Aiurart | Timișoara Art Encounters

Space can be conceived as keeper of memories, a host as well as a witness of time, of human traces that form fragments which together unfold new meanings and write a different history that, despite the fact it has never existed as a whole, has the potential to be much more alive and coherent in an intended or accidental connection between the fragments than the known course of events. In the exhibition “Inner objects in outer spaces/Inner spaces in outer objects”, presented by Aiurart Contemporary Art Space at Timișoara Art Encounters, in the U Barracks (Cazarma U), from October 2nd to 31st, 2015, time is rearranged to fit the particularities of the space, which extends to cosmic proportions to suddenly contract in order to capture and absorb obsessive and unsettling struggles unfolding within.

Gathering works from former solo and group shows, Aiurart builds on the concept of memory creating its own alter space and a parallel present following the inner rhythm of the artworks to generate the outer narrative of the exhibition. A cold sandstone evoking the warmth of a pillow and blanket, the sole comfort of the one serving in the military forces, while also a bearer of dreams and nightmares of war. The pure and fragile rose blossoming and fading with each breath. The mechanical moves of sawmills as a confession and tool of crime. The bleeding heart glowing in its silent scream. The ludic oscillation between our own demons and beliefs in a permanent state of confusion and unrest. The transparency of matter guiding towards origins. An astronaut’s drama. The imminent threat you cannot escape, the darkness of an end. Finally, “each work represents an ex-position/ a frame and pretext to assume a new post-position; an over-exposure of ex-positions”.

 

Vlad Berte – The Blanket and the Pillow

2010, sandstone

Vlad Berte - The Blanket and the Pillow

Vlad Berte - The Blanket and the Pillow

The Blanket and the Pillow are probably a young recruit’s first mates out of a whole range of family-objects both of whom enter into direct and personal contact with the young man. If the rest of his personal effects are supposed to ease his military service, the blanket and pillow are the only elements providing him, during resting time, with an escape gate towards an imaginary military duty. As nothing is quite comfortable in the army, even his sleep is cumbersome, icy and stony! (Translated and adapted into English by Bogdan Lepadatu)

The sculpture was part of the exhibition: Vlad Berte – Manhood / Days Remaining – Open air sculptures at Aiurart, curator: Ioana Ciocan,  2013 (more info).

Artist website

 

Patricia Teodorescu – Rose (Breath)

2013, 08:39 min (02:47×3 animation), 1920×1080 HD progressive (16:9)

Patricia Teodorescu - Rose (Breath)

Patricia Teodorescu - Rose (Breath)

Rose (Breath) is an animation inspired by the universal meditation technique based on respiration. It is a metaphor of life, love, vulnerability and discomfort. Time is the major theme. The time-lapse is redrawn in an animated fluctuation and it represents the victory of the spirit on matter, despite the human aggressive nature.

Patricia Teodorescu: “The Rose, the flower in general and not only in the context of March 8th is beautiful in its ephemeral creation, sublime as the human soul, as love or purity. These can be hurt, easily turn blue and die quickly. They have their time and power, becoming more fragile in a brutal context and in unfriendly situations.”

The work was part of the group exhibition MOMENTUM, curator: Olivia Nițiș, 2013 (more info).

 

Valeriu Schiau – The Dream

2013, installation with variable dimensions, photoengraving, linocut on sawmills.

Valeriu Schiau - The Dream / Visul

Valeriu Schiau - The Dream / Visul

Valeriu Schiau - The Dream / Visul

There are faces of children that were exterminated during Stalinism, in Russia. Among those faces there is Vladimir’s portray – the artist’s own child at the age of four, in 2007, just before his marital breakdown.

At first, the images of these children were fastened onto a rubber material by using the photoengraving technique and they were subsequently used in this form for his 2010, Born in the USSR series.

Using the linocut technique for his 2013 exhibition at Aiurart, which was titled The Dream, Valeriu had imprinted the children’s faces on sawing discs and on grenades, as he searched for a material-come-medium that could exacerbate the message to untold levels of paroxysm.

This work was part of the exhibition: Valeriu Schiau – The Dream, curator: Olivia Nițiș, 2013 (more info).

 

Suzana Dan – I Don’t Mind Disappearing

2014, acrylic on canvas, 155 x 260 cm 

Suzana Dan – I Don’t Mind Disappearing

Suzana Dan – I Don’t Mind Disappearing

“The day when someone else tells you something that you knew all along, the day when the electronic equipment reveals with the unyielding precision of a micron the precise dimensions of the chaos, the day when you hid helplessly in the arms of your own child and you felt how terrible and inescapable everything is, well, that day I wanted to disappear. For your sake.

This is the most heart rendering work for me. It is about me and my father, and about his suffering and mine.” (Suzana Dan)

This work was part of the exhibition: Suzana Dan – Playground, curator: Erwin Kessler, 2014-2015 (reviewed).

Artist blog

 

Lea Rasovszky – The Heaviest Weight on my Pristine Shoulders

2014, iron metal structure in the shape of a rocking chair with a cross, 3 x 1.3 x 2.40 m.

Lea Rasovszky - The Heaviest Weight on my Pristine Shoulders

Lea Rasovszky - The Heaviest Weight on my Pristine Shoulders

The Heaviest Weight on My Pristine Shoulders object starts from a well-known ludic form: the rocking chair, which is the children’s plaything, usually. In the middle, though, rests another equally known object which interferes with the atmosphere of the entire object. An austere cross, placed in the middle, right in between the two velvet chairs. The plaything is suddenly turned into a manipulating mechanism that we are not always aware of, a force that disturbs the balance and hampers the rocking of the bodies because of the looming metal cross. The only solution is to keep moving in order to steel ourselves and mediate not just the asperities encountered along the way, but the emotions raised by our meeting our challenges, too. Thus, the challenge is lessened with each balancing act in the see-saw of living. There is no Kilometre ‘0’ whilst the equilibrium is hardly static for it is imperatively dynamic.

This work was part of the exhibition: Passage | Michele Bressan, Lea Rasovszky, Larisa Sitar, curator: Diana Marincu, MNAC Annex, 2014 (reviewed), and also part of the group show INTO BLACK, 2015 (reviewed).

Lea Rasovszky on The re:art

 

Iulia Nistor – EEG 2

Installation, oil on plastic film, metal, projection and sound piece, 200 x 340 x 340 cm, 2014

Iulia Nistor - EEG 2

Iulia Nistor - EEG 2

While using a technique which is similar to wood carving or even to the décollage, the artist proceeds to cover the supporting media with one or more coatings of paint. This is the starting point of a creative process of image construction which is beginning to take shape once it undergoes a colour development process that removes some of the coatings of paint that had been applied previously – all of which amounts, in a rather paradoxical way, to a quest for reclaiming the material’s original transparency. Visual impressions, transparent paths or fragments of a thought process are being recomposed and rearranged counter-narratively – or merely using a personal if rather instinctive narrative – are counterposing the tension which is being created upon attempting to balance the viewer’s perception that is struggling to identify accurately forms that have a familiar appearance to them. A vibrant image, a virtual reality instance emerging from/out of the supporting media’s transparency, finally sets as a comprehensively immersed medium of senses driven by the sound of the artist’s EEG* recording. (* Electroencephalogram (EEG) – recording the electrical activity of the brain over a period of time)

The EEG2 installation was part of the exhibition: Iulia Nistor | (i)… (ii)… (iii)… (iv)…, 2014 (more info).

 

Mihail Coșulețu – Stereo

2014, installation 250×250 cm, digital image

Mihail Coșulețu – Stereo

Mihail Coșulețu – Stereo

Stereo is a work in outer space, about outer space. The astronaut’s condition, as we’ve come to know it in films, books and documentaries is a special one; its space suits are spectacular and have become emblematic for scientific progress in the twentieth century. The artist allows himself an indiscretion by imagining two private spaces rather than a single one: one of these being here, on our Planet Earth, while the other is being set on the International Space Station (or, why not, the Moon, even). Yet, both of them have been voided of any human presence. Through their portholes, one can see the Moon and the Earth, respectively. The astronaut’s drama occurs when he is not behind them at the same time, which is why he prefers being in neither.

From the group show MOOON, curator: Simona Vilău, 2014 (more info).

 

Suzana Dan

Suzana Dan

The Perfect Model for Humanity: The Grave Threat

2014, acrylic on canvas, 110 x 150 cm

Suzana Dan

“It is about that moment when everything that ought to have come out perfectly, better than the opening night of a play even, goes to pieces. It is but the bride’s unique stage play, without any dress rehearsals (though some are desperately trying its re-enactment through an endless celebration of that communion). The children have said it and the children were right: the bride is burning because she is angry. They never considered for one minute that this may have been but an accident. The title was not haphazardly chosen for it is but the parody of this festive moment that ought to have been perfect yet, since we are only humans, we are bound to go through it with a degree of drama, which is why I can safely say that (without very few exceptions) there can be no wedding without an angry bride. And when the bride gets angry, well….” (Suzana Dan)

The Grave Threat

2014, installation, 50 rabbits 20 x 11,5 x 12 cm each

Suzana Dan

“The Grave Threat is a good thing. The Grave Threat helps us to be sensible and to try and understand. You take a look, say nothing and move on. The little ones are watching. The threat that instilled itself into the night’s darkest nightmare watches over the whole of humanity.” (Suzana Dan)

This work was part of the exhibition: Suzana Dan – Playground, curator: Erwin Kessler, 2014-2015 (reviewed).

(Translated and adapted into English by Bogdan Lepadatu)

Artist blog

 

The space before the exhibition

Art Guest House - U Barracks (Cazarma U)

Art Guest House - U Barracks (Cazarma U)

 

About Aiurart Contemporary Art Space

Since opening to the public in 2012, Aiurart has been a venue for contemporary art exhibitions, devoted to the diversity of contemporary forms of artistic expression. Aiurart is a non-profit arts organization, an open space for curatorial projects and a contemporary art gallery, being run with the support of a consulting board. Aiurart aim a constant research focused on staging the artistic and curatorial discourse, on spatial narrative and on the role of the host-come-witness exhibition space as an immersive environment.

• •

Photos courtesy of Aiurart Contemporary Art Space. Texts for each work and gallery info provided by Aiurart.

Find out more on their website and Facebook.