MOMENTUM 2 @ Aiurart Contemporary Art Space
Michele Bressan, Irina Botea, Irina Broboană, Cătălin Burcea, Mario Ionescu, Flavia Lupu, Delia Popa, Marilena Preda Sânc, Valeriu Șchiau, Roxana Trestioreanu, Mihai Zgondoiu. Special invited French artist: Véronique Sapin.
Curator: Olivia Nițiș
Project coordination: Oana Băluță and Olivia Nițiș.
Valeriu Şchiau – Trap, object, variable dimensions, 2014
“The relationship of a couple imposed as social norm, marriage can be a trap with both physical and psychological irreparable consequences. Feelings disappear, and what remains are the metal irony and the open wounds”.
Irina Broboană, 240173, installation, chalk and pencil on paper, variable dimensions, 2014
2001-2005, Class IX-XII B, School of Art, Rm. Valcea. Postal code 240173.
“A common group of teenagers with usual problems.
Nothing out of the ordinary.
At a closer look things look different: three cases of prostitution (2F, 1M), three of dropout (2F,1M), one of thievery and drug distribution (M), one of larceny (B), several other cases of sexual harassment in school.
I was one of the lucky ones. My “problem” had a name and an address and, particularly, a classroom that sometimes could be avoided. Mr. “problem” was always courteous, extremely gallant, generous beyond measure with compliments and suggestions. He would never lose patience or confidence, regardless of the violence of my responses. He had friends that supported and respected him. And he had lots of student girlfriends.
It’s been almost 10 years, the school is still there, so are the teachers.
The photos of present students are basically re-makes of our own”.
Cătălin Burcea, Leash #01, #02, #03, Object (Synthetic leather, metal, plastic, strip – synthetic textile), 214 x 21 x 5 cm, 2013
“Can we be something else than Poodle-dogs who roam around the same courtyard, just as far as their leash would allow them? Paradoxically, we have rights, we have nicely-formulated statements issued by international authorities. But, regardless the ways in which they would be applied, they still remain a unit of measurement for our own powerlessness.”
Marius Tanasescu, Excerpt from intro “The expansibility of the field of struggle” – Intact Gallery (Brush Factory – Cluj-Napoca), 2013
Marilena Preda Sânc – Local Policy Patriarchy, print ultrachrome on enhanced adhesive synthetic paper, each 70x40cm, 2014
“We are living in a society dominated by male power. In that respect there is a continuous control over the society through education, family, institutions, and religion through complex patriarchic machinery – a traditional political construct established to promote male privilege”.
Mihai Zgondoiu – Memento, old photography with intervention, frame, knife, gauze, 24×32 cm, 2014
“The portrait of a rural woman cut out from a family picture can refer to domestic violence. The gentle, enigmatic smile makes you think that she may be hiding a secret or a premonition of a future loaded with violence. Overlapping an ornamental wooden knife (a kind of coup-papier) over the woman’s portrait fits perfectly the oval handle around her eye. The allusion to the black eye is clear, as the blade covered with gauze enhances a triple ambiguity: the banal domestic object may be a weapon of violence causing injuries (gauze-dressing); the wrapped blade is a sign of covered discomfort, of indoor suffering in a community that knows and finds out everything; the oval around her right eye is a counterpart of the enigmatic gaze as in the saying ‘an eye crying, while the other is laughing’.”
Michele Bressan – Waiting for the Drama, print ultrachrome on enhanced adhesive synthetic paper, 100x130cm, 2011
“Cinemas are made to be looked past them, stay unnoticed to the viewer while they reveal the spectacle. Like Marc Auge’s non places, they are containers, rhythmic and automated in form and activity. Using the time between two screenings to create a new scenario, the series regards the story of these transition spaces in their own transition as past traces and in the same time as present landmarks of the Romania’s visual identity. Out of the 290 state cinema halls in Romania, only 29 function at present, the remaining have been sold, converted into bingo halls, clubs, parking spaces, commercial centers or left to decay.
The work is recontextualized in this exhibition referring to the soon to be revealed drama spectacle of violence and abuse. A subtle reference to social expectation in relation to “the gaze”, around the consequences of our communist past and the consumist realities of our present”.
Mario Ionescu – Spotlights, print ultrachrome on enhanced adhesive synthetic paper, A4 each, 2014
“In post-communist Romania, media, subordinated itself to patronages’ and political interests forgot its main role of watch dog. Active civil society became the watch dog as NGOs were rather forced to reveal different types of abuse both within society and the system as a whole, both legislative misfortunate decisions and gaps, restrictions imposed on women’s liberty and lack of equal opportunities. It is activism that turned on the flashlight and focused on institutions, especially on Parliament, an institution deeply responsible with..
Spotlights captures flashlights of several activist interventions where the photographer himself became an active actor due to his ethical and political convictions”.
Irina Botea – Felicia, Felicia says, video double channel: Felicia says, 12’48″, 2008 (Voices: Felicia, Delia, Irina); Felicia, 14’45″, 2009 (performers: Alexandru Foamete, Constantin Nicolae, Ioan Marcu, Mihai Brădean)
“Felicia is a two channel video installation based on the story told by a Romanian emigrant who we met in Paris on the banks of Seine. The chance meeting and the conversation about homesickness for one’s own country and language were transformed into a tale of dramatic events from the protagonist’s life. In Felicia Says, the story comes from Felicia’s own lips. The powerful impression made by the central character’s account of herself and by her character as it emerged within the film’s structure led to the filming of the second part of the project, Felicia.
This time, Felicia’s story is played by four male actors, Romanian emigrants like herself. The four actors are auditioning for interpreting Felicia, and the video presents them from the moment they were given the role through different stages of their process of internalizing the character. All four actors were trained in Romania mainly through Stanislavsky’s method which implies understanding a character from a psychophysical approach, which explores character and action both from the ‘inside out’ and the ‘outside in’.”
Flavia Lupu – Daddy’s Little Princess – In a Box, Live Performance, wooden box, plexiglass, dress, 183x50cm, 2014
“A woman in a box or femininity as a rule, a “princess”, a doll, whose purpose is to exist and to be used like an object, assimilated to other selected goods that generates reputation to their possessors.
False dramatic reality is built around a central purpose – the woman should be a baby doll type: a trophy, a quantifiable value, whose glamour depends on the presence of an audience to applaud the one who has it in “possession“.
“The Daddy” is a mentally required necessity, he is the one who means well, who knows better, who gives orders, the one who solves all problems, and makes her happy. Obviously, he is responsible for her happiness, and she has the duty to be happy.
Failure of either of the sides breaks the game!”
Roxana Trestioreanu – 1954, print ultrachrome on enhanced adhesive synthetic paper, 50x70cm, 2014
“‘We are born weak, we need strength; helpless, we need aid; foolish, we need reason. All that we lack at birth, all that we need when we come to man‘s estate, is the gift of education.’ Rousseau, Jean-Jacques and Barbara Foxley (Translator). Emile: Or, On Education. 1762
‘Learn and develop your mind, do anything is in your power to conquest your financial independence! Do not depend on anybody!’ my Grandmother’s advice
In any family secret tells could exist well hidden. A happy hazard may be enough and the histories are dragged into straight light. Unsaid stories, guessed through attitudes and morbidity, are modeling the future generation. Physical aggression is producing a life trauma, both on victims and their children, trauma behind which significant decisions are taken.
I’ve decided to use for the exhibition an official paper.
The up a down of the text is producing a visual and emotional explosion in the mind of a reader. The event which the print refers to was revealed in March 2014, when I discovered the paper”.
Delia Popa – The Territory of Fear, analog video digitized, 7 Min, 2003
“The Territory of Fear documents the slaughter of lambs for Easter, a contemporary ritual that symbolically repeats, via the sacrificial lamb, the (self)sacrificing of Jesus. As I had been familiar with this very violent, but not very well known – in all its visceral details – custom, I documented several such Easter time slaughters in a village near Bucharest, where my grandparents had lived all their lives. The video is shot with a hand-held camera, filmed in an amateur, shaky fashion, capturing my, as well as the camera’s surprise at the roughness of the ritual. The document was then juxtaposed with the image of a woman’s hands constructing origami paper cranes. In Japanese culture cranes are the symbol of health and long life, as it appears for example in the Hiroshima story of Sadako and the Thousand Paper Cranes. The video ends with a visual bibliography of artists who have dealt with similar subject matter in art history, and was part of my Master Thesis work at UNARTE, comprising artist books, photography and a performance with the public, called The Territory of Fear on the subject of the relationship between victims and aggressors”.
Photos: The re:art