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joi, 6 decembrie 2012

Ceea ce distrugem si celebram in acelasi timp@Salonul de proiecte Cladirea MNAC Anexa

Ceea ce distrugem si celebram in acelasi timp

Salonul de proiecte
Cladirea MNAC Anexa

 
 
Calea Mosilor 62-68, etaj 2, Bucuresti
Miercuri – Duminica: 10.00 – 18.00

Artisti: Apparatus 22, Tatiana Fiodorova, Monotremu, Raluca Popa, Sorin Popescu, Soyons Impossibles, Iulia Toma

Perioada: 13 decembrie 2012 – 3 februarie 2013
Vernisaj: joi, 13 decembrie, ora 19.00

In sezonul trecut, Salonul de proiecte a actionat ca un catalizator pentru productia de arta contemporana locala, incurajandu-i pe artistii tineri sa formuleze propuneri care s-au materializat in doua expozitii colective ce au prezentat lucrari produse special cu ocazia acestor evenimente. In continuarea acestui demers a fost lansat un al doilea Open Call, iar expozitia de fata prezinta selectia realizata de artista Aurelia Mihai. O trasatura care merita subliniata in legatura cu aceasta expozitie – si care constituie poate un simptom al statutului artistului contemporan care alege de multe ori colaborarea, actiunea comuna si angajamentul in numele unor cauze care trec dincolo de practica/motivatia singulara, individuala – este prezenta lucrului in colectiv. Artistii metabolizeaza aspecte din realitate, elemente extrase din contextul actual intr-o serie de lucrari care nu pot fi grupate dupa un alt principiu decat cel al diversitatii. Intr-un moment in care presiuni de diverse tipuri ar putea conditiona anumite alegeri, ar putea dicta subiecte si abordari previzibile, usor de anticipat si asimilat la nivelul sistemului simbolic si comercial al artei contemporane, artistii prezenti aici actioneaza idiosincratic, isi configureaza autonom propria subiectivitate, decupand propriile lor nise in continuum-ul unei realitati marcate de criza. Un fir comun poate fi totusi detectat in incercarea lor de a deturna diverse formate si reflexe mentale, habitudini sociale, alterandu-le si construind sensuri imprevizibile.

Apparatus 22 lucreaza cu fantasma pe care o construieste industria modei, artistii dezvaluind momente de adevar si emotii ce ies la suprafata prin fisurile unui „construct-al-realitatii-imbunatatite”. Ei deturneaza limbajul folosit in moda, strategiile ei hipnotizante de seductie, pentru a imagina un alt viitor, la fel cum si colectivul Soyons Impossibles deturneaza formatul exercitiilor yoga in scopul revelarii interdependentei dintre transformarea spirituala si emanciparea politica, intrebandu-se daca reconstructia personala prin actiunile realizate cu propriul corp poate regla injustitia economica sau discriminarea. Iulia Toma mediteaza asupra codului social imprimat de purtarea hainelor standard (uniforme, salopete, halate), fiind interesata de mutatiile survenite in statutul si reprezentarea muncii feminine, la locul de munca si in contextul activitatile casnice, inainte si dupa 1989. In cazul Tatianei Fiodorova si al Ralucai Popa, reflectia asupra trecutului se impleteste cu elemente extrase din istoriile personale, ambele artiste luand ca punct de plecare lucrari realizate de tatii lor. Fiodorova realizeaza o carte de artist in care chestioneaza pozitia artistului in Moldova sovietica, iar Raluca Popa construieste o animatie, recontextualizand astfel un corpus de desene in incercarea ei de a rememora – si totodata analiza – demersul tatalui ei. Trecand de la experienta personala la investigarea realitatii exterioare, Sorin Popescu exploateaza precaritatea mobilierului urban transformandu-l intr-un dispozitiv fotografic rudimentar. In acest fel, imaginea este rezultatul unui act care suspenda complet implicarea subiectiva a artistului, actionand si ca un comentariu critic asupra hiper-tehnologizarii prezente. Rezonand cu panica actuala privind iminenta sfarsitului lumii, colectivul Monotremu propune o viziune optimista in care distrugerea este sarbatorita intr-o coregrafie spectaculoasa, caci, dupa cum considera artistii, ceea ce distrugem si celebram se afla intr-o relatie de interdependenta totala.

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Pornind de la premisa ca in Romania posibilitatile de productie in arta contemporana sunt aproape inexistente, iar artistii din generatiile noi intampina mari dificultati in a-si concretiza proiectele, Salonul de proiecte isi propune sa actioneze ca o platforma pentru incurajarea unor practici artistice care abordeaza problemele actuale din societatea romaneasca, reflectand asupra contextului contemporan.
Salonul de proiecte este o initiativa a Magdei Radu si a Alexandrei Croitoru si se desfasoara in spatiile din Calea Mosilor, nr. 62-68, etaj 2, Bucuresti, cu sprijinul financiar si logistic oferit de MNAC. Aceasta initiativa isi propune realizarea unor expozitii, prezentari si dezbateri care se vor focaliza asupra artei contemporane din Romania, punand productiile tinerilor artisti intr-un context generational mai larg.
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Salonul de proiecte
salonuldeproiecte@gmail.com
www.salonuldeproiecte.ro
www.facebook.com/salonuldeproiecte

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What We Destroy and Celebrate at the Same Time

Salonul de proiecte
MNAC Anexa Building
Calea Mosilor 62-68, floor 2, Bucharest
Wednesday – Sunday: 10.00 – 18.00

Artists: Apparatus 22, Tatiana Fiodorova, Monotremu, Raluca Popa, Sorin Popescu, Soyons Impossibles, Iulia Toma

Period: December 13, 2012 – February 3, 2013
Opening: Thursday, December 13, 19.00

Last season, Salonul de proiecte acted as a catalyst for the production of local contemporary art, encouraging young artists to formulate proposals that materialised in two group exhibitions presenting works specially produced on the occasion of these events. As a continuation of this approach, a second Open Call has been launched, and this exhibition presents the selection made by artist Aurelia Mihai. One feature worth underlining in connection with this exhibition – and also one which is a symptom of the status of the contemporary artist, who more often than not chooses collaboration, joint actions and engagement in the name of causes that go beyond singular, individual practice/motivation – is the presence of collective work. The artists metabolise aspects of reality, elements drawn from the current context in a series of works that cannot be grouped according to any other principle than that of diversity. At a moment when pressures of various kinds might condition certain choices, might dictate predictable subjects and approaches, easily anticipated and assimilated at the level of the symbolic and commercial system of contemporary art, the artists present here act idiosyncratically, they autonomously configure their own subjectivity, creating their own niches within the continuum of a reality marked by crisis. A common thread may nonetheless be detected in their attempt to hijack various formats, mental reflexes, and social habits, by alternating them and constructing unpredictable meanings.
Apparatus 22 works with the phantasm constructed by the fashion industry, the artists revealing the moments of truth and emotions that rise to the surface through the fissures of the “blueprint-of-enhanced-reality”. They hijack the language used in fashion, its hypnotic strategies of seduction, in order to imagine a different future, the same as the Soyons Impossibles collective hijacks the format of yoga exercises with the aim of revealing the interdependence between spiritual transformation and political emancipation, asking themselves whether personal reconstruction by means of actions achieved using one’s own body can redress economic injustice or discrimination. Iulia Toma meditates on the social code imprinted by the wearing of standardised garments (uniforms, overalls, white coats), and is interested in the mutations that have occurred in the status and representation of female labour in the work place and in the context of housework before and after 1989. In the case of Tariana Fiodorova and Raluca Popa, reflection on the past intertwines with elements drawn from their own personal histories, with both artists taking as their starting point works created by their fathers. Fiodorova creates an artist’s book in which she questions the position of the artist in Soviet Moldova, while Raluca Popa constructs an animation, thereby re-contextualising a corpus of drawings in her attempt to recall – and at the same time analyse – her father’s work. Moving from personal experience to investigation of exterior reality, Sorin Popescu exploits the precariousness of street furniture, transforming it into a rudimentary photographic device. In this way, the image is the result of an act that completely suspends the subjective involvement of the artist, also acting as a critical commentary on the hyper-technological present. Resonating with current panic about the imminent end of the world, the Monotremu collective put forward an optimistic vision in which the destruction is celebrated in spectacular choreography, given that the artists believe that everything we destroy and celebrate exists within a relationship of complete interdependence.

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Starting from the premise that in Romania the production possibilities in contemporary art are almost non-existent and that artists from newer generations are constantly challenged when it comes to the actual realization of their projects, Salonul de proiecte acts as a platform for encouraging artistic practices that address current social and political issues.

Salonul de proiecte is a program initiated by Magda Radu and Alexandra Croitoru and it runs with the financial and logistical support provided by the National Museum of Contemporary Art (MNAC). The initiative is aimed at creating exhibitions, presentations and debates that focus on contemporary Romanian art, placing the work of younger artists within a broader chronological context.

salonuldeproiecte@gmail.com
www.salonuldeproiecte.ro
www.facebook.com/salonuldeproiecte

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