Contemporary Art Romania
25 September 2006
19 September 2006
18 September 2006
>>811 03 - Bratislava
opening september 21 at 7 p.m
exhibition september 22 - november 26,2006
For this first solo show Cosmin Gradinaru present at the gandy gallery "WITNESSING"*
This exhibition consists in a series of works from different years starting 1997 until 2006.
These works, presented as a whole, reflect different stages inRomania’s social conversion from communism to rapacious capitalism.
To all these changes you can only be a witness, with no power tochange something; you can only hope that things you said can be apolitical or social statement, and will lead in time to a mentality change.
Witnessing is the most frustrating thing for an individual; seeingcrime, humiliation and despair and not reacting, it’s a much tooheavy load for an artist.
My only way of reacting was through my art, an art that can be sad,funny or disclosing.
From “Unidentified” to “Nouveau Riche” you will see a transformationin terms of social and moral values in the world I live in.
*catalogue--------------------------------------------------------------------------3WINDOWS4U : ANCA IGNATESCU - "the Ultimate Progress"--------------------------------------------------------------------------
Posted by Vlad Nancă at Monday, September 18, 2006
15 September 2006
un film de Stefan Constantinescu
Noul film al lui Stefan Constantinescu, El Pasaje (pasajul, biletul) reda povestea tranzitarii existentiale a trei chilieni care, dupa lovitura de stat condusa de generalul Pinochet din 1973, au trebuit sa fuga din Chile. Cei trei au ales alternativa dictaturii comuniste a lui Nicolae Ceausescu, iar dupa un timp doi dintre ei au plecat in Suedia. Este un film despre refugiati, straini, trecut, prejudicii si singuratate. Un film care descopera diferentele sistemelor sociale din Chile, Romania si Suedia prin prisma experientelor traite de cele trei personaje.
instalatie de Lisa Torell
Fatade. Textul este, la fel ca intreaga instalatie, fictiv, inventat si construit, dar este prezent si real in lumea artei. Fatade vorbeste despre turism si despre calatorii. Despre felul in care, in timpul calatoriilor noastre, din cauza nostalgiei pentru ce e real si original, pastram in loc sa dezvoltam ceea ce consideram, pentru moment, a fi real, primitiv sau original. Cine decide ce trebuie tinut, pastrat, salvat si rezervat si pentru cine facem toate acestea?
la Spatiul H.arta
p-ta iuliu maniu nr.3, et.2
vernisaj: 15.09.2006, orele 19
Posted by flo' at Friday, September 15, 2006
13 September 2006
Prima conventie de anvergura a culturii OTAKU din Romania cu caracter national si international ce promoveaza artistii din diverse domenii ( banda desenata, ilustratii, animatie, modelare 3D, moda, VJ...) si forme de cultura populara contemporana precum banda desenata, anime, jocurile video, muzica, filmul, moda, literatura...extinzandu-se de fapt in majoritatea domeniilor culturii de masa.
Festivalul se va desfasura timp de aproape 4 zile la intervale diferite:
- 30 septembrie 2006, ora: 13:30, Centrul Cultural Reduta, Brasov;
- 7-8 octombrie 2006, ora: 13:00, Centrul National al Dansului Bucuresti.
Posted by Vlad Nancă at Wednesday, September 13, 2006
11 September 2006
The Museum of Conflict - Art as Political Strategy in Post-Communist Europe
Calin Dan, BAVO, Wouter Davidts, Metahaven, Maria Hlavajova, Mihnea Mircan, Edi Muka and Florian Waldvogel will present short lectures, followed by a debate. This research conference is organized to investigate the use of the art event and the contemporary art museum as a political strategy in Eastern Europe. A second conference will take place on 19 October in the Museum National de Arte Contemporana (MNAC) inside the former Casa Poporului (the palace of Nicolae Ceausescu) in Bucharest, where among others Nicolas Bourriaud and Jonathan Dronsfield will present lectures.
Both conferences aim to address similar questions:
How does the institutional museum reflect ways in which contemporary art is used as a representation of political change?
Can art take over the location of power, being 'a symbol of openness and democracy?'
A striking example is Casa Poporului. Since the fall of Nicolae Ceausescu's regime in 1989, this building has become the seat of the Romanian government and since 2004, part of it is in use as a national contemporary art museum. The visual rhetoric of Casa Poporului was originally designed to impose a national identity, constructed by Ceausescu in the 1980s. Its size certainly contributes to getting this message across the 'house' is the second largest building in the world. The building is not the only post-communist iconic remainder in what we now call 'New Europe'. This, and other structures, worked as strong symbols for communist/socialist statehood, while often their completion is associated with the regime's decay. While being abandoned or re-appropriated since, these buildings still carry political connotations. Being part of a 'national heritage', their still-intact energy as icons demands a variety of responses, including the use of contemporary art.
From here, questions can be asked both in specific address to the MNAC museum, and in reference to other or related efforts of mobilizing (visual) culture to, apparently, alter the perceived meaning of a former totalitarian architectural symbol. All these questions could lead, however, to a more general inquiry into the capabilities of art to change a political status quo.
Where and how does the museum step in, and does implementing art as a political strategy work in a process of European integration?
Can a National Museum of Contemporary Art still be called a (national) museum when it does not facilitate public visits, is not able to create a collection, and has no independent position with regard to government politics?
The main examples under examination will be the Casa Popurului/MNAC, Bucharest, and the Enver Hoxha Mausoleum in Tirana, until 2002 co-locating the International Cultural Centre (ICC). The more general issue of art as an agent of political change will be discussed in relation to the events leading to the cancellation of Manifesta 6 in Nicosia, Cyprus. The 2006 edition of this Biennial was prevented from realization, allegedly because its geographical concept crossed the country's political agenda.
This research conference is organized by Meta Haven: Design Research, Jonathan Dronsfield and the Jan van Eyck Academie.
Posted by Vlad Nancă at Monday, September 11, 2006