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joi, 23 ianuarie 2014

CHRISTIAN PARASCHIV "NU TE SUPARA FRATE / SORRY"@Galeria Victoria Art Center

CHRISTIAN PARASCHIV
EXPOSITION – INSTALLATION
NU TE SUPARA FRATE / SORRY
(et moi, Confucius je n’ai pas encore pu faire faire le premier pour mon ami ce que j’exige que mon ami fasse pour moi…)
Curateur OLIVIA NITIS
Vernissage le 29 janvier à 19h00
Du 29 janvier au 22 février 2014
Galerie Victoria Art Center,
Calea Victoriei 12C, Bucarest, Roumanie
Telefon: 031.102.05.12
E-mail: office@artvictoria.ro

Sorry!

Sorry! is a game that starts from the premise of equality and fair play, but which relies on the limits of a fluke by throwing the dice to undermine the partner. Equal opportunities, unequal competition. The apologetic version Sorry is rather an irony with exculpatory role for the player progressing ahead of the other. Progress through the decline of vicinity. The ideology of the game reflects the ideological paradigm of capitalism. The ethics of the phrase "may the neighbor's goat die" or Schadenfreude term refers to the primary reactions of individual's behavior engaged in a competition focused on achieving overwhelming percentage of satisfaction on the account of the unhappiness of other . Our biological reactions are also sustained by our cultural construction, by the stereotypes shaping our thinking. Within the game economy there will always be the other, a condition felt by a certain category of individuals in contemporary societies as a current reality. Christian Paraschiv lures us into a game that is not foreign to us, a cultural game perhaps not only specific to a generation, or a society, yet challenging the practices around national mechanisms within the artistic community before and after 1990, the socio -political friction and dynamic are open. We take relaxed the observations on the margins of a game in which ourselves at one point were and we will be the one or the other. Brother, sister, partner or partners automatically lose their genus proximus embracing differentia specifica (specific difference), which in this case is not taken as an advantage, but rather as a handicap. The exhibition doesn't assume a demonstrative ethos, but a circuit on the border between passive observation, from the sidelines, and the participatory observation. Both the artist and curator came into play. Beyond the control and balancing authority between the two, the result of collaboration is the one that prevails. The principle of teamwork is a cultural ideal, but equally possible reality through the extent of reciprocity and creative freedom.
Schadenfreude is installed in the environment of each of us differently, yet the empathic dimension is the one that makes the difference.
Since the remarkable exhibition from 2007 ( MNAC / Artexpo , Bucharest) signed by Christian Paraschiv , curator Mihai Oroveanu, the artist returns with a discourse in which his personal touch, always deep and ironic, coupled with technological and conceptual concerns is engaged in a slightly relaxed recontextualization. The self-referential experiment extends languishingly towards the world the artist is part of, here and there, between two geographies, between the tempo of actuality and the line of a defining rhythm. The personal body is the social body he is able to observe with the detachment of an experienced player .

Olivia Nițiș - curator


sursa: http://www.facebook.com/photo.php?fbid=570330036389196&set=a.101180843304120.1840.100002366132966&type=1

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