI

N~scut pe 5 noiembrie 1956 în Zorleni - Vaslui, România.

Membrul al Uniunii Arti[tilor Plastici

Studii

1982 Absolvent al Institutului de Arte Plastice

„N. Grigorescu”, Facultatea de Arte Plastice, sec]ia Sculptur~.


1985 Galeria Orizont; Atelier 35, Bucure[ti

1988 Muzeul Satului, Bucure[ti

1990 Galeria de art~ Kiklos, Paphos, Cipru

1996 Galeria de art~ a Teatrului Na]ional, Bucure[ti

2002-2003 Audi Art Gallery, Bucure[ti

2006 Galeria de Art~ Contemporan~, Sibiu


1993 Galeria Pro Arte, Hallein, Austria

2007 Ambient Urban, Sibiu

Breakfast is not included, Galeria 2META, Bucure[ti

Process, Space Art Festival, Balcic, Bulgaria

Simpozioane de sculptur~ - selec]ie

1982 M~gura, Buz~u

1983 Piatra-Neam]

1985, 1995 Babadag, Tulcea

1987 Sighetul Marma]iei

1988, 1982 Scânteia, Ia[i

1990 Modena, Italia

Prilep, Iugoslavia

1991 Adnet, Austria

1993 Mallot

Israel

Malta

Austria

Adresa: Str. Silvestru nr. 39, S 2, Bucure[ti, România

Romelo PERVOLOVICI

Born in Zorleni, Vaslui, Romania on the 5th of November, 1956

Education1982 Graduated from the “Nicolae Grigorescu” Institute of

Fine Arts, Departament of sculpture

Selected Solo Exhibitions1985 Gallery Orizont; Studio 35, Bucharest1988 The Village Museum, Bucharest1990 Kiklos art Gallery, Paphos, Cyprus1996 The Art Gallery of the National Theatre, Bucharest2002-2003 Audi Art Gallery, Bucharest2006 The Contemporary Art Gallery, Sibiu

Selected Group Exhibitions1993 Pro Art Gallery, Hallein, Austria2007 Ambient Urban, Sibiu

Breakfast not Included, Gallery 2 META, BucharestProcess, Space Art Festival, 2007, Balcic, Bulgaria

Selected Sculpture Symposiums 1982 M~gura, Buz~u1983 Piatra-Neam] 1985, 1995 Babadag, Tulcea 1987 Sighetul Marma]iei 1988, 1982 Scânteia, Ia[i 1990 Modena, Italy

Prilep, Yugoslavia 1991 Adnet, Austria 1993 Mallot, Israel

Malta, Austria

Address: 39, Silvestru St., Bucharest 2, Romania


Romelo PERVOLOVICI

BabadagPiatr~ / Stone

Am avut [ansa s~ observ evolu]ia artistic~ a Marilenei Preda Sânc

de la începuturile ei în 1980, care au coincis cu debutul întregii

noastre genera]ii, cunoscute în cultura român~ ca faimoasa

genera]ie optzecist~. De la bun început, Marilena Preda Sânc a

reu[it s~ se individualizeze între colegi prin voin]a ei puternic~ de

a evolua [i prin perseveren]a de a construi un destin artistic

coerent [i independent.

În opinia mea, Preda Sânc a fost un artist reprezentativ pentru

direc]ia neo-expresionist~ care a l~sat o urm~ profund~ în pictura

româneasc~ tân~r~ a ultimei decade. În acest sens, Preda Sânc s-a

f~cut remarcat~ prin for]a violent~ genuin~ a discursului ei vizual,

dar [i prin impactul unei imagerii foarte personalizate, centrate pe

sinele [i feminitatea sa.

Din acest punct de vedere, Preda Sânc poate fi considerat~ una

din primele femei artiste românce care au avut curajul s~

construiasc~ un întreg univers pictural din explorarea îndr~znea]~

a condi]iei ei biologice, sociale [i spirituale. Astfel, picturile ei tari

[i uneori aspre din 1989, întinse pe pânze largi [i expuse cu

ocazia multor evenimente importante ale timpului, au atins

intuitiv o problematic~ de gen [i o dimensiune genuin feminist~,

manifestate printr-o autentic~ implicare existen]ial~ [i prin înalte

calit~]i estetice.

De la sfâr[itul anilor ’80 pân~ ast~zi, Marilena Preda Sânc a fost

atras~ din ce în ce mai mult de explorarea sistematic~ a

provocatoarei expresivit~]i tridimensionale oferite de instala]ie [i

performance, precum [i de posibilit~]ile metamorfice fabuloase

deschise de arta video [i de tehnologia multimedia. În aceste

domenii, care s-au dezvoltat abia recent în România, Preda Sânc e

de asemenea considerat~ un artist remarcabil, datorit~ calit~]ii

experimentelor [i a cantit~]ii lucr~rilor ei. În virtutea acestora, cred

c~ Marilena Preda Sânc [i-a asigurat o pozi]ie solid~, respectat~,

dar [i foarte personalizat~, în cercetarea vizual~ contemporan~

din România [i din Europa de Est.

Magda CÂRNECI

I have had the chance to observe Marilena Preda Sânc’s artistic

evolution since its beginning in 1980, which coincided with the

start of our entire generation known in the Romanian culture as

the famous Eighty’s Generation. From the very start Preda Sanc

has managed to individualize herself among the colleagues by

her strong will to evolve and her perseverance in building a

coherent and independent artistic destiny.

In my opinion, Preda Sânc has been a representative artist for the

neo-expressionist direction, which left a profound mark on the

young Romanian painting of the last decade. Within this

direction, Preda Sânc made herself noticed by the genuine violent

force of her visual discourse, but also by the impact of a

forcefully personalized imagery focused around her own self and

femininity.

From this point of view, Preda Sânc can be considered one of the

very first Romanian female-artists daring to construct a whole

pictorial universe out of the courageous exploration of her

biological, social and spiritual condition. Consequently, her strong

and sometimes rough paintings of the 1989s, laid on large

canvases and exhibited in many important shows of the time,

have intuitively touched gender issues and a genuine feminist

dimension, manifested in an authentic existential involvement

and in high aesthetic qualities.

From the end of the 1980s up to the present, Marilena Preda

Sânc has been attracted more and more by the systematic

exploration of the provocative three-dimensional expressiveness

offered by the installation and the performance, as well as by the

fabulous metamorphic possibilities opened up by the video-art

and by the multimedia technology. In these domains, which have

developed only recently in Romania, Preda Sânc is also considered

an outstanding artist due to the quality of her experiments and to

the quantity of her work. Thanks to all this, it is my conviction

that Marilena Preda Sânc has secured a solid and esteemed, as

well as a highly personalized position, in the contemporary visual

research from Romania and from Eastern Europe.

Magda CÂRNECI


119

marilena PREDA SÂNC

120

Marilena PREDA-SÂNC

Peisaj urban / UrbanscapeAcrilic pe pânz~ / Acrylic on canvas

2007


Peisaj urban / UrbanscapeAcrilic pe pânz~ / Acrylic on canvas2007


121


BodyscapeAcrilic pe pânz~ / Acrylic oncanvas1985


BodyscapeAcrilic pe pânz~ / Acrylic oncanvas1985


Body urbanscapeAcrilic pe pânz~ / Acrylic on canvas1988


Peisaj urban / UrbanscapeAcrilic pe pânz~ / Acrylic on canvas2008


N~scut~ în 1955 la Bucure[ti

Studii1979 Institutul de Arte Plastice “N. Grigorescu”


1997 Prezentare de filme video, Kultur Kontakt, Viena

2007 „Înl~untrul Viului”, Studio D.V.O., Bruxelles, Belgia

2008 „Construciones-Espacios”, Galeria Anagma Copenhaguen,

Valencia.


1981 „The Juan Miro Drawing Contest”, Bacelona, Spania

1983 „International Summertime Mailart show”, Kanagawa,

Japonia

1988, 1987, 1986, 1985, 1983 – „International Impact Art Festival”

International Art Center of Kyoto, Japonia

1989 „IX Bienal Internacional De Arte”, Valparaiso, Chile

1992 „Obra Actual Damunt Paper / Works on paper”, expozi]ie

organizat~ de Funda]ia Miró, Barcelona, Spania, curatori: Lluis

Bosch I Cruanas, Doina Simionescu

1993, 1986, 1984, 1983 Premio Internazionale di Grafica del Pomero,

Galeria d'Arte "La Viscontea'' di Rho, Italia

1997 „Bucharest Nach’80”, video teatru instala]ie, Muzeul Ludwig,

Aachen, Germania, curator Ruxandra Balaci

1999 „Artistes de Bucarest a La Louviere”, Muzeul

“Idel Ianchelevici”, Belgia, curator Adrian Gu]~

2003 „Nuit blanche de la Video”, La Chaufferie, Strasbourg,

France, curator Irina Cios

2004 „Cosmopolis”, Muzeul de Art~ Contemporan~, Thessalonic,

Grecia, curator Magda Cârneci

2007 „Affinita – Diversita”, Palazzo Albrizzi Venezia, Forum

Austriaco di Cultura, Milano

2008 Bienala Interna]ional~ de Art~, Beijing


Muzeul Na]ional de Art~ Contemporan~, Bucure[ti (MNAC)

Kunsthale Nürnberg, Germania

Colec]ia Albertina, Viena

Poliac Research Corporation, Saint Paul, S.U.A.

Centro d'arte Spatiotempo, Floren]a, Italia

Premii - selec]ie

1982 Premiul pentru pictur~ Atelier 35

1983, 1986, 1993 Medalia Amici Del Pomero

1988 Premiul pentru cea mai bun~ Expozi]ie de Grup,

JUNIJ – Photo Moon in Paris

2004 Ordinul Meritul Cultural

Adresa: Str. M~gura Odobe[ti 36, s 1, Bucure[ti, RomâniaTel: 0040 21 2201446, 0040 21 3134262Mobil: 0040 723 512971e-mail: [email protected]://marilenapredasanc.blogspot.com/


123


Born on 1955 in Bucharest

Education 1979 Graduated the University of Art, Bucharest

Selected Solo Exhibitions1997 Presentation of video movies, Kultur Kontakt, Vienna, Austria2007 „Inside the Living”, Studio D.V.O., Brussels, Belgium2008 „Construciones-Espacios”, Anagma Copenhaguen Gallery,

Valencia, Spain.

Selected Group Exhibitions1981 „The Juan Miró Drawing Contest”, Barcelona, Spain1983 „International Summertime Mailart show”, Kanagawa,

Japan1988, 1987, 1986, 1985, 1983 „International Impact Art Festival”,

International Art Center of Kyoto, Japan1992 „Obra Actual Damunt Paper / Works on paper”, exhibition

organized by the Miró Foundation, Barcelona, Spain, curators: Lluis Bosch I Cruanas, Doina Simionescu

1993, 1986, 1984, 1983 Premio Internazionale di Grafica del Pomero, Galeria d'Arte "La Viscontea'' di Rho, Italy

1997 „Bucharest Nach’80”, video theater installation, Ludwig Museum, Aachen, Germany, curator Ruxandra Balaci

1999 „Artistes de Bucarest à La Louvière”, “Idel Ianchelevici” Museum, Belgium, curator Adrian Gu]~

2003 „Nuit blanche de la Video”, La Chaufferie, Strasbourg, France, curator Irina Cios

2004 „Cosmopolis”, Museum of Contemporary Art, Thessaloniki, Greece, curator Magda Cârneci

2007 „Affinità – Diversità”, Palazzo Albrizzi Venezia, Forum Austriaco di Cultura, Milano

2008 International Biennale of Art, Beijing

Works in CollectionsNational Museum of Contemporary Art, BucharestKunsthale Nurnberg, GermanyAlbertina Collection, Vienna, AustriaPoliac Research Corporation, Saint Paul, SUA.Centro d'arte Spatiotempo, Firenze, Italy

Awards and Honors1982 Studio 35 award for painting 1983, 1986, 1993 Amici Del Pomero Medal 1988 Award for the best group exhibition, JUNIJ – Photo Moon in

Paris, France2004 “Cultural Merit” Order

Address: 36, M~gura Odobe[ti St., Bucharest 1, RomaniaPhone: 0040 21 2201446, 0040 21 3134262Mobile: 0040 723 512971e-mail: [email protected]://marilenapredasanc.blogspot.com/

Siluete cu un “desen” sintetic, uneori statice alteori dinamice,singulare ori dublate, interferente, cuprind fragmente de chipuri,ochi, mâini – adesea elemente de autoportret – mai clar adunatestructural ori plutind liber. Eului îi r~spunde sugestia cuplului.Rafinatele jocuri volumetrice practicate în alte etape sunt înlocuitede stratificarea transparen]elor – a[a se na[te efectul depalimpsest, poate una din cele mai evocatoare traduceri vizuale(în cazul de fa]~) a ceea ce numim memorie... Câteodat~ siluetelesunt integral ori par]ial invadate de ritmate colaje-relief în hârtietratat~, f~când leg~tura cu anterioare procedee de lucru, dar apar[i situa]ii plastice, cuceritoare la rândul lor, când vorbim maidegrab~ de relief în adâncime (en creux) – ca [i când corpulecor[at d~ la iveal~, de aceast~ dat~, “sistemul amintirilor”. Unspirit ludic pare s~ dicteze când [i când pozi]ia elementelorfaciale, într-o “ordine” suprarealist~, în lucr~ri de mai micidimensiuni definite de detalii m~rite. Albul [i negrul, griurilederivate, au prioritate, c~ci în discu]ie sunt radiografii aleamintirilor. Nu dispar cu totul albastrul, ro[ul, ocrurile saubrunurile, dar prezen]a lor mai degrab~ discret~ [i episodic~ nuimplic~ o logic~ simbolic~, ci impulsuri plastice.

Pânze de mari dimensiuni sunt dedicate amintirilor citadine,cascade de imagini fotografice a c~ror compunere reactualizeaz~[i interpreteaz~, ca [i la celelalte subserii, procedeulfotomontajului. De fapt, aceste ample lucr~ri concentreaz~ toatecele trei direc]ii de investiga]ie ale etapei: eul, eu printre ceilal]i,ora[ul (ca orizont de civiliza]ie [i mediu al existen]ei personale [icolective). Fotografia transpus~, straturile de materie pictural~,colaje subtile, armonizarea lor, confer~ o personalitate plastic~aparte acestor opere. Deopotriv~ cu atmosfera pe care o creeaz~.Pe aceste generoase suprafe]e, cucerite de vaste [i dense re]elece atrag ochiul de la ansamblu spre detaliu, artista “picteaz~ cuimagini (foto)” – cum sugestiv se exprim~. Serializarea vertical~ aimaginii-semn trimite la derularea unui film.

Pe de o parte, acest flux impresionant de semnale vizuale,suprapunerile [i re]elele, sunt ecouri ale faptului c~ existen]acotidian~ e invadat~ de imagini. Pe de alta, efectul de palimpsestcu care lucreaz~ Florica Prevenda, frumuse]ea detaliilor carecheam~ privirea pe multiple trasee secundare, reactiveaz~ înreceptor pl~cerea contempl~rii. Cu alte cuvinte, s~ dep~[imaparen]ele, pentru a g~si realitatea profund~. S~ refacem pe contpropriu experien]a autoanalizei, s~ ne redescoperim vechicoordonate senzoriale [i afective. S~ armoniz~m timpul exteriorcu cel interior.

Adrian GU¥Å

Silhouettes with a synthetic "drawing" sometimes static,sometimes dynamic, singular or doubled, include fragments offaces, eyes, hands - elements of a self portrait - brought togetherin a clearer structure, or more freely floating. The representationof the self is complemented by suggestions of the couple. Therefined volumetric speculations practiced by Prevenda in otherstages of her work are now replaced by the stratification oftransparencies - this is how the palimpsest effect is achieved,which, in this case, is one of the most convincing visualtranslations of what one calls memory... Sometimes thesilhouettes are totally or partially invaded by rhythmic relief-collages made of specially created paper; there are other graphicsituations, powerful ones, when it is more suitable to speak of encreux relief - as if the écorché now revealed a "system ofmemories". A playful spirit seems to determine, now and then,the position of the facial elements in a surrealist "order", insmaller works defined by enlarged details. Black, white andderived grays are predominant, since we are referring toradiographs of memories. Red, blue, ochre, brown do notdisappear completely, but their presence is discrete, episodic anddetermined by graphic impulses, not by a symbolic logic.

The large canvases are dedicated to the artist’s urban memories:we see cascades of photographic images whose compositionrevisits and interprets, as in the other series, the technique of thephotomontage. In fact, these ample works concentrate the threedirections of research of this stage of Prevenda's creation: herself,herself among others, the city. The transferred photography, thecomplex paint strata, subtle collages, all these elements inharmonious coordination, confer a special graphic personality tothe works, which project a special atmosphere. On these generoussurfaces, conquered by vast and dense networks of "signs" thatattract the eye from the ensemble to the details, the artist "paintswith (photo) images" — as she suggestively says. The verticalserialization of the image-sign alludes to the watching of a film.

On the one hand, this impressive flux of visual signs, the overlapsand networks, echo the fact that our daily existence is invaded byimages. On the other hand, the palimpsest effect with whichFlorica Prevenda works, the beauty of the details which call oureyes to follow multiple secondary routes, reactivate in thespectator the pleasure of contemplation. In other words, let ustransgress the appearances in order to find a deeper reality. Let usrelive, on our own, the experience of self-analysis, let us rediscoversome of our old sensory and affective coordinates. Let usharmonize external with internal time.

ADRIAN GU¥Å


125

florica PREVENDA

126

Florica PREVENDA

Umbre ale prezentului /Shadows of the present timeTehnic~ mixt~ pe pânz~ / Mixed media on canvas2008

Florica PREVENDA

Umbre ale prezentului /Shadows of the present timeTehnic~ mixt~ pe pânz~ / Mixed media on canvas2004


127

Florica PREVENDA

Net PeopleTehnic~ mixt~ pe pânz~ /Mixed media on canvas2001

128

Florica PREVENDA

Timpul reg~sit /Recovered timeTehnic~ mixt~ pe pânz~ / Mixed media on canvas300 x 150 cm 2008

Florica PREVENDA

Born on the 5 April 1959 in Dor M~runt (C~l~ra[i), Romania

Education1984 Graduates the Academy of Art Iassy1993-1997 Visiting professor at the University of Arts, Bucharest

Selected Solo Exhibitions1996 European Commission (Rotonde), Brussels 1999, 2001, 2004 Arthus Gallery, Brussels2000 Galerie Lamber, Valkenswaard, Holland2002 FNV Kiem, Amsterdam 2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Holland 2007 M.I.A. “One Woman Show”, Milano, Italy2008 The Cultural Center Brâncoveanu Palace, Mogo[oaia, Romania

Selected Group Exhibitions1992 “Artist of Europe” Efehaus Gallery, Wernigerode, Germany1994, 1997 “Romanian Contemporary Art“, Agial Gallery, Beirut1995 “Rives 95. Exposition Peintures Sculptures” C.N.B.D.I.,

Angoulême, France « 24 Peintres et Sculpteurs Contemporains. Itinéraires au delà des voyages » Maureen O’Hare Wolson Gallery, Grenoble, France

1999 Marga Kramer Gallery, Ilsselstein, Holland„Artistes de Bucarest“, Mussee Ianchelevici, La Louvière, Belgium

2000 “Frozen Moments”, Galerie Lamber, Valkenswaard, Holland2001 Heinolan Taidemuseum, Finland2002 Galerie Het Dijkstoelhuis, Wageningen, Holland2003 Galerie Kralingen, Rotterdam, Holland2007 WTC Art Gallery, Rotterdam, Holland

Awards and Honors2005 “Cultural Merit“ Romania 1995 Bucharest City prize for young artists1989,1990 Prize for Painting at the Youth Exhibition, Artexpo,

Bucharest

Address: 7-9, Biserica Amzei St., Bucharest 1, RomaniaTel./Fax: 004 021 3189592Tel: 004 021 3204845Mobile: 0040 748 081471e-mail: [email protected]; [email protected]


129

Florica PREVENDA

N~scut~ pe 5 aprilie 1959 în Dor M~runt (C~l~ra[i), România

Studii

1984 Absolv~ Academia de Arte, Ia[i

1993-1997 Profesor asociat la Universitatea Na]ional~ de Arte Bucure[ti


1996 Comisia European~ (Rotonde), Bruxelles

1999, 2001, 2004 Arthus Gallery, Bruxelles

2000 Galerie Lamber, Valkenswaard, Olanda

2002 FNV Kiem, Amsterdam

2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Olanda

2007 M.I.A. “One Woman Show”, Milano, Italia

2008 Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia, România


1992 „Artist of Europe”, Efehaus Gallery, Wernigerode, Germania

1994, 1997 “Romanian Contemporary Art“, Agial Gallery, Beirut

1995 „Rives 95. Exposition Peintures Sculptures”, C.N.B.D.I.,

Angoulême, Fran]a

„24 Peintres et Sculpteurs Contemporains. Itinéraires au delà des

voyages”, Maureen O’Hare Wolson Gallery, Grenoble, France

1999 Galeria Marga Kramer, Ilsselstein, Olanda

„Artistes de Bucarest“, Mussee Ianchelevici, La Louvière, Belgia

2000 „Frozen Moments”, Galerie Lamber, Valkenswaard, Olanda

2001 Heinolan Taidemuseum, Finlanda

2002 Galerie Het Dijkstoelhuis, Wageningen, Olanda

2003 Galerie Kralingen, Rotterdam, Olanda

2007 WTC Art Gallery, Rotterdam, Olanda

Premii - selec]ie

2005 Ordinul „Meritul Cultural” România

1995 Premiul Municipiului Bucure[ti acordat tinerilor arti[ti

1989, 1990 Premiul pentru Pictur~ la Expozi]ia Tinerilor Arti[ti, Artexpo,

Bucure[ti

Adresa: Str.Biserica Amzei, 7-9, s 1, Bucure[ti, România

Tel. / Fax: 0040 21 3189592

Tel.: 0040 21 3204845

Mobil: 0040 748 081471

e-mail: [email protected]; [email protected]

CÅLÅTORIE SPRE BURICUL LUI RASOVSZKY

Resorturile [i imagistica citadin~ hr~nesc de mult crea]ia acestui

autor (ceea ce nu înseamn~ închiderea altor orizonturi, [i poate

vom fi martorii, într-un viitor nu prea îndep~rtat, spiritualiz~rii

unor altfel de locuri). Scenografia ca ocupa]ie remunerat~, lucrul

în televiziune au accentuat propensiunea c~tre coexisten]a

limbajelor, c~tre imaginea-fragment asociat~ muzicii (de la febra

punk încoace) [i textului, ducând la structuri dense [i ritmuri

alerte proprii, s~ spunem, videoclipului. ßuvoiul acesta de

informa]ie artistic~ se deplaseaz~ într-o albie s~pat~ de un

mecanism al crea]iei, marcat de amintiri suprarealiste [i dadaiste.

(...) Pe de alt~ parte, ca artist contemporan, cu „sim]urile“

culturale în alert~, Rasovszky nu las~ totul în seama hazardului;

strategia fragmentului este prin urmare una asumat~, veghea

ironic~ se implic~ în comentariul parodic al automatismelor de

expresie vizual~ [i textual~, procentajul de întâmplare d~

prospe]ime, dar este supus unei rela]ii dinamice cu mecanismele

de control. Artistul cultiv~ ambiguitatea, vrea în primul rând s~

creeze o atmosfer~, nu descrie ci sugereaz~. Î[i ofer~ universul

unei lecturi alerte [i combinate, dar nu îl explic~ – solicit~

publicului o percep]ie activ~.

Rasovszky propune o perspectiv~ inversat~ fa]~ de normalitate,

asupra unor obiecte de dimensiuni mici, juc~rii. Nu este vorba

doar de reconstituirea, din punctul de vedere al insului matur, a

unui cod de percep]ii al copil~riei (fiicei artistului), ci [i de

posibilitatea de a transfera acestui cod induio[~tor – ludic –

inofensiv angoase mediatice, re]ete ale produc]iei

cinematografice horror. Filtrul parodic îndep~rteaz~ astfel strigoii

unor categorii ale simulacrului contemporan. Rasovszky accept~

confruntarea cu lumea de fantasme confec]ionate din jurul s~u,

cu hiper-realitatea; aceasta este inevitabil~, izvor~[te din ecranul

televizorului, recep]ionarea ei ofer~ „pl~ceri“ [i „primejdii“.

Autorul face un slalom f~r~ gre[ printre acestea [i produce din

respectiva materie prim~ un univers artistic de-a dreptul captivant,

unul care îl face pe spectator mai sensibil [i mai puternic în

acela[i timp. (...) Revenim astfel [i la în]eleptul Duchamp [i la

efortul de [tergere a grani]elor dintre art~ [i via]~.

Adrian GU¥Å,

Observator Cultural, nr. 18, 27 iunie 2000

A JOURNEY TOWARDS RASOVSZKY’S NAVEL

The resources and images of the city have fed the work of this artist

for a long time (which does not mean that he has closed off to

other horizons and maybe we will be witnesses in a not too distant

future of the spiritualization of different kind of places).

Scenography as a remunerated occupation and work for television

have stressed the propensity towards the coexistence of languages,

towards image-fragments associated with music (from punk on) and

text, leading to dense structures and alert rhythms that belong to

video clips, so to speak. The torrent of artistic information moves

into a river bed dug out by mechanisms of creation marked by sur-

realist and Dadaist memories. (...) On the other hand, as a

contemporary artist, with his cultural “senses” on the alert,

Rasovszky does not leave everything to chance; the strategy of the

fragment is assumed in the end, the ironical watchfulness is

implicated in the parodied commentary of the automatization of

visual and textual expressions, the percentage of coincidence gives

freshness, but it is subordinated to the dynamic relationship with

the mechanisms of control. The artist cultivates ambiguity, and

wants first of all to create an atmosphere, he does not describe,

but suggests. He offers to the universe an alert and combined

reading, but he does not explain it – he solicits an active perception

from the public.

Rasovszky proposes a gulliverian reversal, addressing certain objects

of small dimensions, toys. The aim is not just to recover, from the

viewpoint of an adult, a code of perception from childhood (the

artist’s daughter), but also the possibility of transferring to this

heart warming code – playful – inoffensive media nightmares, the

recipe of cinematic horror. The parodying filter separates in this

way the ghosts from categories of contemporary imitation.

Rasovszky accepts the confrontation with the world of contrived

phantasms around him, with their hyper-reality; this is inevitable, it

springs from the television screen, receiving it offers “pleasure”

and “danger”. The artist navigates a slalom without error between

these extremes and perceiving produces the prime material of a

truly captivating artistic universe, one that makes the spectator

more sensitive and stronger at the same time. (...) We come back

again to the wise Duchamp and to the effort of erasing the border

between art and life.

Adrian GU¥Å,

Observator Cultural, nr. 18, (The Cultural Observer), 27th of June 2000


131

gheorghe RASOVSZKY

132

Gheorghe RASOVSZKY

Big FootAcril pe pânz~ / Acryl on canvas2005


Gheorghe RASOVSZKY

Mail checkAcril pe pânz~ / Acryl on canvas2001

Gheorghe RASOVSZKY

New metalAcril pe pânz~ / Acryl on canvas

2002

Gheorghe RASOVSZKY

The SmithsAcril pe pânz~ / Acryl on canvas

2001

134

Gheorghe RASOVSZKY

Little godAcril pe pânz~ / Acryl on canvas2001

Gheorghe RASOVSZKY

Performance Acril pe pânz~ / Acryl on canvas2000

Gheorghe RASOVSZKY

N~scut pe 4 septembrie 1952 în Suceava

Studii

1977 Absolvent al Institutului de Art~ “N. Grigorescu” Bucure[ti,

sec]ia Scenografie


1985 „Figuri antropomorfe” picturi, desene, Galeria Galateea,

Bucure[ti

1988 „Design nonscenografic”, asamblaje împreun~ cu Carmen

Rasovszky, Galeria C~minul Artei, Bucure[ti

1990 „Figuri înconjur~toare” picturi, desene, obiecte, fotografii,

Galeria C~minul Artei, Bucure[ti

1992 „Orele de aur”, Galeria C~minul Artei, Bucure[ti

1994 „Conversa]ia”, Galeria GAD, Bucure[ti, curator Ruxandra Balaci

1995 „Conversa]ia II”, împreun~ cu Iulian Mereu]~, Fran]a, Galeria

GAD, Bucure[ti

„Casa câinelui” instala]ie, Media CULPA, Centrul SOROS

pentru Art~ Contemporan~, Bucure[ti, curator Irina Cios

1996 “Studiu despre efemer [i perisabil” picturi, asamblaje,

fotografii, Centrul SOROS pentru Art~ Contemporan~,

Bucure[ti, curator Adrian Gu]~

1998 „Regnul fanatic” picturi, asamblaje, fotografii, Galeria

Simeza Bucure[ti, Bienala de la Vene]ia, Casa Român~,

curator: Adrian Gu]~

2000 „Buricul” instala]ie multimedia / fotografii [i asamblaje,

„Restitutio In Integrum” proiec]ie multimedia,

TRANSITIONLAND, Muzeul Na]ional de Art~ al

României, curator Ruxandra Balaci

2001 „Terra Nova” proiec]ii multimedia, a 49-a Bienal~ de la

Vene]ia, pavilionul României, curator Ruxandra Balaci

2004 „Maybe next time” fotografii [i proiec]ii multimedia, Galeria

Nou~, Bucure[ti

„Pluralul singular” picturi [i fotografii reg~site, HT003 Gallery,

Bucure[ti

2005 “Micul Univers” (Scum Evil Ruin) fotoinstala]ie,

împreun~ cu Carmen Rasovszky, Galeria

C~minul Artei, Bucure[ti

„Good times bad times” fotografii, desene asamblaje inedite

(1980-2004) împreun~ cu Teodor Graur, HT003 Gallery,

Bucure[ti

Premii

1997 Premiul pentru Scenografie / UAP România

2000 Premiul pentru Foto / Video / Performance / UAP România

2005 Premiul pentru Instala]ie [i Ambient / UAP România

Tel: 0040 21 3238326

Mobil: 0040 722 669945

email: [email protected]

Gheorghe RASOVSZKY

Born in Suceava on the 4th of September, 1952

Education1977 Graduated the National University Arts of Bucharest,

departament in stage design

Selected Solo Exhibitions1985 “Anthropomorphic Figures” paintings, drawings, Galateea

Gallery, Bucharest1988 “Non Scenic Design” stage design projects, assemblages

together with Carmen Rasovszky, the C~minul artei Gallery, Bucharest

1990 “Surrounding Figures” paintings, drawings, objects, photographs, C~minul artei Gallery, Bucharest

1992 “Hours of Gold” paintings, drawings, photo assemblages,C~minul artei Gallery, Bucharest

1994 “Conversation” photographs, assemblages, GAD Gallery, Bucharest, Curator Ruxandra Balaci

1995 “Conversation II” installation, photographs, together with Iulian Mereu]~, France, GAD Gallery, Bucharest“The Dog’s House” installation, Media CULPA, SOROS Center for Contemporary Art, Bucharest, curator Irina Cios

1996 “Study on the ephemeral and perishable” paintings, assemblages photographs, SOROS Center forContemporary Art, Bucharest, curator Adrian Gu]~

1998 “Fanatic Reign” paintings, assemblages, photographs, Simeza Gallery Bucharest, Biennial at Venice, Romanian House, curator, Adrian Gu]~

2000 “The Belly Button” multimedia installation / photographs and assemblages, National Art Museum of Romania, curator Ruxandra Balaci“Restitutio In Integrum” multimedia project, TRANSITIONLAND,The National Art Museum of Romania, curator, Ruxandra Balaci

2001 “Terra Nova” multimedia project, the 49th Biennial in Venice, the Romanian pavilion, curator Ruxandra Balaci

2004 “Maybe Next Time” photographs and multimedia projects, New Gallery, Bucharest

2005 “The Small Universe” (Scum Evil Ruin) photo-installation,together with Carmen Rasovszky, C~minul Artei Gallery, Bucharest“Good Times Bad Times” photographs, drawings assemblages (1980-2004) together with Teodor Graur, HT003 Gallery, Bucharest

Awards and Honors1997 Award for stage design / Union of Artists Romania2000 Award for Photo / Video / Performance / Union of Artists,

Romania2005 Award for Installation and Ambiance/Union of Artists, Romania

Phone: 0040 21 3238326Mobile: 0040 722 669945email: [email protected]


135

CIOCOLATÅ NEAGRÅ, EMPORIO ARMANI ßI THE HOT 80’S

Doina Simionescu practic~ cu deosebit interes montarea [i

demontarea unor mecanisme vizuale saturate de forme elegante.

Senzorialitatea se personalizeaz~ astfel imediat. Leg~tura ei cu

atelierul devine o art~ aproape fizic~. Pentru c~ atelierul este

pentru Doina Simionescu un joc discursiv cu ingrediente

neobi[nuite: lux, miros de ceai englezesc, borcane elegante de

cerneal~, hârtie manual~, evantaie, c~r]i [i haine negre perfect

croite. Identitatea vizual~ a desenului preia aceste obiecte, de

fapt obiectele unei elegan]e pre-moderne. În prezen]a lor, te

sim]i integru [i intact. Toate aceste st~ri fiind de fapt sentimente

de duio[ie protectoare pentru toate desenele din atelier. Doina

Simionescu ajusteaz~ realitatea la teoriile ei. Momentul prezent

este livrat în toat~ elegan]a lui. Doina Simionescu cunoa[te

principiile abstracte ale luxului. Un lux t~cut, care î]i inspir~

încredere. Doina Simionescu practic~ în atelier un tip de emo]ie

care urmeaz~ s~ fie evocat [i un tip de pozi]ionare care urmeaz~

s~ aib~ loc. O emo]ie [i o pozi]ionare din gama luxului necesar.

Liviana DAN

BLACK CHOCOLATE, EMPORIO ARMANI AND THE HOT 80’S

Doina Simionescu practices the assembling and dismantling of

visual mechanisms saturated by elegant forms. Sensuous behavior

is thus immediately personified. The connection with her studio

becomes an almost physical art. For Doina Simionescu the studio

is a discoursive game with unusual ingredients: luxury, the scent

of English tea, elegant jars of ink, hand-made paper, fans, books

and perfectly cut black clothes. The visual identity of drawing

takes over these objects, actually the objects of a pre-modern

elegance. In their presence, one feels untouchable and intact, all

these states being in fact feelings of protective tenderness for all

the drawings in the studio. Doina Simionescu adjusts reality to

her theories. The present moment is offered in its unmitigated

elegance. Doina Simionescu is aware of the abstract principles of

luxury. A quiet luxury, that inspires trust. In her studio, Doina

Simionescu practices a type of emotion that is to be evoked and

a type of positioning that is to take place. The type of emotion

and positioning imposed by necessary luxury.

Liviana DAN


137

doina SIMIONESCU

138

Doina SIMIONESCU

Compozi]ie / CompositionCerneluri colorate pe hârtie /Coloured ink on paper1998

Doina SIMIONESCU

Compozi]ie / CompositionCerneluri colorate pe hârtie /

Coloured ink on paper1998


139

Doina SIMIONESCU

Compozi]ie / CompositionCerneluri colorate pe hârtie (detaliu) /Coloured ink on paper(detail)2000

140

Doina SIMIONESCU

F~r~ titlu / Without titleCerneluri colorate pe hârtie /Coloured ink on paper2003

Doina SIMIONESCU

Souvenir d’amourCerneluri colorate pe hârtie /


Doina SIMIONESCU

F~r~ titlu / Without titleCerneluri colorate pe hârtie /


Doina SIMIONESCU

Born on February 28, 1947 in Snagov, Bucharest

Education1972 "Nicolae Grigorescu" Institute of Fine Arts, Bucharest

Selected Solo Exhibitions1981 Romanian Academy, Rome, Italy

Palazzo Orsini, Monterotonto, Rome, Italy1982 Palazzo Comunale, Assisi; Viarreggio, Italy1985 Palazzo Comunale, Sulmona, Italy1989 Simeza Gallery, Bucharest

Selected Group Exhibitions1979 Drawing “Joan Miró”, Orizont Gallery Bucharest1992 “Book object“, Art Collection Museum, Bucharest

“The Sex of Mozart“, ArtExpo Gallery, Bucharest 1994 “Hommage au Rococo“, ArtExpo Gallery, Bucharest1997 “Experiment“, ArtExpo Gallery, Bucharest2001 “In full dress“, Brukental Museum, Sibiu

Selected International Exhibitions1980 Drawing “Joan Miro”, Gulbenkian Foundation, Lisbon, Portugal1981 “Veinte Anos de Sensibilidad“ Contemporary Art Museum

Madrid, Spain 1983 “The corner Art Association“, Charlottenborg Gallery,

Copenhagen, Denmark 1984 6th European Gravure Biennial, Mulhouse, France 1985 International Engraving Exhibition, Kanagawa, Yokohama,

Japan 1988 Group exhibition, “The Artist Point” Gallery, Stockholm,

Sweden 1989 “Abstractions et autres bonnes figures“, FRAC, Colmar, France

International Engraving Festival – 2nd edition, Menton, France 1990 “Drawing“, Gulbenkian Foundation, Lisbon, Portugal1993 S.A.G.A, Grand Palais, Paris, France

“Book - obiect“, Cultural Center Zonmehof Amersfoort, Holland

1995 “Book - object“, Spoorweg Gallery, Amhem, Holland

1978, 1979, 1981, 1983, 1986 – Contest of drawing “Juan Miró”, Barcelona, Spain;

Awards and Honors1979 First Mention in the “Juan Miró“ Contest in Barcelona, Spain1981 The Trionfo Award, Rome, Italy

The “Juan Miró“ Foundation Award, Barcelona, Spain

Works in Public CollectionsMNAC Romania; Albertina Museum, Vienna, Austria; Museumde Arte Sao Paulo, Brasilia; FRAC Alsace, France; Charlottenborg Gallery, Copenhagen, Denmark; “Juan Miró” Foundation in Barcelona, Spain;

Works in Private CollectionsGermany, Italy, Spain, Belgium, France, Austria, Russia, Sweden, Switzerland, USA.

Phone: 0040 21 3140279 Mobile: 0040 744 160080


141

Doina SIMIONESCU

N~scut~ pe 28 februarie 1947 în Snagov, Bucure[ti

Studii1972 Institutul de Arte Frumoase “Nicolae Grigorescu”, Bucure[ti1977 Membru al Uniunii Arti[tilor Plastici din România

Expozi]ii personale – selec]ie1981 “Accademia di Romania“, Roma, Italia

“Pallazo Orsini”, Monterotonto, Roma, Italia1982 “Palazzo Comunale”, Assisi, Viarreggio, Italia1985 “Palazzo Comunale” Sulmona, Italia1989 “Galeria Simeza” Bucure[ti

Expozi]ii de grup - selec]ie1979 Desen “Joan Miró”, Galeria Orizont Bucure[ti 1992 “Carte obiect“, Muzeul Colec]iilor de Art~, Bucure[ti

“Sexul lui Mozart“, ArtExpo Galeria 3/4, Bucure[ti 1994 “Hommage au Rococo“, ArtExpo Galeria 3/4, Bucure[ti 1997 “Experiment“, ArtExpo, Galeria 3/4, Bucure[ti2001 “In full dress“, Muzeul Brukental Sibiu

Expozi]ii interna]ionale - selec]ie1980 Desen “Joan Miró”, Funda]ia Gulbenkian, Lisabona, Portugalia1981 “Veinte Anos de Sensibilidad“ Muzeul Spaniol de Art~

Contemporan~, Madrid, Spania 1983 “The corner Art Association“, Galeria Charlottenborg,

Copenhaga, Danemarca 1984 A 6-a Bienal~ de Gravur~ european~, Mulhouse, Fran]a 1985 Expozi]ia Interna]ional~ de Gravur~, Kanagawa, Yokohama,

Japonia 1988 Expozi]ie de grup, Galeria “The Artist Point“, Stockholm,

Suedia 1989 “Abstractions et autres bonnes figures“, FRAC – Colmar

Festivalul Interna]ional de Gravur~ – edi]ia a 2-a, Menton 1990 “Desen“, Funda]ia Gulbenkian, Lisabona, Portugalia 1993 S.A.G.A, Grand Palais, Paris, Fran]a

“Carte obiect“, Centrul Cultural Zonmehof Amersfoort, Olanda 1995 “Carte obiect“, Galeria Spoorweg, Amhem, Olanda

1978, 1979, 1981, 1983, 1986 Concursul de desen “Juan Miró”,Barcelona, Spania;

Premii - selec]ie1979 Prima Men]iune, Concursul “Juan Miró“, Barcelona, Spania1981 Premiul Trionfo, Roma, Italia

Premiul Funda]iei “Juan Miró“, Barcelona, Spania

Lucr~ri în colec]ii publiceMNAC Romania, Albertina Museum, Viena, Austria; Museu de Arte Sao Paulo, Brazilia; FRAC Alsace, Fran]a; Galeria Charlottenborg, Copenhaga, Danemarca; Funda]ia “Juan Miró” Barcelona, Spania;

Lucr~ri în colec]ii particulareGermania, Italia, Spania, Belgia, Fran]a, Austria, Rusia, Suedia, Elve]ia, S.U.A.

Tel. atelier: 0040 21 3140279 Mobil: 0040 744 160080

IMAGINI STRÂNSE DIN VALURILE MÅRII

Grafician reputat, autor de c~r]i pentru copii, Ana-Maria

Smigelschi este unul dintre cei mai “discre]i” arti[ti pe care i-am

cunoscut. Expozi]iile ei sunt rare, dar, cu atât mai surprinz~toare.

Pentru iubitorii de art~ este o pierdere.

Crea]ia ei cucere[te printr-o rar~ îmbinare de rigoare [i poezie, de

ordine [i visare. Construc]ia este solid~, culoarea, de o

expresivitate pe care ar putea-o invidia mul]i pictori.

Ana-Maria Smigelschi are capacitatea descoperirii esen]ei în

lucrurile mici: o felie de pâine, o scoic~, un odgon rupt [i aruncat

de valuri pe malul m~rii. Creeaz~ cu ele compozi]ii pline de

sensuri aproape filosofice, acaparante prin c~ldura pe care le-o

confer~, prin monumentalitatea pe care fiecare element o degaj~.

Bijuterii construie[te artista [i în ilustra]ia de carte, fie cu

capacitatea de a rezona cu autorul volumului, fie prin talentul [i

umorul cu care imagineaz~ pove[tile pentru copii, desenele

menite s~-i amuze [i s~-i educe în acelaº timp.

O energie debordant~, o fine]e a raporturilor cu lumea, un umor

inteligent caracterizeaz~ personajul [i crea]ia lui. Pentru c~ Ana-

Maria Smigelschi este un personaj în via]a particular~, a[a cum

este o autentic~ personalitate în domeniul artelor vizuale.

Victoria ANGHELESCU

IMAGES GATHERED FROM THE WAVES OF THE SEA

A reputed graphic artist, an author of children’s books, Ana-

Maria Smigelschi is one of the most “discrete” artists that I have

met. Her exhibitions are rare, but all the more surprising.

For art lovers it is a loss.

Her work wins you through a rare combination of rigor and

poetry, order and dreaming. The construction is solid, the colors

have an expressiveness that many painters would envy.

Ana-Maria Smigelschi has the capacity of discovering the essence

in small things: a piece of bread, an oyster, a thick rope broken

and tossed out on the waves at the seaside. She creates a

composition with them, full of almost philosophical meaning,

captivating through the warmth that she confers to them,

through the monumentality each element emits. The artist also

makes jewels of her books of illustrations, through the capacity

to resonate with the author of the book, and through the

talent and humor with which she imagines the stories for

children, the drawings intended to amuse and educate them at

the same time. An overflowing energy, a delicacy of rapport

with the world, an intelligent humor characterizes her

personality and works. This is because Ana-Maria Smigelschi is

a distinct personality in her private life, just as she is an

authentic character in the visual arts domain.

Victoria ANGHELESCU


143

ana-maria SMIGHELSCHI

Ana-Maria SMIGHELSCHI

Vama VecheAcuarel~ pe hârtie / Watercolor on paper


Scoici / ShellsAcuarel~ pe hârtie / Watercolor on paper1989

145


Studiu 3 / Study 3Acuarel~ pe hârtie / Watercolor on paper


Mania persecu]iei / The persecution maniaAcuarel~ pe hârtie / Watercolor on paper 1996

146


Matrimoniale / Stories of a coupleAquatinta1981


Via]a e o lupt~ / Life is a battlefieldAquatinta1981


N~scut~ pe 30 mai 1938 în Bucure[ti

Studii

1961 Institutul de Arte Plastice „Nicolae Grigorescu”, Bucure[ti, la

sec]ia Grafic~ cu profesorii: Ion Iuca, Iosif Molnar, Nicolae

Kazar.


1980 Galeria Orizont, Bucure[ti

1981 Accademia di Romania, Roma

Palazzo Comunale, Monte Rotondo, Italia

1982 Assisi, Italia

2007 Galeria Veroniki, Bucure[ti

Premii, ordine - selec]ie

1966 Men]iune de onoare la Prima Bienal~ de Afi[, Var[ovia

1967 Premiul Uniunii Arti[tilor Plastici pentru Grafic~

1968 Ordinul „Meritul Cultural” cl II

1981 Grande Premio Internazionale „Trionfo 81” Italia

1987 Premiul „La Minerva D’Oro” Italia

2000 Ordinul „Pentru Merit” în grad de ofi]er

Adresa: Str. Av. Petre Cre]u 6, Bucure[ti


Born in Bucharest on the 30th of May, 1938

Education1961 Nicolae Grigorescu Institute of Fine Art, Bucharest, studies in

graphic arts with professors Ion Luca, Iosif Molnar and Nicolae Kazar

Selected Solo Exhibitions1980 Orizont Gallery, Bucharest1981 The Romanian Academy, Rome

Palazzo Comunale, Monte Rotondo, Italy1982 Assisi, Italy2007 Veroniki Gallery, Bucharest

Awards and Honors1966 Honorable Mention at the First Poster Biennial, Warsaw1967 Award of the Artists’ Union1968 Cultural Merit Order, class II1981 International Grand Prize Trionfo 81, Italy1987 The “La Minerva D’Oro” Award, Italy2000 The Order for Merit in the rank of officer

Address: 6, Av. Petre Cre]u St., Bucharest 6, Romania


147

Deloc prins în capcanele re]etei, postmodernismul artei

profesorului Ion Stendl se afirm~ azi ca un instrument inventiv al

cupl~rii timpilor istorici [i muzeistici. El admir~ capodoperele artei

universale c~rora le aduce omagiul, le integreaz~ sensibilit~]ii [i

mentalit~]ii contemporane.

Trecerea de la o morfologie la alta, detalii faimoase din

capodoperele picturii universale sunt asimilate eterogen

compozi]iilor insolite. „Jocul”, amestecul ideilor [i schimb~rile

coeren]ei metaforice creeaz~ mobilitatea de la un cadru la altul.

Cora antic~ prime[te semnifica]ia vie]ii în al~turarea nudului

palpitând de via]~ al tinerei femei imaginat~ în reverie, ecvestra

roman~ este integrat~ cavalcadei trupurilor c~zute în ultimul

r~zboi.(...) Minotaurul cretan se mistific~ în antropomorfie

actual~. Tonul grav al con]inutului este absorbit în jocul senin al

formelor, libere de corsetul prescrip]iilor. Istoria, simbolurile [i

prezentul se apropie [i convie]uiesc în clipa de cultur~ [i de via]~.

Spa]iul plastic, expresie a nonconformismului, se comunic~

dezinvolt. Stendl trece de la severitatea construc]iei formei la

libera ei distrugere. Solu]ii inedite cu fiecare lucrare se inser~ în

dialogul semantic [i c~utarea expresivit~]ii ansamblului.

Dispunerea scenografic~ a personajelor se înscrie în câmpul

compozi]ional deschis, f~r~ limita cadrului. Perspectivele moderne

convie]uiesc cu rigorile perspectivei clasice europene [i orientale.

În acest univers plastic postmodern, morfologiile combinate sunt

puse de acord, formele clasice ale culturii mediteraneene se

al~tur~ armonios lumii secolului XXI, ansamblurile artei figurative

se afl~ în slujba emo]iei artistice nobile. Desenul este

determinantul rela]iei form~ - construc]ie - expresie.

Nonconformismul artei lui Ion Stendl bazat pe surpriz~, inova]ie [i

curajul detron~rii grani]elor rigide dintre arte, afirm~ concepte [i

solu]ii plastice originale, reprezentative pentru rela]ia dintre

modern [i tradi]ie, m~rturisite de m~iestria artistic~ [i performan]a

profesional~ ale pictorului.

Adriana BOTEZ - CRAINIC

Text extras din studiul ap~rut în

revista Contemporanul Ideea European~, nr.4, aprilie 2007

Never caught in the pitfalls of recipe, the postmodernism of

professor Ioan Stendl has been confirmed today as an inventive

instrument for coupling together historic times and museum like

features. He admires the masterpieces of universal art to which

he pays homage, he integrates them into contemporary

sensitivities and mentalities.

The passage from one morphology to another, well-know details

from the universal masterpieces of painting are heterogeneously

assimilated into unique compositions. The “game”, the mix of ideas

and the changes of metaphorical coherence creates mobility from one

frame to another. The ancient greek maiden is endowed with life by

being placed beside the nudes, full of the life of young women,

imagined in revelry; Roman riders are integrated with the cavalcade of

fallen troops from the last war; (...) The Cretan Minotaur turns into

current anthropomorphism. The sober tone of the content is

absorbed in the quiet play of forms, free from the constraints of

prescriptions. History, symbols and the present draw closer to one

another and live together in a moment of culture, of life.

The nonconformist expression of space is naturally

communicated. Stendl passes from the rigorous construction of

forms to their free destruction. Wonderful solutions for each

work are inserted into the semantic dialogue and the ensemble’s

search for expression of the whole.

The scenic display of figures is inscribed in the open

compositional field, unlimited by the frame. The modern

perspectives live together with the rigors of the classical European

and oriental perspectives. In this universe of postmodernism

combined morphologys are placed in accordance, classical

Mediterranean forms of culture stand harmoniously alongside the

21st century world, the ensembles of figurative art are serving the

noble artistic emotions. Drawing is determining for the relations

of form – construction – expression.

The nonconformism of Ion Stendl’s art is based on surprise,

innovation and the courage to overturn the rigid boundaries

between the arts; it affirms original concepts and solutions that

are representative for the relationship between the modern and

the traditional, witnessed by the artistic mastery and professional

accomplishment of the paintings.

Adriana BOTEZ - CRAINIC

Excerpt from a study in the magazine, Contemporanul Ideea

European~, (The Contemporary European Idea) nr.4 (661), April 2007

ion STENDLA r t i s t s ’ s t u d i o s i n B u c h a r e s t

149

150

Ion STENDL

Cal troian / Trojan HorseTehnic~ mixt~ pe pânz~ / Mixed media on canvas

Ion STENDL

Cal troian 2 / Trojan Horse nr. 2Tehnic~ mixt~ pe pânz~ / Mixed media on canvas

151

Ion STENDL

Cal troian 3 / Trojan Horse nr.3Tehnic~ mixt~ pe pânz~ /

Mixed media on canvas

Ion STENDL

Cal troian 4 / Trojan Horse nr.4Tehnic~ mixt~ pe pânz~ /

Mixed media on canvas

152

Ion STENDL

SinopiaTehnic~ mixt~ pe pânz~ / Mixed media on canvas

Ion STENDL

Sinopia 2Tehnic~ mixt~ pe pânz~ /Mixed media on canvas

Ioan STENDL

N~scut 18 februarie 1939, Re[i]a, jud. Cara[ – Severin

Studii

1963 Absolvent al lnstitutului de Arte Plastice „Nicolae Grigorescu” din

Bucure[ti

1971-1972 burs~ DAAD la Academia de Stat din Düesseldorf

Din 1993 anual, profesor invitat la Academia Interna]ional~ de var~ la

Beratzhausen, Bavaria


1971, 1973 Galeria Apollo, Bucure[ti

1983 Muzeul de Art~ al României, Bucure[ti

1995 Galeria Aspekte, Waibstadt, Germania

1996 Sala Rond~ a Teatrului Na]ional, Bucure[ti

1996, 2004 Galeria Kunstkontor Westnerwacht, Regensburg, Germania

1998 Grafik-Museum Stiftung Schreiner, Bad Steben, Germania


1976 „9 arti[ti români” - Expozi]ie de tapiserie, Paris, Fran]a

1991 Expozi]ie de pictur~ [i desen, Wageningen, Olanda

1994, 1995 "Zehentstadel”, Beratzhausen, Germania

1994 „Stationen”, Bucure[ti - Bonn

1997, 1999 Gallerie im Altstadthof, Nüernberg, Germania

1998 „Arta româneasc~ azi”, Muzeul Cobra, Amstelveen, Olanda


1967,1975,1977,1979,1981 Bienala de grafic~, Ljubliana, Slovenia

1968, 1972, 1978 „Xylon”, Geneva, Elve]ia

1969 Bienala de tineret, Paris, France

1969-1975, 1977-1981 Concursul de desen „Joan Miró”, Barcelona,

Spania

1970, 1977 Bienala de grafic~ „Europahaus”, Viena, Austria

1972 Bienala de Art~, Vene]ia, Italia

1979 Mail Art - Book Projekt, Viena, Austria

1980 Intergraphik, Berlin, Germania

International Impact Art Festival, Kyoto, Japonia

1981 Bienala de grafic~ european~, Baden-Baden, Germania

1982 Expozi]ie Interna]ional~ de desen, Bilbao, Spania

Premii, distinc]ii - selec]ie

1969 Premiu al Bienalei de tineret, Paris, Fran]a

1974 Men]iunea a 3-a la concursul „Joan Miró”, Barcelona, Spania

1984 Premiul „lon Andreescu” al Academiei Române, Bucure[ti

1995 Premiul special al Uniunii Arti[tilor Plastici din România

2000 Ordinul Na]ional „Serviciul Credincios” în gradul de Ofi]er

Ordinul „Meritul pentru Înv~]~mânt” în gradul de Ofi]er

Ioan STENDL

1939 Born in Resi]a, Caras-Severin County on the 18th of February

Education1963 Graduate of the Institute of Fine Arts, “Nicolae Grigorescu”

Bucharest

1971-1972 DAAD scholarship of the State Academy of Düsseldorf, with professor Rolf Sackenheim

Since 1993, guest professor to the annual International Summer Academy at Beratzhausen, Bavaria

Selected Solo Exhibitions1971, 1973 Apollo Gallery, Bucharest1983 The Art Museum of Romania, Bucharest1995 Aspekte Gallery, Waibstadt, Germany1996 Round Hall, National Theater of Bucharest1996, 2004 Kunstkontor Westnerwacht Gallery, Regensburg, Germany1998 Grafik Museum Stifiung Schreiner, Bad Steben, Germany

Selected Group Exhibitions1976 “Nine Romanian Artists” Tapestry Exhibition, Paris,France1991 Exhibition of Painting and drawing, Wageningen, Holland 1994, 1995 “Zehentstadel”, Beratzhausen, Germany1994 “Stationen”, Bucharest, Bonn1997, 1999 Gallery Im Altstadthof, Nuernberg, Germany1998 “Romanian Art Today”, Cobra Museum, Amstelveen, Holland

Selected International Exhibition 1967, 1975, 1977, 1979, 1981 – Biennial of Graphic Art, Ljubliana, Slovenia1968, 1972, 1978 “Xylon”, Geneva, Sweden1969 The Youth Biennial, Paris, France1969-1975, 1977-1981 – Drawing Contest, “Joan Miró”, Barcelona, Spain1970, 1977 – Graphic Biennnial, “Europahaus”, Vienna, Austria1972 Art Biennial, Venice, Italy1979 Mail Art – Book Project, Vienna, Austria1980 Intergraphik, Berlin, Germany

International Impact Art Festival, Kyoto, Japan1981 European Graphic Biennial, Baden-Baden, Germany1982 International Drawing Exhibition, Bilbao, Spain

Awards and Honors1969 Award at the Youth Biennial, Paris, France1970 Medal from the 3rd Biennial of Krakow, Poland 1974 Third Mention at the contest “Joan Miro”, Barcelona, Spain1984 The “Ioan Andreescu” Award of the Romanian Academy,

Bucharest1995 Special Prize of the Artists’ Union of Romania2000 National Order for “Faithful Service” in the rank of Officer

Order of “Merit in Education” in the rank of Officer


153

MICROCOSM

Când Ioana ßetran rotunje[te cu spatula dentar~ una dintre cele

trei articula]ii ale celor [ase picioru[e din por]elan alb, îmi pot

imagina starea de concentrare fericit~ [i acuitatea vis~toare a

celebrei Maria Sibylla Merian, gravorul-entomolog cu voalet~ [i

dantele str~vezii, pierdut în jungla amazonian~. Artist~ apar]inând

barocului german, Maria Sibylla a zugr~vit [tiin]ific, în compozi]ii

involuntar poetice, metamorfozele [i ambientul vegetal al unor

fascinante [i nemaiv~zute insecte.

Nu [tiu dac~ Maria Sibylla a fost, precum Ioana, o f~ptur~ minion~,

t~cut~ [i emotiv~, cu o nelini[te a degetelor [i cu o repeziciune a

privirii, dar, peste secoli, ambele artiste fac performan]~ în sensul

caleidoscopicei aventuri din viul insectifirm. Cu „bagheta alb~” de

caolin, Ioana ßetran e o zân~-savant care încremene[te mi[unarea

de sub ierburi. Nu inventeaz~ ludic, ci, doctoral, transfocheaz~

microcosmul lui Fabre la propor]iile p~s~rilor cerului. (...) De

aproape jum~tate de veac, ceramista articuleaz~ – este verbul cel

mai judicios – înfiorate popoare de gâze. Artist~ de o exigen]~,

discre]ie [i pasiune care evoc~ naturalistul autentic, Ioana ßetran

oferea, în marile etal~ri ale artelor decorative din anii '70–'80, tipsii

cu ierburi [i frunze mineralizate în alb sideral. Printre ele, treptat, au

început s~ fojg~ie elitre, antene, cili, picioru[e, gheru]e [i carapace

de coleoptere. (...) Roca alburie, cu siliciu [i aluminiu, a Marelui

Deal chinez (Gaoling) are structura hexagonal~ a fagurelui divin,

plus molecula de ap~, divin~ [i ea, care-i d~ plasticitatea [i memoria

tu[eului: în r~ceala-i sticloas~, por]elanul este „contrariat” de

atingerile [i model~rile operate pe memoria lui ini]ial~, de past~

umed~. Dac~ viul apei dispare prin coacere, formele infinit fragile

ale acestui macroinsectar sunt astfel gândite, încât, în pofida

vitrifierii, s~ evoce, s~ exalte colc~itoarea densitate a regnului liliput.

Ioana ßetran are o continuitate remarcabil~ de atelier [i solu]ii

tehnologice care ]in de [iretlicurile [arpantelor, de îmbin~rile de

atelaje ori de chirurgia reparatorie: dup~ o prim~ asamblare de

carcase, arhitecturizeaz~ întregul diafan motoriu al insectei [i

recoace lipiturile de pe articula]iile fine. Aliat~ cu focul, artista

înal]~ regnul cel mai umil, mai perisabil [i mai fecund al

biologicului. Este eternul pariu de transmutare. Momente precise

[i ritualizate ale artei milenare a ceramicii surprind taina

prolifer~rii viului, clipa de miracol.

Aurelia MOCANU

MICROCOSM

When Ioana ßetran rounds off with a dental spatula one of the three

articulations each of the six tiny legs a white porcelain locust has, I

can imagine the happy concentration, the dreamy acuity of Maria

Sibylla Merian, the famous engraver-entomologist wearing a hat veil

and transparent laces, lost in the Amazonian jungle. An artist

belonging to the German baroque, Maria Sibylla had scientifically

depicted, in involuntary poetic compositions, the metamorphoses and

the vegetal surroundings of some fascinating and unknow insects.

I do not know whether Maria Sibylla was, like Ioana, a delicate,

silent and emotional being, with restless fingers and a swift regard,

but after centuries, both artists proved their accomplishment in the

analysis of the living insects' kaleidoscopic adventure. With her

"white kaolin wand," Ioana ßetran is the fairy scientist who makes

the undergrass swarming stock-still. She does not invent the game,

but, like a genuine scientist, she zooms Fabre's microcosm to bird-

like proportions. (...) For almost half a century, the ceramist has

articulated – it seems the most proper verb – out of kaolin thrilling

populations of flying insects. An artist having the exigency,

discretion and passion of a naturalist, Ioana ßetran has offered, in

the large decorative arts displays of the '70s and '80s, trays with

grasses and leaves mineralized in sidereal white. Among them, a

number of elytra, antennae, cilia, tiny legs, little claws and

coleopteran shells have gradually turned up. (...) The silicium-and-

aluminium whitish rock of the Great Hill (Gaoling) has the

hexagonal structure of the divine honeycomb to which the no less

divine water molecule offers plasticity and memory: in its glassy

coldness, the porcelain is "upset" by the touches and moulding

performed on its prime memory of wet paste. When, during baking,

the living water disappears, the extremely frail shapes of this

macroinsectarium are so conceived, that in spite of vitrification, they

evoke and exalt the swarming density of the Lilliputian kingdom.

Ioana ßetran has a remarkable studio continuity and technological

solutions that obey framework tricks, team joining or restoring

surgery: after a first carcass assembling, she redesigns, the way an

architect does, the whole of insects' motor delicacy and bakes again

the sticks on the thin joints. Allied with fire, the artist raises the

most humble, perishable and prolific biological kingdom. It is the

eternal bet of transmutation. Certain ritualized moments of the

millenary art of ceramics are able to catch the mystery of life

proliferation, of the instant miracle.

Aurelia MOCANU


155

ioana ßETRAN

156

Ioana ßETRAN

Gândac cu cioc /Beetle with beakPor]elan / Porcelain

Ioana ßETRAN

(dreapta / right)

Gâze 2 / Insects 2Por]elan / Porcelain

Ioana ßETRAN

(dreapta / right)

Mare 2 / Seaside nr. 2Por]elan / Porcelain

Ioana ßETRAN

Plaur 1 / Turf 1Por]elan / Porcelain


157

Ioana ßETRAN

2 bicorni / Doublehorned beetlesPor]elan / Porcelain

Ioana ßETRAN

R~da[c~ / Stag beetlePor]elan / Porcelain

Ioana ßETRAN

Plaur 2 / Turf 2Por]elan / Porcelain

Ioana ßETRAN

Born on the 1st of January 1936 in Bucharest, Romania

StudiesGraduated the Nicolae Grigorescu Fine Arts Institute in Bucharest (1959)Member of the International Academy of Ceramics, Geneva, Switzerland(since 1978)

Awards and Honors1974 Prize for Decorative Arts granted by the Romanian Fine

Artists Union 1978 Acquisition Prize granted at the Erfurt quadriennial Exhibition

Acquisition Prize granted by the International Academy of Ceramics (Geneva)Prize granted by the Ariana Museum, Geneva

1984 Mention of Honour granted at the Zagreb Triennial Exhibition1989 Mention of Honour granted at the Mino Competition of

Ceramics

National Order "For Merit" (in the rank of officer )

Address: 42 A, Mare[al Al. Averescu Boulevard, Bucharest 1, Romania

Ioana ßETRAN

N~scut~ la 1 ianuarie 1936 în Bucure[ti

Studii

1959 Absolvent~ a Institutului de Arte Frumoase “Nicolae

Grigorescu”, Bucure[ti

Din 1978 Membru al Academiei Interna]ionale de Ceramic~, Geneva,

Elve]ia

Premii - selec]ie

1974 Premiul pentru art~ decorativ~ acordat de Uniunea

Arti[tilor Plastici din România

1978 Premiu acordat de Expozi]ia cvadrienal~ de la Erfurt,

Germania

Premiu acordat de Academia Interna]ional~ de Ceramic~

(Geneva) la Expozi]ia Bienal~ de la Vallauris, Fran]a

Premiu acordat de Ariana Museum, Geneva

1984 Men]iune de onoare acordat~ la Expozi]ia trienal~ de la

Zagreb, Croa]ia

1989 Men]iune de onoare acordat~ la Concursul de ceramic~

Mino, Japonia

Distinc]ii

Meritul Cultural cu grad de ofi]er

Adresa: Bld. Mare[al Al. Averescu nr. 42 A, S 1, Bucure[ti, România


159

Simona T~n~sescu este o optezicist~ de tranzi]ie. De[i a intrat în

mi[carea artistic~ pe la începutul anilor 90, ea leag~ într-un fel,

spiritualismul genera]iei 70 de autoreflexibilitatea genera]iei 80 [i

de ie[irea în contingent [i în social a nou~zeci[tilor. Ca structur~?

intim~, voca]ia ei este teologic~; din punctul de vedere al rela]iei

cu forma plastic~ ea are o enorm~ îndemânare de tehnician, iar

ca deschidere c~tre consumatorul de art~ [i ca strategie de

comunicare dezv~luie o acut~ con[tiin]~ pedagogic~ [i o

devo]iune de taumaturg. Ceramist~ prin fascina]ia ei aproape

mistic~ pentru p~mântul ca materie arhetipal~, ca spa]iu al vie]ii [i

ca substan]~ a genezei, Simona T~n~sescu s-a eliberat tacit din

captivit~]ile decorativelor [i s-a emancipat de frustr~rile acestora.

Desf~[urându-se pe mai multe planuri, care implic~ deopotriv~

tehnicile tradi]ionale [i procedeele alternative, ea intr~ mai curând

în tipul de comportament al artistului care-[i dubleaz~ gestul

crea]iei cu încercarea de a interveni direct în psihologia [i în

comportamentul receptorului.

Pavel ßUßARÅ

Simona T~n~sescu is a member of 80’s generation. Though she

entered the artistic movement at the beginning of the 90’s, she is

tied in a way to the spiritualism of the 70’s generation, and the

self-reflexivity of the 80’s and to the opening towards the

contingent and social of the 90’s. In its intimate structure, her

vocation is theological; from the viewpoint of the relationships

with graphic forms she has extraordinary skill as a technician, and

her openness to the art consumer along with her strategy for

communication reveal an acute pedagogic concern and a

taumaturgical devotion. An artist in ceramics through her nearly

mystical fascination for earth as an archetypical material, as the

space of life and substance of genesis, Simona T~n~sescu tacitly

freed herself from the captivity of decorations and emancipated

herself from the frustrations that derive from them.

Developing on many levels that implicate both traditional

techniques and alternative processes, she exemplifies rather the

kind of behavior of an artist that doubles the gesture of creation

through the attempt of directly intervening in the psychology and

behavior of the beholder.

Pavel ßUßARÅ


simona TÅNÅSESCU

162

Simona TÅNÅSESCU

Ad~post / ShelterGresie / Sandstone1997

Simona TÅNÅSESCU

2 MediaGresie / Sandstone1998

Simona TÅNÅSESCU

Carte / BookBronz / Bronze2005


Simona TÅNÅSESCU

Autoportret în oglind~ / Self-portraitin the mirrorBronz / Bronze2004

Simona TÅNÅSESCU

Ho]ul de mere / Apple’s thiefBronz / Bronze2002

164

Simona TÅNÅSESCU

Clopot / BellTehnic~ mixt~, hârtie pânzat~ /Mixed media, paper on canvas1995

Simona TÅNÅSESCU

N~scut~ pe 20 ianuarie 1959 în Bucure[ti

Studii

1979–1983 Institutul de Art~ Plastic~ “N.Grigorescu”, Bucure[ti

2002 Burs~ Management Cultural, Ministerul Culturii [i

Comunica]iilor din Fran]a

Premii

1996 Men]iune de Onoare Aveiro, Portugalia

1995 Premiul UAP pentru tineret

1998 Premiul UAP “Ambient"

2004 Premiul III, proiect monumental; Ministerul Culturii [i Cultelor

Ordinul „Meritul Cultural în grad de Cavaler”

Lucr~ri în colec]ii particulare

Mont Dauphin, L’Escarenne, Nice, Fran]a

Arandjelovac, Galeria “Golden Eye” Novy Sad, Serbia

Freiburg, Germania

Los Angeles, SUA

Adresa: Biserica Amzei nr. 5, s 1, 010391 Bucure[ti, România

Mobil: 0040 724 209050

Simona TÅNÅSESCU

Born in Bucharest on the 20th of January, 1959

Education1979-1983 “Nicolae Grigorescu” Fine Arts Institute, Bucharest2002 Cultural Management Scholarship, the Ministry of Culture and

Communication, France

Awards and Honors1996 Mention of Honor at Aveiro, Portugal1995 The Union of Artists Award for Youth1998 The Union of Artists “Environement” Award2002 Scholarship from the Ministry of Culture, France2004 Third Prize for monumental project; Ministry of Culture and Cults

Order of “Cultural Merit in the rank of Knight”

Works in Private CollectionsMont Dauphin, L’Escarenne, Nice, FranceArandjelovac Gallary, “Golden Eye”, Novy Sad, SerbiaFreiburg, GermanyLos Angeles, USA

Address: 5, Biserica Amzei St., Bucharest 1, RomaniaMobile: 0040 724 209050


165

Pictura lui Mircea Toh~tan se na[te din “exerci]iul privirii” - am

folosit timpul prezent pentru a sublinia o constant~ în crea]ia sa.

Artistul s-a confruntat mereu cu “motive” dintre cele mai dificile,

aidoma realit~]ii apropiate.

Interiorul, Autoportretul, Curtea... iar acum câ]iva ani, vederile

v~zute de la fereastra atelierului. Pentru acest autor apar]inând

genera]iei '80, totul, de la percep]ie la reprezentare [i receptarea

ei, se raporteaz~ la emo]ie.

Banalul a exercitat o atrac]ie constant~, iar luciditatea artistului a

[tiut s~ sesizeze [i s~ speculeze bog~]ia de resurse a obi[nuitului.

În anii '80, “ecor[area” banalului cotidian, în reprezentare

neoexpresionist~, era o manifestare a “noii sensibilit~]i”. Când

Toh~tan a trecut la o rea[ezare a valorilor în urma contactului cu

muzeele [i galeriile Occidentului, când s-au potolit “furtunile”

începuturilor (artistul a intrat într-un proces de reevaluare a

picturii în fundamentele ei tradi]ionale. Chiar dac~ în datele

modernit~]ile clasice – [i cu un fel de “ascez~” a privirii întoars~

insistent asupra naturii – fie ea [i în ipostaza citadin~ - Toh~tan

reprezint~ simplitatea [i firescul.

Rodul “exerci]iului de privire” solicit~ un singur lucru: un

“exerci]iu de contempla]ie”, aproape uitat, înghi]irile erei

informa]ionale. Drumul spre firesc, îns~, cu întoarcerea la

inocen]~; luciditatea distribuie înc~ o dat~ accentele! - s-o

indentific~m, acum, drept luciditate postmodern~.

Artistul se întoarce f~r~ nostalgie, ci printr-o op]iune cump~nit~,

în func]ie de armonizarea dintre numita “ascez~” a privirii [i un

cod artistic redescoperit prin revizitarea [i avatarurile sale,

prelucrând atât modele franceze cât [i pe cele române[ti.

“Asceza” privirii s-ar traduce prin “ascu]irea” ei – o tensiune

subtil~ se instaleaz~, credem, între purificarea spre care se tinde [i

instrumentarea ei cu mijloace care, de[i schimb~ cursul

experien]elor artistice anterioare, nu au cum s~ nu ]in~ cont de

acumularea acestora – am putea cuantifica aici o doz~ de

(auto)ironie....

Adrian GU¥Å

Mircea Tohtan’s paintings are born from “the exercise of the

gaze” - I use the present tense here to emphasize a constant of

his works. The artist has always faced the most difficult

“motives”, that is, the closest reality.

The Interior, the Self-portrait, the Yard... and now (for a few

years), the Views – fragments of urban landscape seen from the

window of his studio. Everything - from perception to its

representation and reception - relates to emotion for this author

belonging to the ‘80 generation. Yet, how much lucidity, painful,

we should say, accompanies this emotion.

The banal exerted a constant attraction upon him. Perhaps the

lucidity itself and the irony helped him detect and speculate on the

wealth of the resources of the ordinary. Back in the ‘80s, the

“skinning” of the daily banal in a neo-expressionist manner was a

sign of the “new sensibility”. When Toh~tan came to reorganize his

system of values as a consequences of his contact with Western

museums and galleries, when the “storms” of the beginnings (in the

‘90s) faded away – without any missionary exaltations! – he began a

process of re-evaluation of the painting in its traditional foundations.

Reverting to classical modernity and practicing an asceticism of the

gaze turned towards nature, be it in its urban expression - Toh~tan’s

art has simplicity and naturality.

The outcome of his “gazing exercise” asks for only one thing: an

“exercise of contemplation”, almost forgotten, swallowed by the

accelerations of the information era. Yet, the way to normality and

simplicity is not to be mistaken for the return to the primordial

innocence; lucidity distributes once more the accents! – let’s

identify it now as a post-modern lucidity.

The artist returns without nostalgia, but with a balanced option,

relying on the harmonization of the already mentioned “ascetic

gaze” with an artistic code rediscovered in Impressionism and its

avatars by revisiting Art History, while processing the French

models as well as the Romanian ones. An “ascetic” gaze would

mean its “sharpening” – there is a subtle tension, we believe,

between the purification towards which one is tending and the

tools that change the course of the previous artistic experiences,

but cannot ignore its accumulation; and we could identify here a

dose of (self)irony.

Adrian GU¥Å


167

mircea TOHÅTAN

Mircea TOHÅTAN

Curte dup~ s~rb~tori /Courtyard after the HolidaysUlei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Vedere / ViewUlei pe pânz~ / Oil on canvas2004

169

Mircea TOHÅTAN

Curte / CourtyardUlei pe pânz~ / Oil on canvas1993

170

Mircea TOHÅTAN

Studiu de nud / Nude - studyUlei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Studiu de nud / Nude - studyUlei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Un om - un pom / A man - a treeUlei pe pânz~ / Oil on canvas1993

Mircea TOHÅTAN

N~scut la 5 august 1957 la Media[, România

Studii

Absolvent al Institutului de Arte Plastice “N. Grigorescu”,

clasa prof. Octav Grigorescu.

Între 1995 [i 1999 a fost membru al grupului Prolog.


1987 Atelier 35, Bucure[ti

1996 Hanul cu Tei, Bucure[ti1997, 2003 Galeria Simeza

1997, 2003 Galeria Simeza


1987 Alternative, galeria Orizont, Bucure[ti

1988 Galeria Simeza

1990 Filocalia, Galeria Artexpo, Bucure[ti

1991 “Arta contestatar~ în Europa de Est”,

Muzeul Colec]iilor de Art~

“Le pied” galeria Médiathèque, Die, Fran]a

1992 “A[teptare [i Izbucnire” Muzeul de Art~ din Szombathelly,

Ungaria

Muzeul de Art~ Arad

1993 Espace Prevert, Savigny-le-Temple, Fran]a

Muzeul Colec]iilor

Orient-Occident, Muzeul de Art~ Timi[oara

1994 “Tema-Eseu de art~ comparat~”, Muzeul Na]ional al României

Galeria Catacomba

1995 Filocalia, Cluj

“Prolog”, Limassol, Cipru

1996 “Chipuri de pictori”, Galeria Etaj 3/4

“Versions of Transfiguration”, Muzeul Mücsarnok, Budapesta

“Studiu nud”, Galeria Etaj 3/4 “Rudenie [i Patrimoniu”,

2001 Colec]ia Casei Regale a României, Muzeul Literaturii Române


România, Elve]ia, Statele Unite ale Americii, Portugalia,

Marea Britanie, Italia, Fran]a.

Mobil: 0040 730 457123


Mircea TOHÅTAN

Born on August 5, 1957 in Romania

EducationAcademy of Fine Arts “Nicolae Grigorescu”, Bucharest, class ofprofessor Octav Grigorescu. Member the Prolog Group between 1995-1999.

Selected Solo Exhibitions1987 Studio 35, Bucharest1996 Hanul cu Tei, Bucharest1997, 2003 Simeza Gallery, Bucharest

Selected Group Exhibitions1987 Alternative, Orizont Gallery, Bucharest1988 Simeza Gallery, Bucharest1990 Filocalia, Artexpo Gallery, Bucharest1991 “Art of Dissent in Eastern Europe”, Art Collection Museum

“Le pied” Médiathèque Gallery, Die, France1992 “Expectation and outburst” Szombathelly Museum of Art

Hungary Museum of Art, Arad

1993 Espace Prevert, Savigny-le-Temple, France Orient-Occident, Museum of Art, Timi[oara

1994 “The topic: An Essay in Contemporative Art, National Museum of Art, Bucharest Catacomba Gallery, Bucharest

1995 Filocalia, Cluj“Prolog”, Limassol, Cyprus

1996 “Faces of Painters”, Floor 3/4 Gallery of National Theatre, Bucharest“Versions of Transfiguration”, Mücsarnok Museum, Budapest“Nude Studies”, Floor 3/4 Gallery of National Theatre,Bucharest

2001 Collection of the Romanian Royal House, the Museum of Romanian Literature, Bucharest

Works in CollectionsRomania, Switzerland, UK, Italy, USA, Portugal, Germany, France.

Mobile: 0040 730 457123e-mail: [email protected]


171


173

vasile TOLAN

Neoexpresionismul abstract al lui Vasile Tolan nu este oglindatransfigur~rii unor angoase ascunse, a unor tr~iri violente. Se [tie,românul, prin structur~, are darul de a îmblânzi lucrurile care autendin]a de a ie[i din scar~, de a le face mai suportabile. La VasileTolan gama cromatic~ e surdinizat~, trecut~ prin filtrul unuitemperament care î[i tr~ie[te cu o anume cump~tare nelini[tile [ibucuria crea]iei, investind obiectul cu valen]e estetice remarcabile,f~r~ a se feri, ca al]ii, de ideea de armonie cromatic~. Vârtejul delinii, de energii ale gestului plastic începe de la un timp s~-[iaproprieze din cotidian „citate”, elemente umile; [ipci de lemnpatinate de vreme, [osete, bilete de tren consumate, deci totsemne ale mi[c~rii, ale trecerii, ale tranzitoriului într-o propunerecu adieri neodada.

C~lin DAN

Privind dintr-o perspectiv~ plonjat~ firul evolu]iei demersuluiplastic al lui Vasile Tolan, putem constata o lini[tire treptat~ aturbulen]elor nest~pânite din lucr~rile de acum un deceniu, olimpezire gradual~ a imaginii/formei. Apar chiar nuclee centratevizual, semn c~ apropierea de centrul labirintului e, pân~ la urm~,pentru o evolu]ie s~n~toas~, aproape inevitabil~. Încep s~ seschimbe propor]iile, s~ se echilibreze, între zonele fr~mântate,preponderente la început, [i cele care insinueaz~ un început derigoare [i ordine. În „haosul” general î[i face apari]ia geometria,ideea de „for]~ a centrului vizual” în compozi]ie. Prin [irurile demacropuncte, a[ezate pe registre, se instituie proiectul unei ordinice se suprapune peste fundalul turbulent.

Onisim COLTA

Obiectele gata f~cute, semne [i resturi ale unei lumi aconsumului, lipite pe fundul casetelor închise cu sticl~ [i acoperitecu lac str~lucitor, vorbesc despre o invazie a formelor de serie,despre un contingent uniformizator care ascunde, îns~, o poeziesimpl~, surprinz~toare, aflat~ dincolo de normele îndeob[tecunoscute ale artisticului, deloc str~in~ de kitsch-ul populist.Lumea aceasta poate fi recuperat~, repus~ în noi termeni, într-un regim de resemnare estetic~. Este o lume dat~, c~reiaartistul nu-i poate face concuren]~. O poate cita, o poate ironiza,îi poate releva grotescul, diversitatea, absurdul, str~lucireaefemera, misterul [i cam atât. Suficient îns~ pentru zdruncinareastereotipiilor perceptive ale privitorului. Pe lâng~ acest spa]iu alobiectelor gata fabricate, Vasile Tolan ini]iaz~ îns~ [i propriile saleprocese de fabrica]ie, în urma c~rora cap~t~ form~ compozi]iidelicate, fragile, luminoase, rezultate din colarea unor buc~]i dehârtie de diferite culori, calit~]i [i texturi. (...)

Gheorghe CRÅCIUN Observator Cultural, nr. 108, 19 martie 2002

The abstract neoexpressionism of Vasile Tolan is not the reflectionof hidden phobic transfigurations of a violent life. It is knownthat a Romanian has through his structure a gift for tamingthings that have a tendency towards getting out of scale, tomake them more bearable. With Vasile Tolan the chromaticrange is toned down, passed through the filter of a temperamentthat lives with a certain moderation the troubles and joys ofcreation, investing the object with remarkable aesthetic valences,without avoiding, as others do, the idea of chromatic harmony.The whirlpool of lines, of energy of graphic gesture begins atsome point to appropriate quotations from daily life, humbleelements: slats of wood plated by time, socks, used train tickets,signs of movement, of passage, of the transitory in a proposalwith neo-dada undertones.

C~lin DAN

Looking from a bird’s eye view at the graphic approach of VasileTolan’s, we can observe a gradual settling of the uncontrolledturbulence from the works of a decade ago, a gradual clearing ofimages and forms. Visually centered nuclei appear, a sign thatnearing the center of the labyrinth is, in the end, a healthyevolution, almost inevitable. Proportions begin to change, tobecome more balanced in troubled areas (predominant in thebeginning), rigor and order. In the general “chaos” geometry,the idea of “the force of the visual center” in composition makesits appearance. Through the rows of macro points set in registers,a project of order is instituted over the turbulent backdrop.

Onisim COLTA

Ready made objects, signs and remains of a consumer world,glued to the bottom of boxes closed with glass and with shiningvarnish, speak of an invasion of a series of forms, of a uniformcontingent that hides, however, a simple poetry, surprising,beyond the common norms of the artist’s, not at all alien topopulist kitsch. This world can be recovered, put in new terms, ina regime of aesthetic re-significations. It is an passuned world,which the artist cannot compete with. He can quote it, he canironize it, he can point out its grotesqueness, diversity, theabsurd, ephemeral glimmer, mystery, and that is all about. Yet itis sufficient for shaking the viewer’s perceptive stereotypes. Inaddition to this space of ready made objects, Vasile Tolan initiateshis own processes of fabrication, and because of this thecompositions acquire delicate, fragile, luminous forms, resultfrom the color of pieces paper with different colors qualities andtextures. (...)

Gheorghe CRÅCIUNThe Cultural Observer, nr. 108, March 19, 2002

174

Vasile TOLAN

F~r~ titlu / Without titleTehnic~ mixt~ pe pânz~ / Mixedmedia on canvas2005

Vasile TOLAN


Vasile TOLAN


Vasile TOLAN

F~r~ titlu/Without titleTehnic~ mixt~ pe pânz~ / Mixedmedia on canvas2007

Vasile TOLAN


Vasile TOLAN



177

Vasile TOLAN

N~scut pe 10 martie 1953 în Buru, jud. Cluj, România

Studii

1972-1975 Institutul de Arte Plastice "Ion Andreescu" Cluj-Napoca

1997-1999 Universitatea de Art~, Bucure[ti

Din 2001 profesor asociat la Universitatea de Art~ Bucure[ti


1975 Galeria Institutului de Medicin~ [i Farmacie, Cluj-Napoca

1987 Galeria Academiei Române, Roma, Italia

1995 Galeriile "Atelier", BesanΔon, Fran]a

1996 Galeria "T & T", Nüremberg, Behringersdorf, Germania

2001 Centrul Cultural Francez, Cluj-Napoca

2003 Centrul Cultural German, Cluj-Napoca


1983 "Romanian Art Exhibition", Detroit, Columbus, Youngstone,

Washington, New York, USA

1983, 1986 Expozi]ia Interna]ional~ de Desen "Joan Miró", Barcelona,

Spania

1985 Expozi]ia Interna]ional~ de Acuarel~, "Arcobalena" Gallery, Roma,

Italia

1987, 1989 "Musée de petit format", Couvin, Belgia

1989 Festivalul Interna]ional de Grafic~ a ¥~rilor Europei de Est, Menton,

Fran]a

1993 Al Galerie Gerlinde Walz, Stuttgart, Germania

1994 Trienala din Osaka, Japonia

1999 "Tinsel and paper" - Action space, Los Angeles, USA

Expozi]ie de grup, arti[ti romani - International Center of

Exhibitions, Shanghai, China

2007-2008 East West Artists (expozi]ia simpozionului), Stuttgart, Germania

Premii

1983 Premiul pentru pictur~ al UAR filiala Cluj

1988 Premiul pentru tineret al UAR

2001 Premiul na]ional pentru pictur~ al UAP

2004 Meritul Cultural in grad de Ofi]er

2007 Premiul Ministerului Culturii (cu grupul 8Art+)


Colec]ia B.W.A. – Sandomierz, Polonia

Galeria "Arcobalena", Italia

"Al Galerie Gerlinde Walz", "Al Edition", "Adriana Schmidt"

Gallery, "Kunsthaus Schaller KG",

"La Corde", "Eterso" Gallery, Paris; "Le Tondo" Gallery,

Strasbourg, Fran]a

"Gabriele Huehnergarth", Merzig, Germania

"Im Altstadthof", Nürenberg, "T & T" Gallery, Nürenberg,

Behringersdorf, Germania

Vasile TOLAN

Born in Buru, Cluj County, Romania on the 10th of March, 1953

Education1972-1975 Ion Andreescu Fine Arts Institute, Cluj-Napoca1997-1999 Art University BucharestFrom 2001 Visiting professor at the Art University of Bucharest

Selected Solo Exhibitions1975 Gallery of the Medical and Pharmaceutical Institute,

Cluj-Napoca1987 Gallery of the Romanian Academy, Rome, Italy1995 “Studio”, Besancon, France1996 “T & T” Gallery, Nuremberg, Behringersdorf, Germany2001 French Cultural Center, Cluj-Napoca2003 German Cultural Center, Cluj-Napoca

Selected Group Exhibitions1983 “Romanian Art Exhibition”, Detroit, Columbus, Youngstown,

Washington, New York, USA1983, 1986 International Exhibition of Watercolor“Joan Miró”, Barcelona,

Spain1985 International Exhibition of Wathercolor, “Arcobalena” Gallery,

Rome, Italy1987, 1989 “Musée de petit format” Couvin, Belgium1989 International Graphic Festival of Eastern Europe, Menton, France1993 Al Galerie Gerlinde Walz, Stuttgart, Germany1994 The Triennial at Osaka, Japan1999 “Tinsel and paper” Action space, Los Angeles, USA

Group Exhibition, Romanian artists, International ExhibitionCenter, Shanghai, China

2007-2008, East West Artists (exhibitions of the symposium), Stuttgart, Germany

Awards and Honors1983 Award for Painting from Romanian Artists Union, Cluj affiliation1988 Award for Youth from Romanian Artists Union2001 National Award for painting from Romanian Artists Union2004 Cultural Merit in the rank of officer2007 Award from the Ministry of Culture (with the group 8Art+)

Works in CollectionsCollection B.W.A. Sandomierz, Poland“Acrobalena” Gallery, Italy“Al Galerie Gerlinde Walz”, “Al Edition”, “Adriana Schmidt” Gallery, “Kunsthaus Schaller KG”, “La Corde”,“Eterso” Gallery, Paris; “Le Tondo” Gallery, Strasburg, France, “Gabriele Huehnergarth”, Merzig, Germany“Im Altstadthof”, Nuremburg, “T&T” Gallery, Nüremberg – Behringersdorf, Germany

Iuliana Vîlsan apar]ine în mod natural modernit~]ii conceput~ azi

ca permanent refuz al limitelor [i cult al comunic~rii între arte.

Separa]ia e acum arhaic~ [i c~utarea autonomiei vetust~. Totul

dialogheaz~, se altoiesc corpuri str~ine, se îngem~neaz~ practici

vecine. Teatrul, pictura, sculptura, instala]ia video.... Nimic nu e

pur, totul e în mi[care, instabil [i impermanent. Iuliana Vîlsan

navigheaz~ cu gra]ie între aceste teritorii nedefinite unde balizele

au disp~rut. C~rei arte îi apar]ine? Ce caut~? Unde? Ea e un

electron liber ce nu se teme de r~t~cire.

Când se deseneaz~ o linie nesigur~, când pe un fond albastru

apare o broderie de alt~ dat~, pecete de vis, grafitti lirice. Ca

desenele lui Miro la care m~ gândesc acum ie[ind de la vernisajul

expozi]iei sale. Iuliana Vîlsan are ceva din minimalismul

sentimental pe care marele catalan l-a impus, nu singur, spune el,

pornind de la economia lui HoKusai. Sunt familii artistice care se

constituie în timp [i ai c~ror membrii se lumineaz~ reciproc. La

Iuliana Vîlsan, ca [i la Mirò, minimalismul nu e sistematic, auster

[i teoretic, ci ludic. Jocul, mereu jocul... ea [tie s~ se joace în via]~

ca [i în art~. Pe un fond îns~ de exigen]~ pe care pudic îl

ascunde.

La Iuliana Vîlsan, în tot ce face, dincolo de dispozi]ia artistului,

recunoa[tem etica artizanului, gustul pentru adev~rul produs din

implicarea pân~ la cap~t, tacit [i modest, în fiecare act, în fiecare

culoare [i gest. Iuliana Vîlsan este un amestec de u[urin]~ în

concentrare: [i astfel din nou se apropie de Mirò. Ca el, lucrând,

ea ne încurajeaz~ [i se încurajeaz~. Ne suntem necesari unii

altora. Nu numai nevoia de a se exprima se impune aici, ci [i

aceea de a ni se adresa. E o form~ de socialitate estetic~, invita]ie

pentru a împ~rt~[i o experien]~ comun~. Arta, o clip~, reu[e[te.

George BANU

Iuliana Vîlsan belongs naturally to modernity, conceived today as a

permanent refusal of limits and as the cult of communication

between the arts. Separation is now archaic, and the search for

autonomy obsolete. Everything is in dialogue, foreign bodies are

grafted in, and neighboring practices are germinated. Theater,

painting, sculpture, video installation... Nothing is pure, everything is

in motion, unstable and transitory. Iuliana Vîlsan gracefully navigates

through this indefinite territory where beacons have disappeared.

What kind of art does she belong to? What is she trying to do? She

is like a free electron that is not afraid of getting lost.

When an unsure line is drawn, when embroidery from days gone

by appears on a blue background, sealed by visions, lyrical

graffiti. Like the drawings of Miró, who I think of now, having

just left from the varnish of her exhibition. Iuliana Vîlsan elicits

something of the sentimental minimalism that the great Catalan

(and not he alone) imposed, beginning with the economy of Ho

Kusai. There are artistic families that are created with time and

whose members reciprocally enlighten each other. With Iuliana

Vîlsan as with Miró, minimalism is not systematic, austere and

theoretical, but playful. Games, always games… she knows how

to play in life as well as in art. She does this however, on a

foundation of exigency, which she modestly hides.

In all she does, beyond the inclination of the artist, we recognize the

ethics of the artisan, the taste for truth produced from implication

to the end, tacit and modest, in each action, in each color and

gesture. Iuliana Vîlsan is a mixture of ease in concentration: and

therefore again she comes close to Miró. Like him, while working,

she encourages us and is encouraged. We are necessary to each

other. It is not only the need for expression that is imposed here,

but also her need to address us. It is a form of aesthetical sociality,

an invitation to share a common experience. Art, for a moment,

succeeds in achieving this.

George BANU


179

iuliana VÎLSAN

180

Iuliana VÎLSAN

Portret, costum /Portrait, costumeAcrilic pe pânz~ / Acrylicon canvas2003

Iuliana VÎLSAN

Costume / CostumesAcrilic pe pânz~ / Acrylicon canvas2006


181

Iuliana VÎLSAN

Costum / CostumeAcrilic pe pânz~ / Acrylicon canvas2005

182

Iuliana VÎLSAN

Rochie cu juc~rie /Dress with ToysAcrilic pe pânz~ / Acrylicon canvas2006

Iuliana VÎLSAN

Rochie cu [unc~ / Dress with HamAcrilic pe pânz~ / Acrylic on canvas2006

Iuliana VÎLSAN

Costume / CostumesAcrilic pe pânz~ / Acrylic on canvas103 x 200 cm 2004-2005

Iuliana VÎLSAN

N~scut~ în 1971 la Constan]a

Studii

1995 Licen]iat~ a facult~]ii de litere a Universit~]ii Bucure[ti,

sec]ia clasic~

2000 Universitatea de Art~, Bucure[ti

2006 Centrul de instruire avansat~ în patrimoniul cultural de

la Volterra, Italia; coordoneaz~ proiectul Callas \n România

[i este director al Le Monde Diplomatique

A relizat costume, decoruri sau pictur~ pentru spectacole precum:

1998 Genosse Frankenstein, unser Geliebter Fuhrer, creat

pentru Weimar, capitala cultural~ a Europei

1999 Ioana d'Arc. Pagini de dosar, coproduc]ie Smart [i

Teatrul Na]ional Bucure[ti

2003 Reise ins Gluck, Teatrul de stat Oradea

2007 Kultur Fabrik, Esch sur Alzette creat pentru Luxembourg,

capitala cultural~ European~

2006 În cadrul Anului Francofoniei a coordonat împreun~ cu Jan de

Maere proiectul: Voyages Transylvaniens, Muzeul Brukenthal,

Sibiu

Expozi]ii personale – selec]ie

1999 “Alb / Negru”, Institutul Cultural Român, Bucure[ti

2000 „Inter Animales” în cadrul proiectului „Animalul”, Muzeul

Literaturii Române, Bucure[ti

2002 „Casa piticului Pedro”, „M~garul de aur”, Galeria de INTERESE,

Bucure[ti

2004 „Ne suntem necesari unii altora”, Galeria Posibil~, Bucure[ti

2005 „Costum”, Galeria Posibil~, Bucure[ti


1997, 1998 Student Fest, Timi[oara

1998 Accente, Timi[oara

1999 Bella Center, Copenhaga

2003 Palais de Tokyo, Paris

Premii – selec]ie

1998 Premiul Dominus pentru pictur~

2005 Premiul pentru cele mai bune costume la Pecsi Orszagos

Szinhaz Talalkozo (POSZT)

2006 Premiul pentru cele mai bune decoruri [i costume Hataron Tuli

Magyar Szinhazak Talalkozoja-Kisvarda

Lucr~rile ei se afl~ în colec]ii private în Danemarca, Germania, Fran]a,

Italia, Suedia [i România.

Adresa: Bd. Lasc~r Catargiu nr. 45, apt.11, s 1, Bucure[ti, Romania

Mobil: 0040 744 985220


Iuliana VÎLSAN

Born in 1971 at Constan]a

Education1995 Graduated from the University of Bucharest, Departament of

classical studies2000 The Art University of Bucharest2006 The Center for Advanced Instruction in the Cultural Patrimony

at Volterra; coordinates Project Callas in Romania, and is thedirector of Le Monde Diplomatique

She created costumes, stage designs and paintings for shows such as:1998 Genosse Frankenstein, unser Geliebter Führer, made for

Weimar, cultural capital of Europe1999 Joan of Arc, Giurgiu State Theatre and The National

Theatre, Bucharest2003 Reise ins Gluck, State Theatre, Oradea2007 Kultur Fabrik, Esch sur Alzette made for Luxemburg,

European cultural capital 2006 During the Francophone year, together with Jan de Maere

coordinated the project “Voyages Transylvaniens, Brükenthal Museum, Sibiu

Selected Solo Exhibitions1999 “Black / White”, The Romanian Cultural Institute, Bucharest2000 “Inter Animales” in the “The Animal” project, Romanian

Literature Museum, Bucharest2002 “The Dwarf Pedro’s House”, “Donkey of Gold”, Gallery de

Interese, Bucharest2004 “We are Necessary to Each Other”, Gallery Possible, Bucharest2005 “Costume”, Gallery Possible, Bucharest

Selected Group Exhibitions1997, 1998 Student Fest, Timi[oara1998 Accents, Gallery Dominus, Timi[oara1999 Bella Center, Copenhagen2003 Palais de Tokyo

Awards and Honors1998 Dominus award for painting2005 Award for the best costumes at Pecsi Orszagos Szinhaz

Talalkozo (POSZT)2006 Award for the best stage design and costumes at Hataron Tuli

Magyar Szinhazak Takalkozoja-Kisvarda

Her works are in private collections in Denmark, Germany, France, Italy,Sweden and Romania

Address: 45, Lasc~r Catargiu Blvd., Bucharest 1, RomaniaMobile: 0040 744 985220e-mail: [email protected]


183

ateliereartisti2

Documents