Tania Mouraud – OTNOT @ EASTWARDS PROSPECTUS
OTNOT is the first personal exhibition of Tania Mouraud in Romania, on view at EASTWARDS PROSPECTUS through July 31, 2016 (50 Plantelor St., Bucharest), where she also had a performance in December. Curated by Elodie Stroecken, the show features works from the beginning of 2000s up until now, from photography to video art, sound and digital art.
Photo: Alex Nelu, courtesy of EASTWARDS PROSPECTUS
In addition, the artist made an urban intervention in eight cities across the country, which, according to the gallery, consists of the systematic repetition of Benjamin Fondane’s (B. Fundoianu) verse “CRIERTOUJOURSJUSQUALAFINDUMONDE”, “as a confession addressed to those who will draw their attention to decrypt these words almost unreadable”, placed on numerous billboards.
Tania Mouraud, CTJLFDM, Bucharest, courtesy of EASTWARDS PROSPECTUS
The exhibition presents works from series such as “Balafres” (open wounds), revealing Germany’s lignite mining sites and the violence of this careless and irreversible human action upon Nature that visually fascinates the viewer, but also provokes repulsion.
Tania Mouraud – Balafres. First image courtesy of EASTWARDS PROSPECTUS, following photos by The re:art.
The works part of “Désastres” highlight the unsettling contrast between the negative presence of the trees and the empty spaces that evoke man’s destructive trace even in his absence. Then, there is “Borderland”, a photography series started in 2007 showing landscapes reflected in the plastic covering on hay barrels, captured in such a way that they resemble brush strokes on canvas, a composition that is abstract and figurative at the same time.
Photos: The re:art
The second part of the exhibition takes the viewer underground to experience the sound and image of the conflict between man and nature in contemporary society, including works such as “No Name” and “Face To Face”, or her latest work “Pandemonium”.
Photo: Alex Nelu, courtesy of EASTWARDS PROSPECTUS. Videos by The re:art.
The title of the show is borrowed from the “De Rerum Natura” (On the Nature of Things) by Lucretius, “as a parable of the contemporary stakes for saving the human species.” Each piece creates tension or invites to meditation in order to become aware of the mass destruction process resulting from man’s blindness in his eagerness to control and dominate, and the irresponsible behavior that will most probably lead to the destruction of those who stand against Nature.
Discussing the exhibition, the artist adds: “I really like to work with destruction. In my childhood war was everywhere and Hiroshima happened everywhere, then I grew up during the Cold War. I could only perceive around me the anxiety that the government liked to instill into the people. If we think a bit about it, even the stories that our parents tell us throughout our childhoods are dark, but we love them. Even though I am fascinated by all kinds of destruction, I never judge and my works are never political. Not one of these photographs can be used for political or ecological causes. If someone were to use the photo from the lignite quarry for criticizing Germany, the rest would say gosh, what a beautiful image.” (Tania Mouraud, interviewed by Andra Matzal, Scena9)