Contemporary Art Romania

29 November 2006

Iosif Kiraly la Institutul Francez


Institutul Francez din Bucuresti inaugureaza, la inceput de decembrie, un nou proiect care consta in realizarea unui ciclu de interventii artistice “In situ” menite sa însufleteasca, pe tot parcursul anului, Holul Mare al Institutului.
Iosif Kiraly, unul din marii fotografi români contemporani, e cel care va inaugura aceasta serie de lucrari. Maniera sa de lucru - în care se împletesc stari diferite ale aceleeasi realitati pîna ce ajung sa devina veritabila fictiune – isi gasesc aici spatiul de expresie ideal… cu atît mai mult cu cît Iosif Kiraly a ales sa priveasca Institutul ca subiect al proiectului sau fotografic. In situ, Institut…

Vernisaj marti 5 decembrie la ora 18.30


“In proiectul “Reconstructii” incerc sa investighez, prin intermediul fotografiei, modul in care functioneaza memoria precum si felul in care scurgerea timpului influenteaza perceperea evenimentelor trecute si a spatiilor in care acestea au avut loc.
Imaginile rezultate sunt unele compuse, poli-perspectivice, in care exista o coerenta spatiala suprapusa insa peste o discontinuitate temporala.” Iosif Kiraly

20 November 2006

camera80

s-a lansat camera80.ro!

camera80 s-a nascut din pasiunea pentru fotografie si in acelasi timp din necesitate. In Romania, fotografia este promovata pe forumuri de profil, bloguri, prin intermediul altor comunitati din afara tarii si, probabil in cea mai mica masura, in galerii de arta. Aceasta raspandire haotica face ca tinerii fotografii romanii sa fie mult prea putin cunoscuti in spatiul virtual si aproape total necunoscuti publicului din Romania in general.

camera80 este o alternativa, un spatiu virtual deschis tuturor tinerilor fotografi romani, care va functiona dupa regulile unei galerii de arta din lumea reala. Fiecare fotograf dispune de un spatiu fix pe care il poate folosi pentru a-si expune imaginile. Cand numarul celor implicati in proiect va permite acest lucru, expozitiile vor fi promovate pentru o durata fixa de timp pe pagina principala dupa care vor putea fi accesate din arhiva siteului.

Ne propunem ca prin activitatile noastre sa ii sprijinim pe toti cei implicati in acest proiect si in acelasi timp sa ne aducem contributia la cresterea in popularitate a fotografiei in randul publicului din Romania.

In paralel cu galeria virtuala vom mentine si un blog care va promova fotografi contemporani, expozitii, galerii, reviste si evenimente fotografice din lume.

Mergeti si vedeti :)
www.camera80.ro
blog.camera80.ro

19 November 2006

Flash Art - Focus Romania

Flash Art International*


Nr. 251 / Noiembrie – Decembrie 2006

- Focus Romania -

(o privire asupra artei contemporane din Romania)

revista poate fi gasita la Galeria Posibila

incepand de luni, 20 noiembrie



*pretul este de 7 eur


Cosmina Chituc

Galeria Posibila

Contemporary Art from Romania

open daily from 2 to 7 PM

----------------------------------------------

6 Popa Petre street

Bucharest 2 / RO

tel./fax 004.021.211.79.33

gsm.: 004.0726.36.36.35

cosmina@posibila.ro

www.posibila.ro

18 November 2006

Sofa Surfers live in Bucuresti


Fundatia Phoenix si Oricum prezinta
LIFE IN LOOPS - feat. SOFA SURFERS:
Markus Kienzl - Live Act + DJ Michael Holzgruber + VJ Timo Novotny
Club Eclipse, sambata 25 noiembrie ora 23:00.
Eclipse Club: Academiei 35-37
Bilete la intrare (15 lei)

ai multe detalii pe blog

12 November 2006

Galeria Andreiana Mihail, "Small Wonder"




Galeria Andreiana Mihail
“Small Wonder”
16 noiembrie – 16 decembrie 2006
Vernisaj: joi, 16 noiembrie, ora 19.00

Adrian Ghenie. Collapse, 26 x 43, ulei pe pinza, 2006


Galeria Andreiana Mihail va invita la vernisajul expozitiei “Small Wonder”. Artistii invitati la prima expozitie a galeriei sunt: Tom Chamberlain (Marea Britanie), Adrian Ghenie ( Romania ), Hideko Inoue (Japonia) si Ciprian Muresan ( Romania ).Galeria va avea un program international un loc important fiind acordat artistilor din Centrul si Estul Europei.

Tom Chamberlain (n. 1973) este prezent in expozitii atit in Europa cit si in SUA, cele mai recente fiind “Shimmering Substance” la Centrul de arta contemporana Arnolfini- Bristol, (curator pe Barry Schwabsky), la Kontainer Gallery si Chung King Project, Los Angeles si galeria Hollenbach din Stuttgart si Zurich.

Hideko Inoue (n. 1975) s-a nascut in Japonia dar a absolvit recent Glasgow Academy of Arts. In 2006 a fost selectionata pentru Bloomberg New Contemporaries – Cornerhouse, Manchester si la Bloomberg Space in Londra.

Adrian Ghenie (n. 1977) a avut recent o expozitie personala la galeria plan b din Cluj, iar la sfirsitul lunii noiembrie va fi unul dintre artistii expozitiei “Cluj Connection” de la galeria Haunch of Venison din Zurich, curatori Jane Neal si Mihai Pop . Va avea de asemenea o expozitie personala la Chung King Project din Los Angeles in martie 2007.

Ciprian Muresan (n. 1977), este membru fondator al revistei Version. A fost invitat la numeroase expozitii internationale, organizate in spatii publice si private. Este unul dintre artistii prezentati in “Cluj Connection” la Haunch of Venison, Zurich . In martie 2007 va avea o expozitie personala la galeria Kontainer din Los Angeles.

Urmatoarele expozitii personale sau de grup ale galeriei Andreiana Mihail vor prezenta lucrari ale artistilor: Samuel Porritt, Cristian Pogacean, Serban Savu, Adrian Ghenie. In programul galeriei vor fi incluse de asemenea proiecte curatoriale independente.

Galeria Andreiana Mihail
Str. Aurel Vlaicu 146 (in apropierea statiei de metrou Stefan cel Mare), Bucuresti
Tel: +40 722 650 221
Email: info@andreianamihail.com
http://www.andreianamihail.com/

Daniel Gontz la H'art Gallery


remake de Daniel Gontz
curator Mihnea Mircan
vernisaj miercuri 15 noiembrie 2006 19:00
la H’art Gallery


Cel mai recent proiect al lui Daniel Gontz renegociaza pozitia artistului roman fata de “saracie si ridicol”, identificate la un moment dat de Calin Dan ca marile secrete de stat ale tarii, dar si fata de o piata artistica internationala care are inca un apetit necontrolat pentru exotism. Ce poate artistul roman sa “vanda”, ce tip de discurs e viabil atat artistic cat si economic, cum sa se pozitioneze intre observarea si participarea la saracie, ridicol, intarziere istorica si dezarticulare sociala? Ce ar trebui imaginile sa le inoculeze privitorilor, conform caror politici de reprezentare si perceptie, in avantajul cui?
Cronologic si teoretic, am depasit anii nouazeci si expozitiile “post-zid” – cand artistii din Est si-au croit in cele din urma drum in muzeele si galeriile occidentale -, in care abordarea “nu-doar-arta”, catalogand obsesiv lucrari drept marturii ale conflictului si traumei, era periculos de aproape de “nu-tocmai-arta”, facand lucrarile aproape de nerecunoscut in spatele anexelor lor politice si istorice. Dupa cum am depasit expunerile de tip bazar, saturate de fantasme ale Balcanilor si de fumul de mici (ca o ceata de rau augur sau ca o aura, luati-o cum vreti), delimitand un teritoriu indepartat al conflictului si melancoliei, istoriei si utopiei. Dar nu intru totul. Gontz porneste de la imaginea emblematica a artei romanesti de dupa 1989, o fotografie din seria ‚Framing Bucharest’ de subREAL, frecvent instrumentalizata in asemenea contexte expozitionale pentru a ilustra, in ciuda sa, aceasta abordare impovaratoare a artei estice. Ca in toate lucrarile din ‘Framing the Cities’, subREAL izoleaza si incadreaza un fragment de arhitectura, in discontinuitate temporala si opozitie ideologica fata de restul cadrului. Tropii reprezentarii mimetice sunt adusi in joc in trompe l’oeil-ul istoric si politic. Performance-ul subREAL a fost refacut, cu Daniel Gontz si Vlad Nanca jucand rolul maestrilor si folosind acelasi cadru. Iosif Kiraly, din grupul subREAL, a apasat pe buton si fotografia a fost reprodusa absolut fidel, lucru inlesnit de faptul ca locatia este neschimbata, in ciuda anilor care au trecut. Nimic nu s-a schimbat acolo din punct de vedere arhitectural si urbanistic, prin urmare lucrarea lui Gontz nu poate fi inteleasa ca o demonstratie a prosperitatii liberale atotcuceritoare.
Gontz a urmat aceeasi strategie pentru a reface una dintre ‘Reconstructiile’ lui Iosif Kiraly, un colaj din instantanee, temporal distincte, ale aceleiasi locatii. Ambele imagini refacute au fost alegeri semnificative prin aceea ca au fost folosite de diversi curatori si in diverse expozitii pentru a demostra ca Estul nu este nici Est nici Vest, ci un vast spatiu al contradictiei, al auto-reflectiei neincetate si al enigmelor sociologice, care repeta si abandoneaza scenarii ale propriului trecut si viitor. Remake-urile semnaleaza aparitia unei noi generatii, mai putin interesata de definirea Estului, mai putin dispusa sa se angajeze in forme de gesticulatie culturala care pot fi descrise drept ‘invidie de geografie’, sau ‘invidie de istorie’, sa reflecteze, à la Zenon, asupra paradoxurilor propriei marginalitati. In masura in care nu este doar o fictiune cu manifest, aceasta noua generatie ar putea imagina alte strategii de a scrie o istorie comuna intre Est si Vest. Remake-ul celor doua fotografii inchide, intr-un fel, o era: face modelul clasic prin faptul ca a motivat o reproducere. Forteaza generatia anterioara sa preia statutul de “maestru”, de neatins dar in acelasi timp la distanta. Manevra lui Gontz simuleaza si produce canonul – mai intai reprodus, apoi impins deoparte prin acte de diferentiere.
(Mihnea Mircan)

Daniel Gontz’s ongoing project re-negotiates the position of the Romanian artist in relation to “poverty and the ridicule”, described on one occasion by Calin Dan as the great state secrets of the country, but also in relation to an international art market that still has an inordinate appetite for exoticism. What to “sell”, then, in order to produce a viable discourse, where to position oneself between observation of and participation to poverty, the ridicule, historical delay, loss and social trauma? What should images inoculate their viewers, according to which politics of representation and perception; how to orchestrate political and social ideologies in the image and to whose profit?
Chronologically and theoretically, we are today past the ‘90s and the “after-the-wall” shows – when Eastern art works finally made their way to Western museums and galleries -, where the “not-just-art” take, compulsively framing art works as testimonies of conflict and struggle, was dangerously close to “not-really-art”, making pieces almost unrecognizable behind political and historical attachments. As we are past the rhetoric of “blood and honey”, bazaar-like displays saturated by phantasms of the Balkans and the smoke of cevapcici (like a ominous fog or like an aura, take it as you will), delineating a remote and irreducibly alien territory of conflict and melancholy, history and utopia, “this” and “other” collapsed. Gontz decided to initiate the dialogue or polemic by using the emblematic image of post-revolutionary Romanian art, one of subREAL’s ‘Framing Bucharest’ photographs, often instrumentalized in such exhibition contexts to illustrate, in spite of itself, this take on art coming from the East. Like all works in ‘Framing the Cities’, this subREAL picture isolates and frames a fragment of architecture, in temporal discontinuity and ideological opposition to the rest of the setting, while the tropes of mimetic representation are brought into play in the historical and political trompe l’oeil. The subREAL performance was reenacted, with Daniel Gontz and Vlad Nanca playing the part of the masters and using the same frame. The camera was operated by Iosif Kiraly of subREAL and the photograph was reproduced as faithfully as possible, something facilitated by the fact that the urban landscape of the location is the same as it was, in spite of passing years. Nothing has changed architecturally and urbanistically, therefore Gontz’s piece is not to be understood as a demonstration of all-conquering liberal prosperity.
The same strategy was followed to remake one of Iosif Kiraly’s ‘Reconstructions’, in which temporally distinct snapshots of the same location are collaged to produce images of time seeping through places. Aside from being visually compelling, both remade images were significant choices inasmuch as they had been used by various international curators to show that East is neither East nor West, but a vast space of contradiction, ceaseless self-reflection and sociological conundrums, where scenarios of past and future are rehearsed and abandoned. The remakes signal the emergence of a new generation, less worried by defining the East, less eager to engage in forms of cultural gesticulation that can be described as ‘map envy’, or ‘history envy’ respectively, to reflect, à la Zenon, on the paradoxes of its marginality. To the extent that it is not just a figment equipped with a manifesto, this new generation could imagine other strategies to write a common history between East and West. The remake of the two photographs closes, in a sense, an era: it renders the model classical by the fact that it has triggered a reproduction. It forces the previous generation into a “master” status, untouchable but also distant. Gontz’s maneuver simulates the canon – first reproduced, then pushed away through acts of differentiation.
H’ART GALLERY
Str. Mihai Eminescu nr. 105-107
http://www.hartgallery.ro/
Luni-Vineri 13.00-18.00
Sambata 14.00-18.00

02 November 2006

Rezidenta artistica la Londra

Un program numai pentru artisti Romani.
Detalii aici.

Artists in residence in Romania


Swiss Cultural Programme Romania
Artists-in-Residence 2007

ArtistNe(s)t

ArtistNe(s)t is a new project of the Swiss Cultural Programme by Pro Helvetia and the Swiss Development Cooperation SDC.
ArtistNe(s)t creates a Artists-in-Residence Programme in four Cultural Centers in Romania.
ArtistNe(s)t supports the creative activities of artists and researchers open to innovation and cooperation in the disciplines: visual art, literature, theatre and dance.
ArtistNe(s)t encourages the dialogue between Romanian and foreign artists.

The Swiss Cultural Programme Romania invites artists to apply for a residence in 2007.

Locations: 4 Cultural Centres in Romania
(For more information, please go to www.artistnest.ro)
· Cultural Centre Arcus
· Cultural Centre «George Apostu», Bacau
· Cultural Centre «Rosetti Tescanu-George Enescu», Tescani
· European Cultural Centre Sinaia

Number of residencies
8 residencies

Duration of each residence
4 weeks

Period for ArtistNe(s)t residences in 2007
May 1 to 31
two residences in each centre





Residencies address the following disciplines
Theatre Arcus
Dance Bacau
Literature Tescani
Visual arts Sinaia


Programme features

General information
The 8 residences in 2007 are addressed to 4 Romanian and 4 foreign Artists, so that there will usually be two resident artists in one Centre, one Romanian and one from another country.

The residences at the Cultural Centres allow resident artists:
– to work on a proposed project (production or research project) and to present it at the end of the residence,
– to become familiar with the work of the other resident artist,
– to exchange knowledge and ideas,
– to work on a common project and/or a project involving local participants (e.g. actors from local theatres, students etc.)

The resident artists are also offered opportunities to get in contact with the local cultural scene through visits to cultural institutions in the area, meetings with local artists, attending performances, exhibitions etc.

Each residence programme will include a workshop/lecture/reading for the local community.

In each Centre two project coordinators and an artistic coach will support these activities.

Criteria of selection
– Professional artist with at least three years of experience in the respective field of work
– Interest in developing innovative artistic work within a foreign cultural context
– Work/research on the specific local context are particularly welcome
– Working knowledge of English

Living and working conditions
– individual studio at artist’s disposal
– working space
– free use of computer and internet








Financial support
Artists will receive:
o a monthly grant of CHF 1200.– for food, local travel and other related costs; this grant is subject to a 16% tax;
o a production budget of CHF 1000.– for the realization and presentation of the proposed project;
o a return ticket from/to the place of the residence (a maximum of 600 CHF for the artists from other countries).

The medical insurance for the time of the residence is in the artist's charge.
Visa costs for Romania are in the artist’s charge.
The resident artists must spend a minimum of 2/3 of the allocated residence time at the Centres.

Application information
– Application forms are available on the site www.artistnest.ro
– Applications have to include a proposal for a project to be realised during the residence, the artist’s CV and some documentation about artist’s work
– Application deadline: 15th January 2007
– Applications should be sent by post to the address: Swiss Cultural Programme Romania, 16-20 Grigore Alexandrescu str., 010626 Bucharest, Romania

Selection
The selection of the artists will be done by a jury formed of Romanian professionals representing all theatre, dance, literature and visual arts fields.


For additional information please contact
Gabriela Tudor, Programme Officer
Swiss Cultural Programme Romania
Str. Grigore Alexandrescu 16-20, etaj 5
Tel. 021 206 16 72
Tel. 0722 806 307
e-mail: gabrielatudor@pro-helvetia.ro
http://www.pro-helvetia.ro/
http://www.artistnest.ro/