AteliereArtisti2

ioan BOLBOREA geta BRTESCU alexandru CLINESCU-ARGHIRA vlad CIOBANU elena COPUZEANU laura COVACI mircia DUMITRESCU daniela
FINI theodor GRAUR ion GRIGORESCU
ATELIERE DE ARTITI DIN BUCURETI

partea a II-a
viorel GRIMALSCHI gheorghe IACOB constantin LUCACI sultana MAITEC gheorghe MARCU
ARTISTS STUDIOS IN BUCHAREST

part II
viorel MRGINEAN anca MUREAN lila PASSIMA romelo PERVOLOVICI marilena PREDA-SNC florica PREVENDA gheorghe RASOVSKI ioana ETRAN doina SIMIONESCU ana-maria SMIGHELSCHI ion STENDL simona TNSESCU mircea TOHTAN vasile TOLAN iuliana VLSAN
ATELIERE DE ARTITI DIN BUCURETI
E ARTISTS STUDIOS O F B
ARTISTS STUDIOS IN B U C H A R E S T
part II
Texte critice / Critical texts
partea a II-a
Pietro AMATO Sebastian AMZA Aducem mul]umiri colec]ionarilor, arti[tilor, criticilor de art~ [i fotografilor care au contribuit la realizarea acestei lucr~ri Victoria ANGHELESCU George BANU Adriana BOTEZ-CRAINIC Magda CRNECI Cornel Radu CONSTANTINESCU We would like to thank the collectors, artists, art critics, and photographers who have contributed to the making of this book Onisim COLTA Gheorghe CRCIUN Maria Magdalena CRIAN C~lin DAN Liviana DAN
Editor Coordonator / Coordinating Editor
Mihai OROVEANU
Mica GHERGHESCU Adrian GU
Grafica / Graphic Design
TANIT DESIGN
Dan HULIC Rene HUYGHE
Fotografii / Photos
Erwin KESSLER Aurelia MOCANU Andrei PLEU Magda RADU Pierre RESTANY R~zvan THEODORESCU Pierre Cornette de SAINT CYR Nicolas SCHFFER Nichita STNESCU Paul UAR Alexandra TITU
Mihai BRTESCU Marius CARAMAN Ion GRIGORESCU Traian LUPE Mihai OROVEANU Emilian SVESCU
Traducere / English Version
Pr. John Downie

Procesare texte / Text processing
Mariana TEFAN
Procesare foto
Cristina MIRCIA
Gerard XURIGUERA
Artists studios in Bucharest
Aceast~ carte a doua avnd ca subiect atelierele arti[tilor bucure[teni apare la un an de la publicarea celei dinti, oferindu-ne posibilitatea de a l~rgi selec]ia, prin for]a lucrurilor restrns~, a arti[tilor prezenta]i cu acel prilej. Am c~utat s~ evit~m [i de aceast~ dat~ orice sugestie de ierarhie, s~ ocolim, n selec]ia arti[tilor, prejudec~]ile tematice sau de alt~ natur~, s~ evit~m for]ate grupaje potrivit unor afinit~]i stilistice. Am inclus n acest al doilea volum, a[a cum am f~cut [i n primul, arti[ti din genera]ii diferite, cu preocup~ri distincte, lucrnd n medii variate. Le-am solicitat tuturor s~ respecte un format de prezentare uniform, care cuprinde o imagine a atelierului, cteva lucr~ri, o informa]ie concis~ privind opera [i cariera lor [i un scurt text de comentariu critic, ales de ei. Am pornit, ca [i n prima edi]ie a Atelierelor arti[tilor bucure[teni, de la ideea c~ al~turarea operei [i a locului concep]iei ei atelierul care r~mne adesea un spa]iu confiden]ial, necunoscut publicului larg, ar putea prilejui o privire inedit~ asupra activit~]ii arti[tilor prezenta]i. Unii dintre cei pe care i-am invitat s~ participe la acest exerci]iu de auto-prezentare au fost mai reticen]i fa]~ de expunerea public~ a spa]iului intim al crea]iei; am respectat aceast~ reticen]~ [i am recurs, n cazul lor, la portrete fotografice. Nu este o carte destinat~ speciali[tilor, ci unui public mai larg interesat de arta actual~, c~ruia unii dintre arti[tii prezenta]i aici i sunt, poate, mai pu]in cunoscu]i. Am fost [i r~mnem anima]i de dorin]a de a ar~ta ct de divers~ [i de bogat~ este scena artistic~ bucure[tean~ [i sper~m c~ i vom convinge de acest lucru pe cei care vor r~sfoi albumul. ING Bank Romnia [i-a dovedit o dat~ n plus generozitatea [i interesul pentru art~, cataliznd [i sprijinind apari]ia acestui volum. Le exprim~m ntreaga noastr~ recuno[tin]~.
Its been a year since the publication of the first book that presented artists living and working in Bucharest and their studios. This second volume is an occasion to expand the inevitably limited selection presented in the first issue. As with the first volume, we tried to avoid here as well any suggestion of hierarchies, to stay away from thematic and other prejudices, from contrived groupings by affinities. We included in this second volume, as we did in the first, artists belonging to different generations, having distinct concerns, and working in various media. They were all asked to conform to a similar manner of presentation, consisting of an image of their studio, a selection of their works, a brief information note on their work and career, and an excerpt from a text commenting their work, chosen by themselves. Our starting point was the idea that setting the works in the proximity of the place where they are being conceived the studio which is frequently a place of seclusion, unknown to the general public, may shed an unexpected light on the activity of the artists presented here. Among those we invited to this exercise in self-presentation, some expressed their reticence towards public exposure of the intimate space in which their work is being conducted. We respected this reserve, and resorted, in their case, to photographic portraits. This is not a book aimed at specialists; it addresses a larger public interested in present art, to which some of the artists shown here may be insufficiently known. Our wish has been to show the richness and diversity of the Bucharest art scene, and we hope that it will become apparent to those who will leaf through this album. ING Bank Romania has demonstrated once again its generosity and its constant interest for art, by encouraging and supporting the publication of this volume. They have our gratitude.
Mihai OROVEANU
Mihai OROVEANU
ioan BOLBOREA
ntr-o ]ar~ [i ntr-o vreme n care monumentele de for public turnate n bronz se rnduiesc, mai curnd cumin]i, n tipologii bine [tiute [i demult v~zute, a fost o noutate pe care am salutat-o cu entuziasm [i am sprijinit-o pe ct am putut, crea]ia lui Ioan Bolborea. L-am cunoscut prin Monumentul infanteriei" de la osea, aidoma unei plato[e - turn care respir~ for]~ pe paji[tea nverzit~ unde a fost n~l]at~. L-am reg~sit v~zndu-l cum lucra cu fervoare [i d~ruire la Arcul de Triumf" ntr-un parc ar~dean, unde sculptura era voit pus~ n slujba unei idei politice generoase, cea a reconcilierii ntre dou~ popoare vecine. Aici Bolborea a gndit mariajul fericit al pietrei cu bronzul, ntr-o compozi]ie dinamic~ care trebuia s~ fie, n contrast cu o foarte academic~ lucrare de acum mai bine de un secol, o ilustrare modern~ a luptei ardelenilor [i b~n~]enilor, a muntenilor [i a moldovenilor pentru mult dorita Unire: figuri modelate nervos, adunate ntr-un energic [uvoi, aidoma unei cavalcade venind din trecut c~tre noi, reliefuri puternice evocnd figuri notabile [i momente memorabile ale istoriei na]ionale. Bolborea, creator al unei opere sculpturale din ce n ce mai omniprezente [i mai proprie spa]iului public se v~de[te a fi, deopotriv~, un monumentalist [i un orfevru. Bronzurile sale, patinate cu migal~, au pre]iozit~]i de bijuterie, sugernd uneori patina aurului vechi, cu model~ri savante [i subtile de la decorativele miriapode la puternicele [i geometricele siluete ale unui proiect de monument al unirii" pe care l-am v~zut de curnd, menit a mobila fericit, n desf~[ur~ri concentrice, o pia]~ a Capitalei. Dar sigur este c~ opera care l va face pe Bolborea s~ fie pretutindeni cunoscut [i renumit va fi o superb~ [i nebuneasc~ C~ru]~ cu actori", care la dimensiuni neobi[nuite va aduna n str~vechiul vehicol al histrionilor lumii, pe esplanada Teatrului Na]ional bucure[tean, cteva zeci de personaje lesne recognoscibile, mon[tri sacri ai scenei romne[ti, ca un memento nepieritor ridicat pentru to]i cei pe care genera]ii de romni i-au aplaudat frenetic decenii de-a rndul. Slujind cu mijloacele sale plastice istoria [i cultura na]ional~, Ioan Bolborea mi pare a fi artistul cet~]ii de care avem ast~zi atta nevoie.
In a country and time where bronze public monuments are usually well behaved, in well known and long seen typologies, the work of Ioan Bolborea was something new; I greeted it with enthusiasm and supported it as much as I could. I encountered him through The Monument to Infantry - on the boulevard, the very image of a coat of mail a tower that breathes force on the green clearing where it was raised. I met him again, noticing the fervor and selfabandonment with which he worked on the Arch of Triumph in a park in Arad, where the sculpture was put in the service of a generous political idea, that of the reconciliation of two neighboring peoples. Here Bolborea contrived the joyous marriage of rock and bronze, in a dynamic composition that had to be, in contrast with a very academic piece from more than a century ago, a modern illustration of the battle of the peoples from Ardeal and Banat, Muntenia and Moldova for their longed for Union: figures forcefully formed, gathered in an energetic torrent, the very picture of a mounted procession coming towards us from the past, powerful reliefs evoking notable figures and memorable moments of our national history. Bolborea, the creator of ever more omnipresent works of sculpture pertaining to public space, has shown himself to be, at the same time a monumentalist and a goldsmith. His bronze works, scrupulously plated, are precious like jewelry, sometimes suggestive of ancient gold plating, with ingenious and subtle forms, from the decorative centipede to the powerful geometric silhouette of a project for the moment of union which I have recently seen, intended to embellish, in concentric trajectories, one of the city squares of the Capital. But surely the work that will make Bolborea famous and known for all times is the crazy and superb C~ru]a cu Actori; Actors Carriage, with its unusual dimensions, will gather into the old vehicle the worlds histrions on the promenade of the National Theater of Bucharest, as a timeless memento raised for those whom Romanians have frenetically applauded for generations, for decades on end. Serving history and national culture through graphic means, Ioan Bolborea seems to me to be the kind of artist the city needs so much in our times.
Academician R~zvan THEODORESCU
R~zvan THEODORESCU, Member of the Academy
Ioan BOLBOREA Miriapod 6 / Myriapode 6

Bronz / Bronze

Bronz / Bronze
Ioan BOLBOREA Roata / Wheel

Bronz / Bronze

Bronz / Bronze

Bronz / Bronze
Ioan BOLBOREA Roata 2 / Wheel 2

Bronz / Bronze
Ioan BOLBOREA
N~scut n martie 1956 n Bra[ov Studii 1981
Ioan BOLBOREA
Born in Bra[ov in March, 1956 Education 1981 Graduated Nicolae Grigorescus Institute of Fine Art in Cluj, sculpture Selected Solo Exhibitions 1982 Orizont / Studio 35, Perugia scholarship / Italy: wood, bronze, glass 1988 Galateea Hall, Bucharest 1992 Simeza Hall, Bucharest Selected Group Exhibitions 1980 Amphitheater Gallery, Bucharest 1982 The Expression of the Human Body, Kalinderu Hall, Bucharest 1983 The Place, Fact and Metaphor, the Village Museum, Bucharest Studio 35, Bucharest 1988 Dantesca, Ravenna, Italy 1992 Expo 92, Sevilla, Spain 1994 Small Sculpture, Orizont Gallery, Bucharest 1995 Contemporary Painters and Sculptors, The Romanian Art Museum, Bucharest 1997 Small Sculpture, Orizont Gallery, Bucharest Art Camps 1982 Sculpture camp, M~gura 1983 Sculpture camp, Str~ule[ti Scholarships 1982 Perugia, Italy 1983 Rome, Italy
Absolvent al Institutului de Arte Plastice Nicolae Grigorescu Cluj, sec]ia Sculptur~
Expozi]ii personale - selec]ie 1982 Sala Orizont / Atelier 35 Bursa de studii Perugia / Italia: lemn, bronz, sticl~ 1988 Sala Galateea, Bucure[ti 1992 Sala Simeza, Bucure[ti Expozi]ii colective - selec]ie 1980 Galeria Amfiteatru, Bucure[ti 1982 Expresia corpului uman, Sala Kalinderu, Bucure[ti 1983 Locul, fapta [i metafora, Muzeul Satului, Bucure[ti Atelier 35, Bucure[ti 1988 Dantesca, Ravenna, Italia 1992 Expo'92, Sevilla, Spania 1994 Sculptura Mic~, Galeria Orizont, Bucure[ti 1995 Pictori [i sculptori contemporani Muzeul de Art~ al Romniei, Bucure[ti 1997 Sculptura Mic~, Galeria Orizont, Bucure[ti Tabere - selec]ie 1982 Tab~ra de sculptur~, M~gura 1983 Tab~ra de sculptur~, Str~ule[ti Burse 1982 1983
Burs~ de studii, Perugia, Italia Burs~ de studii, Roma, Italia
Adresa: Str. Ceasornicului, nr. 12 C, sector 1 Bucure[ti, Romania Atelier: Drumul S~b~reni, nr. 167-173, sector 6, Bucure[ti, Romania Tel.: 0040 21 2217722 E-mail: ioan@bolborea.ro www.bolborea.ro
Address: 12C, Ceasornicului St., Bucharest 1, Romania Studio: 167-173, Drumul Sabareni St., Bucharest 6, Romania Phone: 004 021 2217722 e-mail: ioan@bolborea.ro www.bolborea.ro
geta BRTESCU
Accep]iunea suprarealist~ a ob]inerii unei spontaneit~]i egale n desen [i pictur~ ca n scris este problematic~ pentru Geta Br~tescu, deoarece exigen]a imediate]ei este bruiat~ de intruziunea memoriei. Artista dep~[e[te aceast~ dificultate, ncorpornd n desenul automatic emergen]a formelor atunci cnd mna transcrie ceea ce i dicteaz~ mintea, ntr-o mi[care care nu renun]~ la imboldul ei creator. Artista a demonstrat o preocupare permanent~ pentru procesualitate. Una din lucr~rile ei emblematice este instala]ia C~tre alb (1976) n care mai multe idei artistice dezvoltate anterior converg ntr-o sintez~ unic~. n seria de fotografii albnegru artista este treptat acoperit~ de alb, absorbit~ de spa]iul nconjur~tor al atelierului supus aceleia[i metamorfoze c~tre alb o transformare a interiorului care ne aminte[te de Merzbau, asamblajul constructivist al lui Kurt Schwitters. Multe din lucr~rile Getei Br~tescu pornesc de la ideea de artificiu. Pentru ea, conceptul este de o importan]~ central~ n n]elegerea artei [i a creativit~]ii n general. Multe din lucr~rile ei surprind artificialitatea lor inerent~, captnd mi[carea tranzitorie de la natur~ la cultur~. Geta Br~tescu este prins~ ntr-o mi[care contradictorie, devoalnd artificialitatea [i admi]nd n acela[i timp inevitabilitatea ei. Revelatoare n acest sens sunt obiectele cu chipul ei ca o masc~, accentund sau diminund prezen]a artificiului. n alte exemple, tr~s~turi ale chipului ei sunt combinate cu materiale din via]a cotidian~, construind obiecte compozite sau colaje care sunt asamblate de multe ori cu umor, c~utnd participarea privitorului. Ca n alte rnduri, artista trece de la seriozitate la umor, de la gravitate la fantezie non[alant~ [i capriciu, de la rigoare conceptual~ la inventivitate de neoprit.
For Geta Br~tescu the notion of "immediacy" was felt to be problematic in her surrealist attempt of achieving the same spontaneity in painting and drawing as in writing, because this equivalence is rendered impossible by the intervention of memory. Geta Br~tescu seeks to surpass this difficulty by incorporating in her automatic drawings the emergence of forms, as the hand strives to record what gradually comes to mind, in a movement that cannot and will not let go its creative impetus. The artist has evinced a constant preoccupation with the idea of process in art. One of her most emblematic works is her installation Towards White (1976), in which several artistic ideas, previously developed, are made to converge into a unique synthesis. The series of photo actions show the artist and the surrounding space of the studio being gradually covered in white, a transformation of the interior that brings to mind Kurt Schwitters constructivistic assemblage of white wood and plaster Merzbau. Many of Geta Br~tescus works are concerned with the idea of artifice. For her, this concept is of primary importance for understanding art and human creativity in general. Many of her works evince the artificiality inherent in them, seizing the transitory movement from nature to culture. Geta Br~tescu is caught in a contradictory movement that discloses the artificiality of the artists persona and at the same time acknowledges its inevitability. Particularly revealing in this sense are the objects which feature her impersonal, mask-like face, accentuating or downplaying the presence of the artifice. In other examples, fragments of her face appear in various combinations with other materials taken from the daily life, building up heterogeneous objects or collages that are often assembled with a sense of play and humor, conjuring the viewers participation. As elsewhere, she seems to move from seriousness to humor, from gravity to the game of nonchalant fantasy and caprice, from conceptual rigor to unstoppable invention. Magda RADU
Magda RADU
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Geta BRTESCU C~tre alb / Towards White

Fotografii pe suport textil / Photographs on canvas 1976
Geta BRTESCU Sursul / Smile

Fotografii, tifon, tempera, ipsos / Photographs, tempera, gauze, plaster 1978
Geta BRTESCU Athanor

Tehnic~ mixt~, colaj / Mixed media 1974
Geta BRTESCU Doamna Oliver [i Cavalerul Thonet / Lady Oliver and Sir Thonet
Instala]ie / Installation 1991
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Geta BRTESCU Compozi]ie / Composition

Colaj / Collage 2005
Geta BRTESCU Nud pe sofa / Nude on the sofa

Obiect / Object 1991
Geta BRTESCU Autoportret n oglind~ / Self-portrait in the mirror

Tehnic~ mixt~ / Mixed media 1985
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Geta BRTESCU
N~scut~ n 1926 nceputul anului 1946 "Expozi]ia oficial~ de Grafic~ Alb [i Negru", Sala Dalles, Bucure[ti Expozi]ii personale - selec]ie 1975 "Studio 3. Towards White", Galeria Galateea, Bucure[ti [i Accademia di Romania, Roma 1980 Colec]ia Michael Winter, Hamburg, cu albumul de litografii "Mythology" 1981 "Portretele Medeei", Galeria Simeza, Bucure[ti 1992 "Miturile [i pove[tile Getei Br~tescu". Muzeul Universit~]ii din Missouri, Columbia, U.S.A 1999-2000 "Retrospectiv~", Muzeul Na]ional de Art~, curator Ruxandra Balaci 2006 HT003 Gallery, curator Teodor Graur 2008 Galerie n Taxispalace, Innsbruck Expozi]ii de grup - selec]ie 1974 "Arta [i Energie", New Gallery, Bucure[ti 1991 "Cartea-obiect", Muzeul de Art~ al Colec]iilor, Bucure[ti "Sexul lui Mozart", Artexpo, Bucure[ti 1993 "Ex Oriente Lux", Sala Dalles, Bucure[ti 1996 "Experiment n Arta Romneasc~ dup~ 1960", Bucure[ti, curator Alexandra Titu 2000 "In Full Dress", Muzeul Brukhental, Sibiu, curator Liviana Dan 2001 "Transitionland", Muzeul Na]ional de Art~, curator Ruxandra Balaci 2007 "Geta Br~tescu [i Ion Grigorescu. Resurse", MNAC, Bucure[ti, curator Ruxandra Balaci [i Magda Radu Expozi]ii de grup [i interna]ionale - selec]ie 1965, 1969 A doua [i a patra Bienal~ Interna]ional~ de Tapiserie, Lausanne 1983, 1987 Bienala de la Sao Paolo, Brazilia 1984 Bienala European~ de Gravur~, Fredrikstad, Norway 1993 "OSTranenie"- Primul festival interna]ional video de la Bauhaus, Dessau 1994 "Europa, Europa", Bonn, Germania 2000 Arta Europei de Est n dialog cu Occidentul. De la 1960 pn~ n prezent, Moderna Galerija, Ljubljana, curator Zdenka Badovinac 2002 "n c~utarea Balcaniei", Neue Galerie Graz, curator Roger Conover. Eda Cufer, Peter Weibel Premii - selec]ie 1993 Premiul "Ion Andreescu" decernat de Academia Romn~ 2008 Premiul na]ional pentru arte vizuale
Geta BRTESCU
Born in 1926 1946 Debut, "The Official Exhibition of Black and White Graphics", Dalles Hall, Bucharest
Selected Solo Exhibitions 1975 "Studio 3. Towards White", Galateea Gallery and Accademia di Romania, Roma 1980 Michael Winter Collection, Hamburg, with the lithograph album "Mythology" 1981 "Medeea's Portraits", Simeza Gallery, Bucharest 1984 "I have drawn for Faustus", Culture House of West Germany, Bucharest 1992 "The Myths and Stories of Geta Br~tescu". Museum of Art and Archeology, University of Missouri, Columbia, U.S.A 1999-2000 - "Retrospective", National Museum of Art, curator Ruxandra Balaci 2006 HT003 Gallery, curator Teodor Graur 2008 Galerie im Taxispalais, Innsbruck Selected Group Exhibitions 1974 "Art and Energy", New Gallery, Bucharest 1991 "Book-object", Museum of Art Collections, Bucharest "Mozart's Sex", Artexpo, Bucharest 1993 "Ex Oriente Lux", Dalles Hall, Bucharest 1996 "Experiment in Romanian Art after 1960", Bucharest, curator Alexandra Titu 2000 "In Full Dress", Brukhental Museum, Sibiu, curator Liviana Dan 2001 "Transitionland", National Museum of Art, curator Ruxandra Balaci 2007 "Geta Br~tescu and Ion Grigorescu. Resources", MNAC, Bucharest, curator Ruxandra Balaci and Magda Radu Selected Group Exhibitions - International Exhibitions 1965, 1969 2eme et 4eme Biennale Internationale de la Tapisserie, Lausanne 1983, 1987 Sao Paolo Biennial, Brasil 1983 European Biennial of Engraving, Baden-Baden, Germany 1984 European Biennial of Engraving, Fredrikstad, Norway 1993 "OSTranenie"- 1st International Video Festival at the Bauhaus, Dessau 1994 "Europa, Europa", Bonn 2000 "The Art of Eastern Europe in Dialogue with the West. From the 1960s to the Present", Moderna Galerija, Ljubljana, curator Zdenka Badovinac 2002 "In Search of Balkania", Neue Galerie Graz, curators Roger Conover, Eda Cufer, Peter Weibel Awards and Honors 1993 "Ion Andreescu" prize awarded by the Romanian Academy 2008 National Award for Visual Arts
Adresa: Tel:
Str. Sp~tar Milescu nr.26, Bucure[ti, Romnia 0040 21 653 2182, 0040 21 653 8522
Address: 26, Sp~tar Milescu St., Bucharest, Romania Phone: 0040 21 653 2182, 0040 21 653 8522
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alexandru CLINESCU-ARGHIRA
Opera realizat~ la Olimpiada Artelor de la Seul, cu materiale naturale - p~mnt, iarb~, ap~, pietre de ru - [i trage for]a din marea puritate a liniilor n~l]ate c~tre cer, o adev~rat~ sfidare a legilor gravita]iei, [i aduce un plus peisajului, integrndu-se totodat~ de o manier~ simpl~ [i armonioas~. Deplina reu[it~ a acestei opere ne d~ speran]a [i previziunea unui viitor str~lucit acestui artist sobru [i original, a c~rui monumentalitate este deja recunoscut~. Nicolas SCHFFER sculptor, membru al Academiei Franceze Paris Lucr~rile sale sunt dominate de o nclina]ie nativ~ c~tre arhitectur~ n majoritatea cazurilor bazat~ pe o tehnic~ de asamblaj. Este mai degrab~ un dialog constant cu p~mntul, cerul [i lumina, n consecin]~ o adaptare foarte personal~ a spa]iului natural dat, acolo unde relieful topografic convoac~, printr-o ambian]~ particular~, o nou~ percep]ie a spa]iului deschis. Gerard XURIGUERA, critic de art~ Arghira este un sculptor care porne[te de la un neo-realism foarte modern, dar curios, traversat de inspira]ii medievale ce exprim~ tendin]ele revenirii la spiritualitate a tinerei genera]ii. Rene HUYGHE, membru al Academiei Franceze L-am cunoscut cu ani n urm~ pe Arghira participnd la un simpozion de sculptur~ n marmur~ ntr-un mic or~[el din sudul Fran]ei. Opera sa a fost pentru mine o fericit~ cunoa[tere - un soi de revela]ie - aceea a unei monumentalit~]i intrinseci - a unui talent nn~scut pentru controlul volumelor. Firesc - la el m-am gndit pentru Parcul Olimpic din Seul - 1988. Sculptura tobogan - asamblaj n form~ de coad~ de rndunic~ - a fost primit~ cu mare entuziasm de c~tre oficialita]i coreene [i constituie una din celebrit~]ile Parcului. Arghira apar]ine de acum inspiratei familii a sculptorilor arhitec]i - a arti[tilor publici al c~ror rol este de a nsemna locul [i de a transmite taina genera]iilor viitoare. Construc]iile sale acoperite cu un ve[mnt de iarb~ - reprezint~ monumentele megalitice [i menhirele modernit~]ii noastre. Pierre RESTANY, Megalitice [i Menhire ale Modernit~]ii, Paris
The work realized at the Art Olympics of Seoul, in natural materials earth, grass, water, river stones draws its power from the purity of lines raised to heaven, a true defiance of the laws of gravity, and brings something new to the landscape while at the same time being integrated itself in a simple and harmonious manner. The achievement of this work gives us the hope and the premonition of a radiant future for this sober and original artist, whose monumentality is already recognized. NIicolas SCHFFER, sculptor, Member of the French Academy, Paris. His works are dominated by an inborn inclination towards architecture, based on the technique of assembling. It is more like a constant dialogue with the earth, sky and light, and consequently a very personal adaptation of the naturally given space, where the topographic relief occasions a new perception of open space through a particular treatment of the environment. Gerard XURIGUERA, art critic Arghira is a sculptor that starts from a very modern neo-realism, but curiously, marked by a medieval inspiration which expresses the tendency to return to spirituality of the young generation. Rene HUYGHE , Member of the French Academy I met Arghira years ago, when he took part in a marble sculpture symposium in a small town in southern France. For me his work was a joyful encounter a kind of revelation of an intrinsic monumentality a native talent for the control of volume. Naturally it was of him that I thought for the Olympic Park in Seoul, 1988. The slide sculpture an assembly in the form of a swallows-tail, was received with great enthusiasm by the Korean officials and is one of the celebrities of the Park. Arghira belongs to the inspired family of the sculptors architects of public artists whose role is to mark the place and to transmit its mystery to the future generations. His constructions covered with grass represent the megalithic and monolithic monuments of our modernity. Pierre RESTANY, Modernitys Megaliths and Monoliths, Paris
17
Alexandru CLINESCU-ARGHIRA Pat nup]ial pentru doi copaci,

Oloron, Fran]a /
Wedding bed for two trees

Oloron, France 1990
Alexandru CLINESCU-ARGHIRA Parcul olimpic,

Seul, Coreea de Sud /
The Olympic Park,

Seoul, South Korea 1987
Alexandru CLINESCU-ARGHIRA T recerea albastr~,

Madrid, Spania /
Blue Passage,
Madrid, Spain 1992
Alexandru CLINESCU-ARGHIRA
Salzburg, Austria 1992
Alexandru CLINESCU-ARGHIRA T recerea albastr~ (detaliu),

Madrid, Spania /
Blue Passage (detail),

Madrid, Spain 1992
Como, Italia / Como, Italy 1986
20
N~scut n 1935 n Bucure[ti Studii 1962 Absolvent al Academiei de Art~ Bucure[ti 1968 Membru al Uniuni Arti[tilor Plastici din Romnia 1983-1985 Bursa - atelier la "Cite internationale des Arts", Paris 1990-1991 Bursa - atelier a ora[ului Mannheim, Germania 1991 Membru de onoare al Academiei de Art~, Madrid Expozi]ii personale - selec]ie 1968, 1971, 1974, 1982, 1993 - la Galeria "Simeza", Bucure[ti 1970 Galeria de art~ modern~ "Gaeta", Italia 1984 Cite Internationale des Arts, Paris, Fran]a 1985 Galeria "Nora" Heilbron, Germania 1991 Kulturzentrum Mannheim, Germania Expozi]ii colective - selec]ie 1970, 1985 Bienala Interna]ional~ de Sculptur~ "Funda]ia Pagani", Milano, Italia 1971 Salonul tinerei sculpturi, Paris, Fran]a 1983 Edi]ia a VI-a a Bienalei Interna]ionale de Sculptur~, Ravena, Italia 1984, 1985 Expozi]ia Interna]ional~ organizat~ de Cit Internationale des Arts, Paris, Fran]a 1985 Art~ contemporan~ romneasc~, Stuttgart, Germania A II-a Expozi]ie Interna]ional~ de Sculptur~ Mic~, "Funda]ia Pagani", Milano, Italia 1985 A X-a Bienal~ Intera]ional~ de la Cannes, Fran]a 1986 Al XV-lea salon Interna]ional de Art~ Contemporan~ de la Nisa, Fran]a 1987 Expozi]ia Interna]ional~ de Sculptur~ Centrul Olimpic, Seul, Coreea de Sud 1992 Art~ Contemporan~ Romneasc~, Barcelona, Spania 1998 Expo "Dante n Romnia" Sala Apolo, Bucure[ti Premii - selec]ie 1985 Premiul de sculptur~ la a XV - lea Salon Interna]ional al Funda]iei Michelangelo - Corsica Crucea de Argint pentru merit [i devotament francez 1996 Premiul pentru sculptur~ la "Grand Prix", Nisa, Fran]a Premiul I pentru sculptur~ la simpozionul Interna]ional de la Pognana Lario (Como), Italia 1991 Premiul Uniunii Arti[tilor Plastici din Romnia pentru sculptur~ monumental~ 2000 Ordinul na]ional pentru merit n grad de Comandor conferit prin decret preziden]ial Lucr~ri n colec]ii Romnia, Belgia, Austria, Bulgaria, Fran]a, Italia, Polonia, Germania, Suedia, Cehoslovacia, Turcia, Canada, Statele Unite.
Born in Bucharest, 1935 Education 1962 Graduates from the Art Academy of Bucharest 1968 Member of the Artists Union of Romania 1983-1985 Scholarship studio at the Cit internationale des Arts, Paris 1990-1991 Scholarship studio in Mannheim, Germany 1991 Honorary Member of the Art Academy of Madrid Selected Solo Exhibitions 1968, 1971, 1974, 1982, 1993 at the SimezaGallery, Bucharest 1970 The Modern Art Gallery Gaeta, Italy 1984 Cit Internationale des Arts, Paris, France 1985 Nora Gallery, Germany Dresdener Bank Winnenden, Germany 1991 Kulturzentrum Mannheim, Germany Selected Group Exhibitions 1970, 1985 International Biennial of Sculpture Fondazione Pagani, Milan, Italy 1971 Salon of Young Sculptors, Paris, France 1983 The 6th edition of the International Biennial of Sculpture, Ravenna, Italy 1984,1985 The International Exhibition organized by Cit Internationale des Arts, Paris, France 1985 The Exhibition of Contemporary Romanian Art, Stuttgart, Germany The 2nd International Exhibition of Small Sculpture, Fondazione Pagani Milan, Italy 1985 The 10th International Biennial, Cannes, France 1986 The 15th International Salon of Contemporary Art, Nice, France 1987 The International Exhibition of Sculpture, the Olympic Center, Seoul, South Korea 1992 Exhibition of Contemporary Romanian Art, Barcelona, Spain 1998 Exhibition Dante in Romania Apolo Hall, Bucharest Awards and Honors 1985 Prize for sculpture of the Michelangelo Foundations 15th International Salon, Corsica, Croix dargent pour le mrite, France 1996 Prize for sculpture at the Grand Prix, Nice, France 1st prize for sculpture at the International Symposium at Pognana Lario (Como), Italy 1991 Prize of the Romanian Artists Union for monumental sculpture 2000 National order for merit in the rank of commander Works in Collections Romania, Belgium, Austria, Bulgaria, France, Italy, Germany, Sweden, Czechoslovakia, Turkey, Canada, the United States.
Home adress:
Adresa: Tel: Mobil: e-mail: B-dul. Ion Mihalache, nr. 158, bl. 4. sc. D, ap. 102, sect. 1, C.P. 32415, Bucure[ti, Romania 0040 21 352 2425 0040 744 138 565 arghiracalinescu@yahoo.com
Home phone: Mobile: email:
158, Ion Mihalache Blvd, Bucharest 1, Romania C.P. 32415 0040 21 352 2425 0040 744 138 565 arghiracalinescu@yahoo.com
21
vlad CIOBANU
Vlad Ciobanu [i-a nsemnat decis locul n arta noastr~ de ast~zi. nc~ de la prima lui expozi]ie personal~, cea de la Galeria Simeza, eveniment amnat mult~ vreme [i, poate, nu f~r~ o anume strategie, [i pn~ ast~zi, el s-a manifestat constant ([i compensatoriu!), deopotriv~ ca sculptor [i desenator, oferind, dintr-o dat~, un spa]iu de referin]~ mult mai larg [i o baz~ de discu]ii extins~ [i ea n consecin]~. De[i nu s-a remarcat printr-o activitate expozi]ional~ ostentativ~, sus]inut~ ritmic [i bogat~ cantitativ, Vlad Ciobanu a avut grij~ s~-[i construiasc~ una solid~, profund~ [i foarte diversificat~. Mai nti, diversitatea vine din ns~[i coabitarea sculpturii cu desenul [i din faptul c~ ambele se sprijin~ pe proiecte teoretice [i pe tensiuni mentale mereu surprinz~toare. Ceea ce se poate constata, ns~, nc~ de la primul contact cu arta lui Vlad Ciobanu, este determinismul doar aparent n rela]ia desen-sculptur~ sau invers, n esen]~ fiecare dintre limbaje avnd un statut de sine st~t~tor. ... Oscilnd ntre monumentalismul imaginii [i grija pentru detaliu, ntre pura expresivitate [i retorica intrinsec~ a motivului, Vlad Ciobanu sugereaz~ [i cel de-al doilea nivel al diversific~rii deja amintite; acela formal, care determin~, pn~ la un punct, chiar anumite oscila]ii stilistice. Chiar dac~ diferit~ n esen]~, sculptura se nscrie [i ea cam n acela[i scenariu. Diversitatea ei material~ [i formal~ arat~, ca [i n cazul desenului, dac~ nu o continu~ mobilitate a proiectului, oricum o anumit~ stare de urgen]~ n ceea ce prive[te nevoia de a r~spunde unor solicit~ri interioare cu o discontinuitate bine controlat~. Modelator [i cioplitor n aceea[i m~sur~ de altfel gipsul, bronzul [i lemnul au n proiectul s~u o prezen]~ aproape egal~ Vlad Ciobanu ncearc~ s~ imprime fiec~rui material, prin tehnicile specifice, forma optim~ care deriv~ din ns~[i natura lui. Vlad Ciobanu are un demers implicat [i sobru, nc~rcat de sensuri [i purt~tor de mesaje, ceea ce-l face s~ par~ u[or mefient n fa]a virtualit~]ii formei, tenta]ia fiind aceea de a o alege pe cea mai pu]in riscant~ [i cu [ansele cele mai mari de a fi imediat acceptat~. Rezultatul este o permanent~ aspira]ie spre clasicism, spre forma viguroas~ [i a[ezat~ ferm, n pofida faptului c~ acest vis cere uneori sacrificii; de imagina]ie [i de spontaneitate, n primul rnd.
Vlad Ciobanu has decidedly marked his place in our contemporary art. From his very first personal exhibition at the Simeza Gallery, a long delayed event, (perhaps due to some strategy on his part) he has consistently manifested himself as both sculptor and master of drawing, offering, at the same time, a very expansive space for reference and an extensive basis for discussion as a consequence. Though he has not made his mark through ostentatious exhibition of his works, rhythmically sustained and quantitatively rich, Vlad Ciobanu took care to build his mark solidly, profoundly and in a very diversified manner. First, the diversity comes from the very cohabitation between sculpture and drawing and from the fact that both are supported by theoretical projects and mental tensions that are always surprising. What can be verified, however, from the first contact with the art of Vlad Ciobanu, is the merely apparent determinism in the relationship between drawing and sculpture or conversely, in essence each of the mediums having a self-sustaining status. ... Oscillating between the images monumentality and the care for detail, between pure expressiveness and the intrinsic rhetoric of the motif, Vlad Ciobanu suggests the second level of the diversification already mentioned; the formal one, that determines, up to a point, certain stylistic oscillations. Even if different in essence, sculpture is also included in the same scenario. Its material and formal diversity, as is the case with drawing, continues, if not the mobility of the project, a certain state of urgency regarding the need to respond to interior urges with a well controlled discontinuity. A carver and one who models at the same time so that the plaster, bronze and wood have an almost equal presence in his projects Vlad Ciobanu attempts to impress each kind of material through specific techniques, with the optimum form that comes from its own nature. Vlad Ciobanu has a serious and sober approach, loaded with meaning and messages, which makes him appear slightly bearing towards the forms virtualities, the temptation being to choose what is less risky, more likely to be immediately accepted. The result is a permanent aspiration towards classicism, towards vigorous and firmly placed forms, in spite of the fact that this vision sometimes asks for sacrifice; that of imagination and of spontaneity, first of all.
Pavel UAR
Pavel UAR
23
Vlad CIOBANU Brncoveanu

Lut / Clay 1986
Vlad CIOBANU T recere (Dante [i Virgiliu) / Passage (Dante and Virgilius)

Bronz / Bronze 1987
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Vlad CIOBANU Punte / Bridge Tab~ra S~li[te / S~li[te Camp

Lemn / Wood 1983
Vlad CIOBANU Deal (Peisaj) / Hill (Landscape)

Piatr~ / Stone 1982
Vlad CIOBANU Personaje mitice / Mythical Figures

Bronze / Bronze 2004
Vlad CIOBANU
Inhotep
Hereke, Turcia / Hereke, Turkey Marmur~ / Marble 103 x 200 cm 2007
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Vlad CIOBANU
N~scut la 11 aprilie 1948 n comuna Punge[ti, jude]ul Vaslui Studii Sculptura - Institutul de Arte Plastice "N. Grigorescu" Bucure[ti Expozi]ii personale 1997, 2001 Galeria Simeza 2004 Galeria Artis" Expozi]ii de grup - selec]ie 1982 "Sec]iuni n atelier", Galeria Orizont, Bucure[ti 1983 "Locul - fapta [i metafora", Muzeul Satului, Bucure[ti 1999 "51 arti[ti contemporani", Galeriile Artexpo, Bucure[ti Expozi]ii romne[ti n str~in~tate - selec]ie 1985 Rotterdam, Olanda; Milano, Italia 1992 Sevilla, Spania 1993 Muzeul Na]ional, Belgrad, Serbia 1996 "Desene de sculptori", Budapesta, Ungaria 2004 Belgrad, Serbia; Sofia, Bulgaria Viena, Austria; Berlin, Germania; Strassbourg, Fran]a; Concursuri interna]ionale - selec]ie 1984 Concursul interna]ional de desen "Juan Mir", Barcelona, Spania 1984 Concursul interna]ional de sculptur~ mic~ - bronz "Dantesca", Ravenna, Italia 1985, 1986 Concursul interna]ional de pictur~ [i desen "Amici del Ponero" Milano, Italia 1990 Bienala de sculptur~ mic~, Budapesta, Ungaria Simpozioane na]ionale - selec]ie: 1981 Hobi]a, Gorj 1982 S~li[te, Sibiu 1983 M~gura, Buz~u 1984 C~soaia, Arad 1986, 1990, 1996 Oarba de Mure[ 1991 Centrul "George Apostu", Bac~u 2005 Ipote[ti, Boto[ani 2006 Negre[ti, Oa[ Simpozioane interna]ionale - selec]ie 1994 Bor, Yugoslavia 2001 Trojan, Bulgaria; Uzice, Serbia 2003 Trojan, Bulgaria 2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania 2005 "Constantin Brncu[i", Tg. Jiu Monumente - selec]ie Eroul Necunoscut, Alexandria Regele Ferdinand, Alba Iulia Dimitrie Cantemir, One[ti, Bac~u Premii 1985 1999 1999 2005 Atelier: e-mail:
Vlad CIOBANU
Born in the village of Pungesti, Vaslui on April 11th, 1948 Education Sculpture The Institute of Fine Art, Nicolae Grigorescu, Bucharest Selected Solo Exhibitions 1997, 2001 Simeza Gallery, Bucharest 2004 Artis Gallery, Bucharest Selected Group Exhibitions 1982 Sections of a studio, Orizont Gallery, Bucharest 1983 Place Fact and Metaphor, Village Museum, Bucharest 1999 51 Contemporary Artists, Artexpo Gallery, Bucharest Selected Romanian Exhibition in foreign countries 1985 Rotterdam, Holland; Milan, Italy 1992 Seville, Spain 1993 The National Museum, Belgrade, Serbia 1996 Sculptors Drawings, Budapest, Hungry 2004 Belgrade, Serbia; Sophia, Bulgaria; Vienna, Austria; Berlin, Germany; Strassbourg, France; Selected International Exhibition 1984 The Juan Mir International drawing competition Barcelona, Spain 1984 The Dantesca International small bronze sculpture competition, Ravenna, Italy 1985-1986 The Amici del Ponero International painting competition, Milan, Italy 1990 The Biennial for small sculpture, Budapest, Hungary Selected National Sculpture Symposiums 1981 Hobi]a, Gorj 1982 S~li[te, Sibiu 1983 M~gura, Buz~u 1984 C~soaia, Arad 1986, 1990, 1996 - Oarba, Mure[ 1991 "George Apostu" Center, Bac~u 2005 Ipote[ti, Boto[ani 2006 Negre[ti - Oa[ Selected International Symposiums 1994 Bor, Yugoslavia 2001 Trojan, Bulgaria; Uzice, Serbia 2003 Trojan, Bulgaria 2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania 2005 "Constantin Brncu[i", Tg. Jiu Public works Monuments The Unknown Hero, Alexandria, Romania King Ferdinand, Alba Iulia Dimitrie Cantemir, One[ti, Bacau Awards and Honors 1985 Amici del Pomero - Prize in the Competition for Graphics and Sculpture, Milan, Italy 1999 Award of the Artists Union for Environement Art (collective) 1999 Gold medal Dantesca, Ravenna, Italy 2005 Award of the Artists Union for sculpture Studio: e-mail: 24, C~derea Bastiliei St., Bucharest 1, Romania vlad_ciobanu2003@yahoo.com
Premiul Concursului pentru Desen [i Sculptur~ "Amici del Pomero", Milano, Italia Premiul Uniunii Arti[tilor Plastici pentru Art~ Ambiental~ Medalia de aur "Dantesca", Ravenna, Italia Premiul Uniunii Arti[tilor Plastici pentru Sculptur~ C~derea Bastiliei nr. 24, s 1, Bucure[ti, Romania vlad_ciobanu2003@yahoo.com
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elena COPUZEANU
Desenele Elenei Copuzeanu se situeaz~ la antipodul explicitului [i al certitudinilor con[tiente. Ele tind c~tre fenomenalitatea inscrutabil~, dens~ si confuz~, a lumii ac]iunilor [i afectelor, a[a cum le resim]im \n adev~rata lor manifestare, aceea tr~it~, neambalat~ [i netrucat~ de prezum]ia de claritate [i eviden]~ ce domin~ comunicarea vizual~ din spa]iul public al civiliza]iei divertismentului post-industrial. n acest sens, desenele sale nici nu par create, produse, ci pur [i simplu izbucnite din perplexitatea unui om \n fa]a propriilor emo]ii. Desenele sale par grafice de stare ale imponderabilului, ale indefinitului, dominate de consonan]a [i disonan]a formal~ a unei lumi tensionate sau, dimpotriv~, rarefiate, \n care afectele devin for]e mecanice cu o cauzalitate obscur~ [i efecte paradoxale. ... Entuziasmul, revela]ia, abandonul, revolta, aspira]ia, retragerea, cinismul, iluminarea, dezechilibrarea, curiozitatea, dominarea, intui]ia, indiferen]a, fragilitatea, exasperarea, contemplarea sunt doar cteva cuvinte ce dau ocol gesturilor, mi[c~rilor [i interac]iunilor ce prolifereaz~ \n desenele sale, ca o flor~ afectiv~ intern~, cu contururi ascu]ite, negre, concomitent acid~ [i benefic~. ... Ceea ce desemneaz~ desenele Elenei Copuzeanu este \nsu[i faptul c~ experien]a tr~irilor nu poate fi nicidecum desemnat~, ci doar ar~tat~, dezv~luit~. Neputnd fi reduse la cuvinte, la sensuri, desenele sale oglindesc poate cel mai bine ideea de expunere, de \nf~]i[are nemediat~ a ceea ce survine \n lumea propriilor noastre tr~iri, l~sate a[a cum sunt ele la origine: dense [i de nep~truns. Erwin KESSLER Fragment din A desemna
The drawings of Elena Copuzeanu are situated at the antipode of explicit and conscious certainty. They tend towards inscrutable phenomenality, dense and confusing, from the world of actions and affects, as we feel them in their true manifestation, that which is lived, devoid of the tricks and untouched by the presumption of clarity and evidence that dominates visual communication in the public space of post-industrial commercial civilization. In this way, her drawings do not appear created, produced, but simply bursting from the perplexity of a person in front of her own emotions. Her drawings appear to be graphs registering a state of imponderability, of the indefinite, dominated by the formal consonance and dissonance, of a tense world, or on the contrary, a rarefied one, in which affections become mechanical forces with an obscure causality and paradoxical effects. ... Enthusiasm, revelation, abandonment, revolt, aspiration, withdrawal, cynicism, illumination, imbalance, curiosity, dominations, intuition, indifference, frailty, exasperation, contemplation are just a few words that circle the gestures, movements and interactions that proliferate in her drawings, like an internal affective flora, with sharp, contours, black, acid and soothing. ... What distinguishes Elena Copuzeanus drawings is the fact that the experience of life cannot in any way be designated but only revealed, unveiled. Being irreducible to words, to meanings, her drawings mirror perhaps in the best way the idea of exposure, of unmediated presentation of what supervenes in the world of our own feelings, left as it originally was, dense and impenetrable. Erwin KESSLER A fragment from To Designate
29
1.
Elena COPUZEANU 1, 2, 3, 4 Exerci]ii de supravie]uire / 1, 2, 3, 4 Execises in Survival
C~rbune compresat pe hrtie / Charcoal on paper 200 x 250 cm 2006-2008
2.
3.
4.
Elena COPUZEANU Exerci]ii de supravie]uire / Execises in Survival

30
31
Elena COPUZEANU Exerci]ii de supravie]uire / Execises in Survival

32
Elena COPUZEANU
N~scut~ la 13 Iulie 1969 \n Constan]a Expozi]ii de grup - selec]ie 1999 Pictura [i desen, Galeria Anixis, Baden, Elve]ia 2000 Desen, Vox-Humana, Republica Ceh~ 2004 n jurul lui Velzquez, Galeria ArtExpo Bucure[ti, Romnia 2006 Genera]ia 1996, Palatul Mogo[oaia, Romnia Expozi]ii personale - selec]ie 1995 1997 1999 2000 2001 2001 2005 2007 Semn-Desen, Desen, Atelier35, Bucure[ti, Romnia Joc [i pictur~, Performance, Bucure[ti, Romnia Forme de prad~, Desen, Muzeul Literaturii Romne, Bucure[ti, Romania Desen [i pictur~, Galeria Art-Felchlin, Zrich, Elve]ia Desen [i pictur~, Galeria Orizont, Bucuresti, Romnia Negru Profund, Desen, Centrul Cultural Berlin, Germania C~tre Negru, Desen, Galeria Dalles, Bucure[ti, Romnia A desemna, Desen, Palatul Mogo[oaia,Romnia Chip filmat desen [i video, Galeria Simeza, Bucure[ti, Romnia C~rbune sintetic, Desen, Institutul Cultural Romn, Bucure[ti, Romnia
Elena COPUZEANU
Born in Constan]a, Romania on July 13th, 1969 Selected Group Exhibitions 1999 Painting and Drawing, Anixis Gallery, Baden, Switzerland 2000 Drawing, Vox-Humana, the Czech Republic 2004 Around Velzquez, the Artexpo Gallery, Bucharest 2006 Generation 1996, Mogo[oaia Palace, Bucharest Selected Solo Exhibitions 1995 Sign-Drawing, drawing, Studio 35, Bucharest Play and Painting, performance, Bucharest 1997 Forms of Prey, drawing, the Romanian Literature Museum, Bucharest 1999 Drawing and painting, the Felchlin Art Gallery, Zurich, Switzerland 2001 Towards Black, drawing, Dalles Hall, Bucharest Profound Black, drawing, The Cultural Center of Berlin, Germany 2005 To Designate, drawing, Mogo[oaia Palace, Bucharest 2007 Filmed Image, drawing and video, the Simeza Gallery, Bucharest Synthetic Charcoal, drawing, the Romanian Cultural Institute, Bucharest Awards and Honors 1995 Prize of the newspaper Ziua for poster and performance Homage to Mandela 1997 Prize of the Artists Union
Premii : 1995 1997
Premiul Ziarului ZIUA pentru poster [i performance Omagiul lui Mandela Premiul Uniunii Arti[tilor Plastici
Adresa: Tel: Mobil: e-mail:
Grigore Ionescu 63, Bl T 73, sc 2, ap 36, sector 2, Bucure[ti, Romania 0040 21 2100099 0040 723 132539 ecopuzeanu@gmail.com
Address: Tel: Mobile: Email:
63, Grigore Ionescu St., Bucharest 2, Romania 0040 21 2100099 0040 723 132539 ecopuzeanu@gmail.com
33
laura COVACI
Avem [ansa s~ tr~im o schimbare de civiliza]ie extraordinar~... 90% din descoperirile [tiin]ifice [i tehnologice din istoria umanit~]ii au fost f~cute n a doua jum~tate a secolului XX... Rezult~ c~ singura materie prim~ a acestei noi lumi este creativitatea. Laura Covaci ne arat~ viitorul, inteligen]a artificial~, robo]ii, umanoizii... [i poate extratere[trii acestui prodigios univers pe care-l descoperim... Ea ne face s~ n]elegem aria imens~ a inteligen]ei umane, incredibilele sale posibilit~]i. Este o pictori]~ minunat~, un univers plastic care-]i accelereaz~ respira]ia, o artist~ profund~ care a ie[it r~nit~ din oroarea comunist~, ca s~ ne fac~ s~ vedem viitorul palpitant al civiliza]iei cuceririi universului prin inteligen]~ [i ndr~zneal~. Pierre Cornette de SAINT CYR
We have the chance to live an extraordinary change of civilization 90% of the scientific and technologic discoveries in the history of mankind were made in the second half of the 20th century Hence, the only raw material of this new world is creativity. Laura Covaci shows us the future, the artificial intelligence, the robots, the humanoids And perhaps the extraterrestrials of this prodigious universe we discover She makes us understand the enormous field of human intelligence, its incredible possibilities. She is a wonderful painter, a fine art universe that catches our breath, a profound artist who came wounded out of the communist abomination to make us see the hectic future of our civilization conquest of the universe by means of intelligence and boldness. Pierre Cornette de SAINT CYR
35
Laura COVACI Hibrid / Hybrid

Acrilic pe pnz~ / Acrylic on canvas 2007
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Laura COVACI Copil / Child

Laura COVACI Hikykomori - viziunea nr. 2 / Hikykomori - vision nr. 2

Laura COVACI Hikykomori - viziunea nr. 1 (Sngele de plastic) / Hikykomori - vision nr. 1 (Plastic blood)
Laura COVACI Var~ / Summer

38
Laura COVACI
N~scut~ pe 8 februarie 1964, n Bucure[ti Studii 1997
Laura COVACI
Born on February 8, 1964, in Bucharest, Romania Education 1997 Graduated from The Fine Arts Academy Nicolae Grigrescu, Bucharest, Romania Selected Solo Exhibitions 1993 "De Markten", Brussels, Belgium Selected Group Exhibitions 1991 "Erotika", International Exhibition in Budapest, Hungary 1992 International Impact Art Festival, Kyoto, Japan "Mozarts sex", The National Theatre, Bucharest, Romania 1993 A.J.L. Galerie, Paris, France Saga Grand Palais, Paris, France Galerie Damien Bouquet, Paris, France 1998-1999 Drawings exhibition, Saint Rmy de Provence 2001 Trinity Gallery, Atlanta, USA Works in private collections 1998 The European Bank for Development D.H.L. Company Austrian Bank "Elle" Magazine, Los Angeles 1999 "Vermont Company", Romania 2000 Tiriac Bank
Absolvent~ a Academiei de Art~ Nicolae Grigorescu, Bucure[ti
Expozi]ii personale - selec]ie 1993 "De Markten", Bruxelles, Belgia Expozi]ii de grup - selec]ie 1991 Expozi]ia interna]ional~ "Erotika", Budapesta, Ungaria 1992 International Impact Art Festival, Kyoto, Japonia "Sexul lui Mozart", Galeria Etaj 3/4 de la Teatrul Na]ional, Bucure[ti 1993 Galeria A.J.L., Paris, Fran]a Saga - Grand Palais, Paris, Fran]a Galeria Damien Bouquet, Paris, Fran]a 1998-1999 Expozi]ie de desen, Saint Rmy de Provence 2001 Galeria Trinity, Atlanta, SUA Lucr~ri n colec]ii particulare 1998 Banca European~ de Dezvoltare Compania D.H.L. Austrian Bank "Elle" Magazine, Los Angeles 1999 "Vermont Company", Romnia 2000 Banca iriac
Adresa: Str. Theodor Aman, nr. 9A, s. 1 Bucure[ti, Romnia Adres~ Paris: 19 Rue de lEvangrile, 75018 Paris, Fran]a Tel: 01 40 34 74 53 / 06 12 67 51 85 e-mail: lauracovaci@hotmail.com
Address: Tel: Address: e-mail:
19 Rue de lEvangrile, 75018 Paris, France 01 40 34 74 53 / 06 12 67 51 85 99A, Theodor Aman St, Bucharest 1, Romania lauracovaci@hotmail.com
Laura COVACI Compozi]ie / Composition

39
mircia DUMITRESCU
DECALOGUL PENTRU MIRCEA
DECALOGUE TO MIRCEA
1. S~ nu-]i min]i ochii cu ochi. 2. S~ nu-]i furi realul n real. 3. S~ nu te n[eli pe tine nsu]i ca [i cum ai fi altul. 4. S~ nu vorbe[ti n numele nim~nuia, c~ci numele t~u al nim~nuia este. 5. S~-]i faci chip cioplit. 6. S~-]i faci chip din linii. 7. S~-]i faci chip din trilul ciocrliei. 8. Dup~ ce le-ai f~cut toate acestea, ncearc~ s~ le-mbr~]i[ezi dac~ po]i. 9. mbr~]i[area chipului cu chip s~rut se nume[te. 10. Numai chipul se mbr~]i[eaz~ cu chipul, c~ci bra]ele sunt f~cute pentru ararea cmpului. Amin. Nichita STNESCU
1. Yon shall not lie to your eyes with eyes. 2. You shall not steal your real in the real. 3. You shall not deceive yourself as though you were another. 4. You shall speak up on nobody's behalf as your name belongs to nobody. 5. Make your face in carvings. 6. Make your face in lines. 7. Make your face in the nightingale's song. 8. After you've made all these, try to embrace them all if you can. 9. A face embracing another face is called a kiss. 10. Nothing but a face can embrace another face, as arms are needed for laboring the earth. Amen Nichita STNESCU English by Bucsk Marianna
41
Mircia DUMITRESCU Minotaur / Minotaurus

Lemn / Wood
Mircia DUMITRESCU Pisica nr. 2 / Cat nr. 2

Lemn / Wood
Mircia DUMITRESCU Oaia 9 / Sheep Nr. 9

Lemn / Wood
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Mircia DUMITRESCU Damieni / Damiens

Acuarel~ pe hrtie / Watercolour on paper
Mircia DUMITRESCU Damieni / Damiens

Acuarel~ pe hrtie / Watercolour on paper
Mircia DUMITRESCU n[urubare A / Unscrew A

litografie / lithograph
Mircia DUMITRESCU Ziua [i noaptea / Day and night

litografie / lithograph
44
Mircia DUMITRESCU
N~scut pe 3 iulie 1941 n satul C~scioarele, jud. Ilfov Studii 1959-1965 - Institutului de Arte Plastice Nicolae Grigorescu 1969 Membru Uniunii Arti[tilor Plastici din Romnia 1993 Profesor universitar 2006 Membru al Uniunii Gravorilor [i Litografilor Maghiari, Budapesta, Ungaria
Mircia DUMITRESCU
Born on July 3, 1941 in C~scioarele, Ilfov district Education 1959-1965 - Fine Arts Institute Nicolae Grigorescu, Bucharest 1969 Member of the Romanian Artists Union 1993 Professor, Bucharest Art University 2006 Member of the Hungarian Engravers and Lithographers Union, Budapest, Hungary Selected Solo Exhibitions 1973 Simeza Gallery, Bucharest 1983 Dresden, Germany 1998 Glaskasten Intermedia Gallery, Leonberg, Germany 1999 Madch Gallery, Budapest, Hungary 2006 Vincze Lszl Gallery, St. Michaels Chapel, Budapest, Hungary 2008 Constantin Brncu[i Hall, Bucharest Selected Group Exhibitions 1968 Kracow, Poland Frankfurt, Germany Firenze, Italy 1969 Helsinki, Finland Prague, Czech Republic 1970 Regensburg, Dsseldorf, Stuttgart, Germany Torino, Rome, Italy 1972 Brussels, Belgium; Leipzig, Germany; Venice, Italy 1980, 1985 Tel Aviv, Israel 1981 Baden-Baden, Germany 1988 Stockholm, Sweden; Berlin, Germany 1990 Paris, France 2002 Stockholm, Sweden 2007 Stuttgart, Germany; Vienna, Austria; Paris, France 2008 Bucharest, Romania; Paris, France Awards and Honors 1969 Award for graphic art, Kracow, Poland 1970, 1972 - I Prize for illustration, Leipzig, Germany 1975 Award of the Romanian Artists Union for graphics 2002 National Award for book creation National Award for the book Ion Luca Caragiale, Theatre, bilingual edition, edited under the aegis of UNESCO 2003 Order of Merit in the rank of Knight National Award for the rebirth of bibliophile books 2006 Bogdan Petriceicu Ha[deu Award, for the graphics and printing of the manuscripts of the poet Mihai Eminescu, awarded by the Romanian Academy
Expozi]ii personale - selec]ie 1973 Galeria Simeza, Bucure[ti 1983 Dresda, Germania 1998 Galeria Glaskasten Intermedia, Leonberg, Germania 1999 Galeria Madch 2006 Galeria IX, Galeria Vincze Lszl, Capela Sf. Mihai, Budapesta, Ungaria 2008 Sala Constantin Brncu[i, Bucure[ti Expozi]ii de grup - selec]ie 1968 Cracovia, Polonia; Frankfurt, Germania; Floren]a, Italia; 1969 Helsinki, Finlanda; Praga, Rep. Ceh~ 1970 Regensburg, Dsseldorf, Stuttgart, Germania; Torino, Roma, Italia; Lodz, Cracovia, Polonia 1972 Bruxelles, Belgia; Leipzig, Germania; Vene]ia, Italia 1980, 1985 Tel Aviv / Israel 1981 Baden-Baden, Germania 1988 Stockholm, Suedia; Berlin, Germania 1990 Paris, Fran]a 2002 Stockholm, Suedia 2006 Bucure[ti; Budapesta, Ungaria 2007 Stuttgart, Germania; Viena, Austria; Paris, Fran]a 2008 Bucure[ti, Paris, Fran]a Premii - selec]ie 1969 Premiul pentru grafic~, Cracovia, Polonia 1970 Premiul I pentru ilustra]ie - volumul Ion Creang~, Leipzig, Germania 1972 Premiul I pentru ilustra]ie - volumul Ovidiu, Tristele [i Ponticele, Leipzig, Germania 1975 Premiul Uniunii Arti[tilor Plastici pentru grafic~, Bucure[ti 2002 Premiul na]ional pentru construc]ia c~r]ii, decernat de Ministerul Culturii [i Cultelor 2002 Premiul na]ional pentru carte - volumul Ion Luca Caragiale, Teatru, edi]ie bilingv~, ap~rut~ sub egida UNESCO 2003 Ordinul pentru Merit n grad de Cavaler Premiul na]ional pentru rena[terea c~r]ii bibliofile, decernat de Ministerul Culturii [i Cultelor 2006 Premiul Bogdan Petriceicu Ha[deu, pentru viziunea grafic~ [i tipografic~ a volumelor Manuscrisele Mihai Eminescu, decernat de Academia Romn~
Adresa: Mobil:
Str. Dridu nr. 7, S.1, Bucure[ti, Romania 0040 722 926005
Address: 7, Dridu St., Bucharest 1, Romania Mobile: 0040 722 926005
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daniela FINI
ntr-o lume n care mai to]i ncearc~ s~ fac~ altceva dect le impune calificarea, Daniela F~ini[ construie[te ceea ce [tie ea mai bine, adic~ pur [i simplu forme ceramice. C~ rela]ia lor cu spa]iul [i, n multe cazuri, dimensiunile, propor]iile [i figurativismul trimit c~tre sculptur~, c~ desenele care anim~ suprafa]a sau comenteaz~ volumul trimit c~tre grafic~ ori c~ obiectele parietale, cu o volumetrie minimal~, pot invoca ideea de pictur~, de tablou, nu are absolut nici o importan]~. De[i artista folose[te cu voluptate imaginea figurativ~, att n tridimensional ct [i n desen, de[i se joac~ insistent cu ideea de portret, de fapt cu aceea de autoportret, [i multe dintre lucr~rile sale ar putea fi asociate, ca inten]ie [i ca finalitate, sculpturii, la o privire mai atent~ nu se poate descoperi nimic care s~ tr~deze vreo ncercare de a ie[i din propriul s~u univers. Seria de capete, u[or asimilabil~ unei galerii de portrete, nu are de fapt nici o leg~tur~ cu portretul. n timp ce sculptorul individualizeaz~, palpeaz~ psihologii [i sondeaz~ via]a interioar~ a personajului, Daniela F~ini[ construie[te chipuri generice, regizeaz~ expresii goale [i, finalmete, pune n mi[care o lume halucinant~ de m~[ti. ... i orict ar fi de variate din punct de vedere morfologic, ca regim existen]ial sau ca stare de agregare, obiectele Danielei F~ini[ nu se supun nici unei scheme ierarhice [i au, ambiental, acela[i statut, iar n reala]ie cu materialul [i cu tehnica au aceea[i valoare de document [i de martor. Minusculul obiect care comenteaz~ structura alveolar~ [i porozitatea coralului, textila ncremenit~ n emulsia de por]elan, meandrele vegetale, chipul uman care se exfoliaz~ pentru a-[i deconspira, cu o ironie amar~, intimitatea mecanic~ [i pungile de vid abia camuflate, au aceea[i importan]~ individual~ [i edific~ mpreun~ o imagine inepuizabil~ a unei lumi n acela[i timp vii [i ncremenite. n afara oric~rei agresivit~]i [i total eliberat~ de obsesiile traumatizante ale cotidianului, arta sa este puternic~ [i cople[itoare prin ea ns~[i; prin consecven]a gndirii, prin claritatea proiectului, prin cunoa[terea impecabil~ a materialului [i a tehnicii [i, mai ales, prin imponderabila care le une[te pe toate [i pe care privitorul are libertatea s~ o numeasc~ dup~ cum crede el de cuviin]~. Pavel UAR
In a world dominated by those trying to prove themselves in areas other than their qualification, Daniela Fr~ini[ makes what she knows best - ceramic forms. Whether these forms relation with space and, in many cases, dimensions, proportions and figurative character refers to sculpture, whether drawings that animate the surface or comment the volume suggest graphic, or whether objects to be hanged on walls, with minimal volumes art, may invoke the idea of painting, of canvas, this has no importance. Though the artist voluptuously uses the figurative image, both in three dimension and in drawing, though she insistently plays with the idea of portrait - in fact, with that of self-portrait - and many of her works could be associated in intent and effect to sculpture, at a closer look one can not discover anything that would reveal any attempt to depart from her own universe. The series of heads, easily construed as a gallery of portraits, has in fact no connection with the portrait. While the sculptor individualizes, touches psychologies and probes the characters inner life, Daniela F~ini[ creates generic faces, directs empty expressions and, finally, sets in motion a hallucinating world of masks. ... No matter how diverse from the morphological point of view, from the existential status or in terms of aggregation state, Daniela F~ini[ objects do not submit to a hierarchy and have the same circumstantial status - and, in relation to material and technique, have the same value as documents and witnesses. The minute object that comments the alveolar structure and the porosity of the coral, the textile frozen in the porcelain emulsion, the vegetal meanders, the human face that peels off to reveal with bitter irony its barely disguised mechanical intimacy and voids, have the same individual importance and form together an inexhaustible image of a world both vivid and frozen. Beyond any aggressiveness and entirely freed from the traumatizing obsessions of everyday life, her art is powerful and overwhelming through itself, through the consistency of her idea, the clarity of the project, the impeccable mastery of the material and technique and, above all, through the imponderable quality that unites all, and that the viewer has the freedom to name at his will. Pavel UAR
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Daniela FINI Dantesc~ / Dantesca

Por]elan incizat, par]ial colorat / Coloured engraved drawings on porcelain 2000-2004

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Daniela FINI P~durea de por]elan / The porcelain forest

Por]elan [i o]el / Porcelain and steel 2005-2007
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Daniela FINI
N~scut~ 3 Octombrie 1961, Romnia Membru al Uniunii Arti[tilor Plastici din Romnia Studii 1981-1985 Academia de Art~ Nicolae Grigorescu, Bucure[ti Expozi]ii personale-selec]ie 2004 Lapidarium Centrul Cultural Palatele Brncovene[ti, Mogo[oaia, Romnia 2003 Accademia di Romania, Roma, Italia 2002 Galeria Allianz-iriac, Bucure[ti, Romnia 2001 Muzeul Sanshokan, Hida Furukawa, Japonia 2000 Centrul Cultural Paris, Fran]a 1999 Muzeul Brukenthal Sibiu, Romania 1999 Consiliul Europei, Strasburg, Fran]a 1998 Galeria Sala Rond~ Teatrul Na]ional, Bucure[ti, Romnia 1996 Galeria Funda]ia Gerhart - Hauptman, Dusseldorf, Germania 1992 Galeria Simeza, Bucure[ti, Romnia 1992 Galeria La Source, Brxelles, Belgia
Daniela FINI
Born October 3, 1961, Romania Member of the Union of Romanian Artists Education 1981-1985 Academy of Fine Arts Nicolae Grigorescu, Bucharest Selected Solo Exhibitions 2004 Lapidarium Cultural Center Palatele Brancovenesti Mogo[oaia, Romania 2003 Accademia di Romania, Roma, Italy 2002 Allianz-Tiriac Gallery , Bucharest, Romania 2001 Sanshokan Museum, Hida Furukawa, Japan 2000 Romanian Cultural Center, Paris, France 1999 Brukental Palace Museum, Sibiu, Romania European Council, Strasburg, France 1998 National Theatres Round Hall Gallery, Bucharest, Romania 1996 Foundation Gerhart- Hauptman Gallery, Dusseldorf, Germany 1992 Simeza Gallery, Bucharest, Romania 1992 La Source Gallery, Brussels, Belgium Works in Museum and Collection Hetjens Museum, Deutsches Keramik Museum, Dusseldorf, Germany The Clay Studio Collection, Philadelphia, United States of America National Museum Cotroceni, Bucharest, Romania B.C.I.C Bank, Craiova, Romania Socit Gnrale Scurits, Bucharest, Romania ING BANK N.V. Bucharest, Romania Ogiso School, Tajimi, Japonia Kano High School, Gifu-shi, Japonia Foundation Support Organization for Overseas Ceramist , Tajimi, Japonia Awards and Honors 2004 Cultural Merit order in the rank of Commander Arts of Fire 2002 Honorable Mention, Mino, Japan 1998 Honorable Mention, Mino, Japan 1998 The Great Award of the International Biennale The Fire Arts, Bucharest, Romania 1997 1st Prize International Biennale of Artistic Ceramics, Aveiro, Portugal 1992 Union of Fine Artists Award for Decorative Arts, Romania 1992 Honorable Mention , Mino, Japan 1990 Targa dOro (Golden Medal) XXXI Concorso, Internazionale Della Ceramica Darte Gualdo Tadino, Perugia, Italia 1990 Youth award Decorative Art, Romania 1989 Targa dOro (Golden Medal) XXX Concorso Internazionale Della Ceramica Darte Gualdo Tadino, Perugia, Italy
Lucr~ri n muzee [i colec]ii - selec]ie Hetjens Museum, Deutsches Keramik Museum, Dsseldorf, Germania The Clay Studio Collection , Philadelphia, United States of America Muzeul Na]ional Cotroceni, Bucure[ti, Romnia B.C.I.C. Bank, Craiova, Romnia Socit Gnrale Scurits, Bucure[ti, Romnia ING. Bank N.V., Bucure[ti, Romnia Funda]ia Support Organization for Overseas Ceramist, Tajimi, Japonia Ogiso School, Tajimi, Japonia Kano High School, Gifu-shi, Japonia
Premii [i distinc]ii 2004 Meritul cultural n gradul de Comandor 2002,1998, 1992 Honourable Mention , Mino, Japonia 1998 Marele Premiu al Bienalei Interna]ionale Artele Focului Bucure[ti, Romnia 1997 Premiul I Bienala Interna]ional~ de Ceramic~ Artistic~, Aveiro, Portugalia 1992 Premiul Uniunii Arti[tilor Plastici pentru Art~ Decorativ~, Romnia 1990 Premiul pentru Tineret Art~ Decorativ~, Romnia 1990, 1989 Targa dOro (Medalia de Aur) XXXI Concorso Internazionale Della Ceramica Darte Gualdo Tadino, Perugia, Italia
Address: 5, Veronica Micle St., Cernica, Ilfov county Mobile: 0040 723 235370 e-mail: danielafainis @ yahoo.com
Adresa: Mobil: e-mail:
Comuna Cernica, Ilfov, Str. Veronica Micle nr. 5 0040 723 235370 danielafainis @ yahoo.com
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theodor GRAUR
Muzeul personal constituie axul unui demers ce se construie[te din episoade efemere (inaugurat n expozi]ia de la Simeza n 1990) ca o declarat~ coborre din estetic n derizoriul cotidian, mai mult chiar, ca o op]iune ostentativ~ pentru derizoriu [i inestetic (inestetizabil, antimit), adi]ioneaz~ urmele precare ale asum~rii, ipostazierii n diversele posturi ale unui destin istoric autohton, ale unei rela]ii ironice cu arta [i cu metodologiile ei, mitizante [i demitizante n aceea[i m~sur~. T. G. abordeaz~ mitul navigatorului (politic) din cele dou~ perspective complementare, la fel de perdante. Perspectiva emigrantului (clandestin), cu precara sa recuzit~, comprimnd sumarul sau destin, [i cel al navigatorului sedentar, liber de istorie, de presiunea nostalgiilor geografice, de exigen]ele progresului (liber). Hran~ pentru art~ / Art~ pentru hran~ ofer~ sloganul ultimei triumfale abdic~ri de la libertatea declarat~, ca expresie social~, recognoscibil~. Arta accept~ termenii ecua]iei societ~]ii de consum. Libertatea sa este aceea de a deveni moneda de schimb, ntr-un sistem de valori imediat convertibile. Odat~ prefigurate aceste instan]e ale decaden]ei mitului libert~]ii, artistul liber de chiar acest mit, se expune, cu ironie, practicndu-l. n ultim~ instan]~, T. G. este un artist care opteaz~ pentru estetica dominant~ a momentului, contradictoria, conflictuala, estetic~ a postmodernismului, distan]ndu-se ironic de ea. Atent cu tot acest aparat critic de actualitate, se situeaz~ n ea, ca singura perspectiv~ ce activeaz~ [i justific~ dimensiunea trecutului ca flux cultural, denun]ndu-i actualit~]ii, germenele deja sesizabil, active, al propriei deveniri spre trecut.
A personal museum is the axis of an approach constructed from ephemeral episodes (inaugurated in the Simeza exhibition in 1990) like a declared descent from the aesthetic into laughable quotidian, even more, as an ostentatious option for the laughable and the un-aesthetic (anti-mythic) adds the perilous traces of the assumptions, manifestations of an indigenous historical destiny in different postures, of an ironic relationship with art and its methodologies, mythologized and demythologized both to the same extent. T. G. approaches the myth of the (political) navigator from two complementary perspectives, equally unpromising. The perspective of the (clandestine) immigrant, with all his poor outfit and props, summarily compressing his destiny, with that of the sedentary navigator, free from history, from the pressure of geographic nostalgia, the exigencies of (free) progress. Food for art / art for food offers the slogan for the last triumphant abdication from the declared freedom, a recognizable social expression. Art accepts the terms of the consumer societys equation. Its freedom is that of becoming an exchange currency, in an immediately convertible system of values. Once these instances of the decadence of freedoms myth are prefigured, the artist who is free of this very myth, expresses himself with irony, by practicing it. In the last resort, T. G. is an artist who chooses the dominant aesthetic of his time, a contradictory, conflictual, postmodernist aesthetic, ironically distancing himself from it. Attentive to the current critical apparatus, he places himself with respect to the present as the only perspective that activates and justifies the dimension of the past as a cultural flux, denouncing its contemporanity the already tangible, active, seeds of its own heading towards the past.
Alexandra TITU Romnii sunt navigatori sedentari (T. G.), 1999
Alexandra TITU Romanians are sedentary Navigators (T. G.), 1999
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Theodor GRAUR Camera 2 / Room nr. 2

Instala]ie / Installation
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Theodor Graur Balkania 2

Theodor Graur
Balkania 1
Theodor Graur
(sus / up)
Theodor Graur Persona 7

Theodor Graur T ransit 2

La nave 1
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Theodor GRAUR
N~scut n1953, Pog~ceaua, jude]ul Mure[, Romnia Studii: 1978
Theodor GRAUR
Born in Pog~ceaua Mure[, Romania in 1953 Education 1978 The Fine Arts Institute, Bucharest Selected Solo Exhibitions 2002 Walk (photographs), New Gallery, Bucharest 2004 T.G.- Works from the 80s and 90s from the authors collection, HT003 Gallery, Bucharest 2005 Forgotten Room, (installation), HT003 Gallery, Bucharest 2006 Made in East Europe (installation), Fabs Gallery, Warsaw Persona (installation), New Gallery, Bucharest Selected Group Exhibitions 1994 Participant with the Sao Paulo Biennial, in the Meta project of C~lin Dan 1995 Participant in E.B., the fourth international Biennial of Istanbul 1997 La Nave Romania (installation), the forty-seventh Biennial of Venice 2001 Participant in Alexandru Patatics project Context, at the Venice Biennial 2002 In Search of Balkania, Neue Gallery, (curators: Roger Connover, Eda Cufer, Peter Weibel). 2003 Blood & Honey The Future is in the Balkans, Sammlung Essl, Vienna, (curator: Harald Szeemann) Towers of Babel, art action, The State Museum, Meinz, (Curator, Gunter Minal 2004 Shake the Limits, Bucharest, (curator: Maria Rus Bojan) Opening MNAC, Bucharest, (curator: Ruxandra Balaci) Works in collections MNAC, Bucharest; Ludwig Museum, Budapest; Essl Collection, Vienna; Nchst St. Stephan, Vienna; K+K Hotel Elisabeta, Bucharest; private collections Awards and Honors 2000, 2006 Romanian Artists Union award
Institul de arte plastice, Bucure[ti
Expozi]ii personale - selec]ie: 2002 Walk, (fotografie), Galeria nou~, Bucure[ti. 2004 T. G. Lucr~ri din anii 80 & 90 din colec]ia autorului, HT003 Gallery, Bucure[ti. 2005 Camera uitat~ (instala]ie), HT003 Gallery, Bucure[ti, 2006 Made in East Europe (instala]ie), galeria Fabs, Var[ovia. 2006 Persona (instalatie), Galeria Noua, Bucure[ti, 2006. Expozi]ii collective - selec]ie: 1994 Particip~ la Bienala de la Sao Paulo, n cadrul proiectul Meta, de C~lin Dan 1995 Participare, cu E. B., la cea de a 4-a Bienal~ Interna]ional~ de la Istanbul 1997 La Nave Romania (instala]ie), a 47-a Bienal~ de la Vene]ia 2000 Transitionland, Muzeul Na]ional de Arta, Bucure[ti. 2001 Participare n cadrul proiectului Context, de Alexandru Patatics, la Bienala de la Vene]ia 2002 In Search of Balkania, Neue Galerie, Graz (curatori Roger Connover, Eda Cufer, Peter Weibel). 2003 Blood & Honey The Future is in the Balkans, Sammlung Essl, Vienna, (curator: Harald Szeemann). Towers of Babel, art action, The State Museum, Meinz, (curator: Gunter Minas). 2004 Shake the Limits, Bucure[ti (curator: Maria Rus Bojan). Opening MNAC, Bucure[ti (curator: Ruxandra Balaci). Lucr~ri n colec]ii: MNAC, Bucure[ti; Muzeul Ludwig, Budapesta; Colectia Essl, Viena; Galerie Nchst St. Stephan, Viena; K + K Hotel Elisabeta, Bucure[ti; colec]ii private. Premii: 2000, 2006 Premiul Uniunii Arti[tilor Plastici
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ion GRIGORESCU
Pentru Ion Grigorescu ruina, att n privin]a con]inutului ct [i a apari]iei ei, este n concordan]~ cu crezul lui artistic: Sunt mpotriva impunerii unui stil, de aceea nu am fost niciodat~ un pictor complet. Nu mi place s~ mi privesc lucr~rile n atelier, pentru a nu m~ sim]i ndatorat lor. Lucr~rile lui pot lua forma unor fragmente n curs de dezintegrare, se pot constitui ca interven]ii discrete, utiliznd resturi provenite din mediul cotidian sau reziduri ale caselor demolate. Atunci cnd descoper~ ntmpl~tor n natur~ mu[uroaie sau cuiburi de p~s~ri le fotografiaz~ sau le colecteaz~, deoarece acestea reprezint~ pentru el dovezi ale unei dialectici a dispari]iei [i reapari]iei care ac]ioneaz~ n lume. Practica artistic~ a lui Ion Grigorescu este marcat~ de o contradic]ie intern~; de[i aceasta se constituie adeseori printr-o nega]ie, artistul ncearc~ s~ unifice arta [i via]a, exprimndu-[i ata[amentul fa]~ de unul dintre ]elurile principale ale avangardei. Impulsul de a elibera arta de limitele ei a fost inspirat [i de exemplul lui Joseph Beuys care se considera n acela[i timp artist [i non-artist [i pentru care totul era art~ [i fiecare aspect al vie]ii putea fi abordat n mod creativ, cu inventivitate [i cu un sim] al ritualului. Exemplare pentru aceast~ atitudine sunt numeroase fotografii care l prezint~ pe Ion Grigorescu angajat n activit~]i cotidiene, investite de el cu o dimensiune ritualic~: Pentru mine, toate activit~]ile zilnice ca sp~latul hainelor, preg~tirea mesei, cump~r~turile sau munca pe [antier sunt performance-uri, sunt art~, sunt acte de supravie]uire. Artistul [i exprim~ astfel nencrederea n privin]a mijloacelor [i a misiunii artei, nencredere care p~trunde n miezul concep]iei sale despre art~, amenin]nd s~ anihileze formele ei de manifestare. Dup~ cum spunea Peter Brger, ntr-un context n care identifica modalit~]i ale rentoarcerii avangardei n arta contempoaran~: Cnd opera de art~ se interogheaz~ ast~zi asupra sensului ei, ea nu mai este animat~ de patosul revolu]ion~rii vie]ii, ci mai degrab~ de un patos al dispari]iei. ntr-adev~r, patosul dispari]iei pare s~ caracterizeze exemplar arta [i personalitatea lui Ion Grigorescu.
For Grigorescu the ruin, both in its meaning and outward appearance (his works can take the shape of fragments on the point of disintegration, inconspicuous interventions and leftovers from the everyday environment or recovered detritus from demolished houses) is in keeping with his stance as an artist: "I am against the imposition of a style, which is why I have never been a complete painter. I don't like to see my works in the studio, so I would not feel indebted to them". Whenever he stumbles upon natural formations like molehills or nests, he photographs and collects them, because they act for him as compelling evidence of a broader dialectic of disappearance and reappearance which is active in the world, indeed at the very heart of it. Ion Grigorescu's artistic practice is marked by an inner contradiction, for although his art is often built on negation, he nevertheless seeks to achieve a unification of art and life, thus expressing a commitment to this tenet, that has been so central for the avant-garde. The impulse to free art from its limitations was also inspired by the example of Joseph Beuys, who saw himself simultaneously as artist and non-artist, and for whom "everything was art, and every aspect of life could be approached creatively, with a sense of inventiveness and ritual". Indicative of this influence are numerous photographs that depict Ion Grigorescu being involved in everyday activities, which are invested by him with a ritualistic dimension: "For me, all daily tasks, like washing clothes, preparing a meal, shopping, or working in construction are performances, art, acts of survival". The artist thus voices a distrust regarding the means and mission of art, a distrust which acts at the core of his conception about art, threatening to annihilate its forms of manifestation. As Peter Brger once stated, in a context in which he was attempting to identify modalities of return of the avant-garde in contemporary art, "When the work is put into question today, it is no longer carried by the pathos of revolutionizing the everyday life, but rather by the pathos of disappearance". Indeed, the "pathos of disappearance" seems to characterize Ion Grigorescu's art and persona only too well.
Magda RADU
Magda RADU
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Ion GRIGORESCU Hermes Buddha

Ghips / Plaster 1982
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Ion GRIGORESCU Strangularea Postelnicului Cantacuzino / The strangling of Seneschal Cantacuzino

Ion GRIGORESCU Sf. Gheorghe / Saint George

Tehnic~ mixt~ pe hrtie / Mixed media on paper 1987
Ion GRIGORESCU Tenta]ii / Temptations

Tehnic~ mixt~ pe pnz~ / Mixed media on canvas 1987
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Ion GRIGORESCU Dialog postmortem cu C. / Postmortem dialogue with mister C.

Ion GRIGORESCU O singur~ camer~ / Only one room

Fotografie / Photography 1980
Ion GRIGORESCU Reportaj din Gorj / Reportage from Gorj

Ion GRIGORESCU
N~scut pe 15 martie 1945 n Bucure[ti Studii 1969
Ion GRIGORESCU
Born in Bucharest on the 15th of March, 1945 Education 1969 Graduated from the Art Institute Nicolae Grigorescu, Bucharest Selected Solo Exhibitions 1981 The Sao Paulo Biennial, curator Radu Procopovici 1990 Thirds Eye Gallery, Glasgow, Points East, Scotland, curator Andrew Nairne 1991 Wanderlieder, Stedelijk Museum Amsterdam Olanda, curator Wim Beeren 1997 Venice Biennial, curator Coriolan Babe]i 1998 The National Art Museum, Kretzulescu Hall, Bucharest (personal exhibition), curator Ruxandra Balaci 1999 Una Bisanzio Latina, Saint Marys Church del Popolo, Rome, Italy, curator Sorin Dumitrescu 2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac Performance Festival, Mcsarnok, Budapesta, Hungary, curator Beke Laszlo 2001 Double Life, Generali Foundation Vienna, Austria, curator Sabine Breitwieser Remedy for Melancholy, Edwik Kunsthalle Stockholm, Sweden, curator Anders Kreuger 2002 Auf der Suche nach Balkanien, Graz neue Gallerie, curators: P.Weibel, R. Connover 2004 Balkan Art, Thessalonica, Greece, curator Ruxandra Balaci Formate Bukarest, Kunsthalle Wien, curator tefan Tiron 2005 Lisbon, Gulbenkian Foundation, Paradoxes, Embodying the City, curator Nuno Faria 2006 Kontakte, collection Erstebank, MUMOK Vienna, Austria, curator Walter Seidl Toy, Protokol, Cluj, with Mircea Cantor 2007 Documenta 12, Kassel, Germany, curators: Cosmin Costina[, Georg Schollhammer Exit, memory, desire, October, Gallery ARTRA, Milan, Italy, curator Marco Scotini 2008 Gallery Jean-Gabriel Mitterand, Paris, France (personal exhibition) Gallery Enseigne des Oudin, Paris, France (personal exhibition) Awards and Honors 1972 Youth Award, Romanian Union of Artists 1987, 1989 Award of the art critics 1998 Award for the restoration of church painting Award from the magazine Cuvntul (The Word) Address: 23, Pitar Mo[ St., Bucharest 1, Romania Phone: 0040 21 6100842 email: grigorescu@pcnet.ro
Institutul de Arte Plastice N. Grigorescu- Bucure[ti
Expozi]ii - selec]ie 1981 Sao Paulo Biennale, curator Radu Procopovici 1990 Thirds Eye Gallery Glasgow, Points East, Sco]ia, curator Andrew Nairne 1991 Wanderlieder, Stedelijk Museum Amsterdam, Olanda, curator Wim Beeren 1997 Bienala de la Vene]ia, curator Coriolan Babe]i 1998 Muzeul Na]ional de Art~, Sala Kretzulescu, Bucure[ti (expozi]ie personal~?), curator Ruxandra Balaci 1999 Una Bisanzio Latina, Biserica S.Maria delPopolo, Roma, Italia, curator Sorin Dumitrescu 2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac Festival de performan]~, Mcsarnok, Budapesta, Ungaria, curator Beke Laszlo 2001 Double Life, Generali Foundation Viena, Austria, curator Sabine Breitwieser Remedy for Melancholy, Edwik Kunsthalle Stockholm, Suedia, curator Anders Kreuger 2002 Auf der Suche nach Balkanien, Graz neue Gallerie, curatori: P.Weibel, R. Connover 2004 Arta Balcanic~, Salonic, Grecia, curator Ruxandra Balaci Formate Bukarest, Kunsthalle Wien, curator tefan Tiron 2005 Lisabona, Funda]ia Gulbenkian, Paradoxes, Embodying the City, curator Nuno Faria 2006 Kontakte, colec]ia Erstebank, MUMOK Viena, Austria, curator Walter Seidl Juc~rii, Protokol, Cluj, cu Mircea Cantor 2007 Documenta 12, Kassel, Germania, curatori: Cosmin Costina[, Georg Schollhammer Exit, memory, desire, October, galeria ARTRA, Milano, Italia, curator Marco Scotini 2008 Galeria Jean-Gabriel Mitterand, Paris, Fran]a (expozi]ie personal~) Galeria Enseigne des Oudin, Paris, Fran]a (expozi]ie personal~) Premii - selec]ie 1972 Premiul Tineretului, UAPR 1978, 1989 Premiul criticilor de art~ 1998 Premiul pentru restaurare de pictur~ bisericeasc~ Premiul revistei Cuvntul
Adresa: Tel: e-mail:
Str. Pitar Mo[, nr. 23, sector 1, Bucure[ti 0040 21 6100842 grigorescu@pcnet.ro
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viorel GRIMALSCHI
Viorel Grimalschi mi apare drept un gnditor silit s~ se exprime, prin fatalitatea voca]iei, n limbajul picturii - o pictur~ vizionar~, imaginnd cu concrete]ea sculpturii defini]ii simbolice ale omului etern [i for]elor mistice c~rora se supune. S-ar zice c~ el este oficiantul unei religii noi [i n acela[i timp str~vechi, mbinnd dincolo de timp [i spa]iu, n c~utarea esen]ei sacrului, identit~]ile mo[tenite de la egipteni pn~ la cre[tinism. Coeren]a discursului vizual ne poart~ cu gndul la sistem. ... n senina deta[are a privirii [i n]elegerii lui se insinueaz~ teribila singur~tate a omului, nchis n propriul nveli[ vremelnic [i n propria lui idee despre instan]a care creeaz~ [i distruge, face [i desface, adncind ntr-un mereu care seam~n~ att de mult cu ve[nicia, misterul fiin]ei [i al destinului ei n lume. Pictura lui Viorel Grimalschi, auster~ pn~ la ascez~, uneori nu antreneaz~, ca sugestie, sensul unei active [i istorice finalit~]i umane, ci m~re]ia nfrico[at~ a petrecerii condi]iei umane ntr-un timp vast, f~r~ nceput [i sfr[it, indiferent la n~l]~ri [i coborri, la nvieri [i treceri n neant. Privirea care na[te imaginea picturii invoc~ privirea Sfinxului, mb~tat~ de propria lui nemi[care [i t~cere, dominnd timpul prin atta efemer~ moarte, a[teptnd ca el s~ se reverse ca o ap~ a vie]ii, egal [i pur, dintr-un viitor c~ruia nu-i putem nici m~car ntrez~ri hotarele.
Viorel Grimalschi appears to me to be a thinker forced to express himself, through the fatality of vocation, in the language of painting - a visionary painting, imagining with the concreteness of sculpture the symbolic definitions of eternal man and the mystical forces to which he is subjected. It could be said that he is the priest of a new, but at the same time ancient religion combining beyond space and time, through the search for the essence of the sacred, the identities inherited from the Egyptians to Christianity. The coherence of the visual discourse suggests that we are dealing with a system. ... In the detachment of his gaze an understanding the terrible loneliness of man is insinuated, closed inside his own ephemeral wrappings and his own idea about the force that creates and destroys, makes and unmakes, deepining into an always that is so similar to eternity, the mystery of being and of its destiny in the world. The painting of Viorel Grimalschi, austere to the point of asceticism, sometimes does not leave in its wake (as a suggestion) the meaning of active, historic human finality, but the dreadful greatness of the human condition over a vast period of time, without beginning or end, indifferent to the ascents and descents, resurrections and passages into the void. The gaze that gives birth to the paintings images the gaze of the Sphynx intoxicated with its own steadfastness and silence, dominating time through such an ephemeral death, awaiting its outpoor like the water of life, clear and pure, from a future whose borders we can hardly see.
Cornel Radu CONSTANTINESCU 22 iunie 1990, Contemporanul
Cornel Radu CONSTANTINESCU Contemporary, the 22nd of June, 1990
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Viorel GRIMALSCHI Curtea / Courtyard

Ulei pe pnz~ / Oil on canvas
Viorel GRIMALSCHI Cerdac la Cozia / Porch at Cozia

Viorel GRIMALSCHI Curte la Livezi / Courtyard at Livezi

Viorel GRIMALSCHI Bolta de vi]~ / Vineyard

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Viorel GRIMALSCHI Flori / Flowers

Viorel GRIMALSCHI P~r / Peartree

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Viorel GRIMALSCHI
N~scut n 1947 la Podoleni, jud. Neam], Romnia Studii 1971
Viorel GRIMALSCHI
Born in Podoleni, Neam] County, Romania, in 1947 Education 1971 Graduated Nicolae Grigorescu Institute, with a degree in monumental painting
Institutul "N. Grigorescu", Bucure[ti, sec]ia pictur~ monumental~
Expozi]ii personale - selec]ie 1974 Galeria Orizont, Atelier 35, Bucure[ti (cu sculptorul Adrian Popovici) 1990 Galeria Simeza, Bucure[ti 2001 Prim~ria sectorului 3, Bucure[ti 2002 Centrul cultural Mogo[oaia Particip~ri la expozi]ii tematice - selec]ie 1999 "Sacrul n art~", Galeria Parlamentului, Bucure[ti "Timpul n artele spa]iului", Salonul de art~, Bucure[ti 2001 "Arta sacr~ - Restaurare [i crea]ie", Galeria Apollo, Bucure[ti 2004 "Vizitndu-l pe Velzquez", Galeria Artexpo, Bucure[ti Expozi]ii de grup n str~in~tate - selec]ie 1979 "Festivalul interna]ional de pictur~", Cagnes-Sur-Mer, Fran]a 1986 "Arta romneasc~", The Hall Galleries, Londra, Glasgow, Marea Britanie 1994 "Zilele culturii romne[ti n Anglia", Londra, Marea Britanie 2005 "Arta romneasc~ religioas~", Belgrad, Serbia 2006 "Art~ [i spiritualitate romneasc~", Kiev [i St. Petersburg, Rusia "Arta romneasc~", Academia di Romania, Italia, Roma Premii 1979 1989 1999 2000 2005
Selected Solo Exhibitions 1974 Gallery Orizont, Studio 35, Bucharest (with sculptor Adrian Popovici) 1990 Gallery Simeza, Bucharest 2001 City Hall of sector 3, Bucharest 2002 Cultural Center of Mogo[oaia Participation in thematic exhibitions (selection) 1999 The Sacred in Art, Parliament Gallery, Bucharest Time in the Arts of Space, Art Salon, Bucharest 2001 Sacred Art Restoration and Creation, Apollo Gallery, Bucharest 2004 Visiting Velzquez, Artexpo Gallery, Bucharest Selected Group Exhibitions 1979 International Painting Festival", Cagnes-Sur-Mer, France 1986 Romanian Art, the Hall Galleries, London, Glasgow, Great Britain 1994 The Romanian Culture Days in England, London, Great Britain 2005 Romanian Religious Art, Belgrade, Serbia 2006 Romanian Art and Spirituality, Kiev and St.Petersburg, Russia Romanian Art, Romanian Academy, Italy, Rome Awards and Honors 1979 Special Mention, Cagnes-Sur-Mer, France 1989 The Union of Artists award for monumental art 1999 The Earth and Art Award, Art Salon, Bucharest 2000 The Union of Artists. Award for Restoration 2005 The Union of Artists. Award for Restoration of Mural Painting
"La Mention speciale du jury", Cagnes-sur-Mer, Fran]a Premiul U.A.P. pentru Art~ monumental~ Premiul "P~mntul [i arta", Salonul de art~, Bucure[ti Premiul U.A.P. pentru Restaurare Premiul U.A.P. pentru Restaurare pictur~ mural~
Adresa: Mobil:
Str. Vechii Bucure[ti Noi, nr. 62A, s 1, Bucure[ti, Romania 0040 726 200773
Address: 62A, Vechii Bucure[ti Noi St., Bucharest 1, Romania Mobile: 0040 726 200773
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gheorghe IACOB
Gheorghe Iacob ajunge la o sintez~ str~lucitoare a geometriei [i a culorii. El a [tiut s~ p~streze bogatele armonii ale unei tradi]ii romne[ti care s-a rostit n covor [i n ]es~turi, n costum [i-n icoane pe sticl~, n toate obiectele ie[ite dintr-un artizanat ]~r~nesc care, f~r~ ndoial~, e unul din cele mai minunate din Europa. Aceast~ culoare vibrant~, Iacob a pus-o n serviciul unui proiect intelectual asemenea aceluia care i-a animat odinioar~ pe arti[tii constructivi[ti [i care se poate rezuma ca un spectacol al lumii ordonat dup~ canoanele geometriei. ns~ arce, triunghiuri, linii drepte sau frnte sunt purtate de un suflu care le d~ un dinamism straniu. Formele se mi[c~ sub privire [i caut~ parc~ a se logodi cu fervoarea fauve a culorii care le str~bate. Nu po]i aproxima un sus [i un jos, ntr-att pulsa]ia tabloului se vrea liber dezm~rginit~. Iar timpul, la rndul lui, i se a[terne pictorului n chip imperturbabil. S~-l urm~m f~r~ exces livresc [i f~r~ grimas~, pa[ii lui mi pare c~ traduc n]elepciunea unui acord fundamental, ntre vocea insului creator [i ntinderile nem~surate ale lumii. L'Arche, 28 XI 1968 Dan HULIC Pre[edinte de Onoare al Asocia]iei Interna]ionale a Criticilor de Art~
Gheorge Iacob achieves a brilliant synthesis of geometry and color. He knew how to preserve the rich harmonies of a Romanian tradition that found its fulfillment in carpets and in weaving, in costumes and in icons painted on glass, in all the objects that come from a peasant craft that, is without doubt, one of Europes most splendid. Iacob used vibrant colors in the service of an intellectual project similar to the one that animated the constructivist artists of days gone by, and that can be summarized as a spectacle of a world ordered according to geometrical canons. However, arcs, triangles, straight or bent lines are carried by a breath that gives them a strange dynamism. The forms move under our gaze and seem to long for a fervent union with the fauve colors that penetrate them. You cannot identify an up or a down in such pulsation of the painting that desires unbridled freedom. And time, in its turn, is poured out to the painter in an unperturbed way. We should follow him without excessive bookishness and without pretense; his steps seem to translate the wisdom of a fundamental balance between the voice of the isolated creator and the inmeasurable expanse of the world. LArche, the 28th of November, 1968 Dan HULIC Honorary President of the International Association of Art Critics
Gheorghe IACOB F~r~ titlu / Without title

Ulei pe pnz~ / Oil on canvas 1986
Gheorghe IACOB P~pu[arul / Pupeteer

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Gheorghe IACOB Suprapunere / Overlapping

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Gheorghe IACOB Devenire / Becoming

Gheorghe IACOB Seninul din semne / The limpidity of sings

Ulei pe pnz~ / Oil on canvas (nedatat)
Gheorghe IACOB Vestigii galbene / Yellow traces

Gheorghe IACOB
N~scut la 5 septembrie 1925 n comuna Scutelnici, jud. Buz~u Studii 1946 -1953
Gheorghe IACOB
Born in Scutelnici village, Buzau County, on September 5th 1925 Education 1946-1953
Institutul de Arte Plastice N. Grigorescu
Art Institute Nicolae Grigorescu
Expozi]ii personale - selec]ie 2008 Revela]iile unei sinteze n 3 expozi]ii, Sala Dalles, Palatul Mogo[oaia, Galeria Dialog a Prim~riei Sectorului 2 Expozi]ii de grup n ]ar~ - selec]ie 1967 Expozi]ia prilejuit~ de Colocviul Interna]ional "Brncu[i" 1967 Expozi]ia Ora[ului Bucure[ti 1972-73 Expozi]ia 25 de ani de Art~ romneasc~", la Muzeul Na]ional de Art~ 1974 Expozi]ia"Art~ [i energie", Galeria Nou~ 1975 Expozi]ia "Arta [i ora[ul", Galeria Nou~ 1975 Expozi]ia Arti[tii plastici [i omul", Galeria Nou~ 1978 Expozi]ia Colectiv~; / Studiul, Galeria Bastion, Timi[oara 1984 Expozi]ia de Art~ Plastic~ Romneasc~ - U.N.E.S.C.O., Paris, Fran]a 1996 Expozi]ia Filialei U.A.P., Bucure[ti Expozi]ii de grup n str~in~tate - selec]ie 1966 Plovdiv, Bulgaria 1967 Expozi]ia Interna]ional~ de Sculptur~, Parcul Middelheim, Anvers, Belgia 1968 Six jeunes peintres Roumains, Galeria Lambert, Paris, Fran]a 1969 8 arti[ti romni, Mesdag, Haga, Olanda 1970 Expozi]ie de Art~ Romneasc~, Torino, Italia 1974 Expozi]ia de Pictur~ Romneasc~, Damasc, Siria; Teheran, Iran 1984 Expozi]ia Romneasc~ de Art~ Contemporan~, Mannheim, Germania Expozi]ie de pictur~, Muzeul Na]ional de Art~ Contemporan~, Atena, Grecia 1990 Expozi]ie Municipal~, Lyon, Fran]a Premii, decora]ii - selec]ie 1958 Premiul Uniunii Arti[tilor Plastici din Romnia, pentru Pictur~ 1971, 1978 Premiul pentru Art~ Monumental~ a U.A.P., Bucure[ti 2004 Meritul Cultural n gradul de Comandor
Selected Solo Exhibitions 2008 Revelations of a Synthesis in three exhibitions, Dalles Hall, Mogo[oaia Palace, the Dialogue Gallery of sector 2 City Hall; Bucharest Selected National Group Exhibitions 1967 Exhibition on the occasion of The International Symposium Brncu[i 1967 Exhibition of the City of Bucharest 1972-73 Exhibition 25 Years of Romanian Art, at the National Art Museum 1974 Exhibition Art and Energy, New Gallery 1975 Exhibition Art and the City, New Gallery 1975 Exhibition Fine Arts and Man, New Gallery 1978 Collective Exhibition, The Study, Bastion Gallery, Timi[oara 1984 Exhibition of Graphic Romanian Art U.N.E.S.C.O. Paris, France 1996 Exhibition of the Union of Artists, Bucharest Selected Group Exhibitions 1966 Plovdiv, Bulgaria 1967 The International Art Exhibition, Middelheim Park, Anvers, Belgium 1968 Six Young Romanian Painters, Lambert Gallery, Paris, France 1969 Eight Romanian Artists, Mesdag, Hague, Holland 1970 Romanian Art Exhibition, Turin, Italy 1974 Exhibition of Romanian Painting, Damascus, Syria, Tehran, Iran 1984 Contemporary Romanian Art, Mannheim, Germany Painting Exhibition, National Museum of Contemporary Art, Athens, Greece 1990 City Exhibition, Lyon, France Awards and Honors 1958 Award of the Romanian of the Artists Union for painting 1971, 1978 Award for Monumental Art of the Artists Union, Bucharest 2004 Cultural Merit order in the rank of Commander
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constantin LUCACI
SCULPTND LUMINA Este tulbur~tor cnd vezi prima dat~ sculpturile n o]el inoxidabil (crom, nichel [i molibden) ale lui Constantin Lucaci. O lumin~ metalic~, metafizic~, lunar~, care-]i gole[te spiritul, punnd n mi[care imaginarul. Lumina din zori: curat~, vibrant~, abia n~scut~. Asemenea celei ce trebuie s~ se fi ivit, ntr-o sublim~ extensie n indefinibil, la originile cosmosului. Un cosmos n dilatare, f~r~ frontiere, plutind n tenebre, lipsit de via]~ [i de ritmul pulsant care marcheaz~ timpul [i organizeaz~ spa]iul. Lumina este prima oper~ de crea]ie pe care a cunoscut-o universul. Scripturile povestesc c~ Dumnezeu a desp~r]it lumina de ntuneric". A creat lumina, f~cnd ca ntunericul s~ capete form~, culoare [i mi[care. Informul [i-a nceput, astfel, uimitoarea istorie a formelor infinite, a c~ror crea]ie continu~. Culorile, izvorte din mirajul luminii, au pornit s~ se multiplice n vibra]ii f~r~ de limite. Mi[carea, precum apele v~lurite ale m~rii, a ndrumat Geneza infinitului, necuprins~ de gndul sau de cuvntul omului. Via]a a izbucnit [i s-a descoperit notnd liber~ n apa luminoas~. Lumina a nceput s~ sculpteze istoria. Sculptura lui Lucaci s-a n~scut, nc~ de la nceput, dintr-o viziune luminoas~, din c~l~toria interioar~ a luminii. O lumin~ care i-a ar~tat Maestrului valoarea ritmului [i a muzicalit~]ii compozi]iei clasice, crescnd ntr-o [lefuire figurativ~, sculptat~ doar de lumin~. Lumina care creeaz~ forma, dinamizeaz~ spa]iul, nsufle]e[te emo]ia, sugereaz~ [i trimite spre infinit. Infinitul vie]ii ce nu ng~duie crea]iei odihn~. Pietro AMATO 2005
CARVING LIGHT When seeing Constantin Lucaci's stainless steel sculptures (made of chrome, nickel and molybdenum) for the first time, one is thrilled. A metallic, metaphysical, lunar light, which empties the soul and sets imagination into motion. A break of daylight: pure, vibrant, freshly born. Like the one that must have dawned at the beginning of the cosmos, as a sublime extension in the indefinable. The dilating, limitless cosmos, drifting in the darkness, lifeless, free of the tempo that measures time and organizes space. Light was the first created work in the Universe. The sacred texts tell us that God separated light from darkness. He created light - and thus darkness acquired form, colour and motion. Shapelessness thus started its amazing, endless history, turning into infinite forms, the creation of which is still in progress. Colours, miraculously sprung from light, set up to multiply in limitless vibrations. Motion, like the sea's curly waves, led to the genesis of the infinite, unbound by man's mind or discourse. Life burst and revealed itself, swimming freely in the bright waters. And so, light started to carve history. Since the very beginning, Lucaci's sculptures have come to life out of a shining vision, on an inner journey of light. Light that showed the Master the value of rhythm and the musicality of classic composition, chiselled into figurative polishing through light and light only. Light that creates the shape, enlivens the space, sparkles emotion and suggests the infinite. The infinite of life that allows creation no rest. Pietro AMATO 2005
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Constantin LUCACI Spa]iu [i lumin~ / Space and Light

O]el inox / Stainless steel 80 x 60 x 28 cm 2005

O]el inox / Stainless steel 80 x 65 x 45 cm 2003
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Inox / Stainless steel 1986
79

O]el inox / Stainless steel 1989

O]el inox / Stainless steel 1988
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Constantin LUCACI
N~scut pe 7 iulie 1923, n localitatea Boc[a (Banat) Studii 1945 1953
Constantin LUCACI
Born on July 7, 1923 in Boc[a (Banat), Romania Education 1945 Attended the courses of the "Guguianu" Free Academy of Arts in Bucharest, Romania 1953 Graduated from the "Nicolae Grigorescu" Fine Arts Institute 1963 Attended courses at the Fine Arts Academy "Pietro Vannucci", Perugia, Italy Since 1988 Member of the international jury of the Biennale of Art dedicated to Dante, Ravenna, Italy Since 1993 Professor at the Fine Arts Academy, Sculpture Department, Cluj, Romania Selected Solo Exhibitions 1974 Space and Light, Dalles Hall, Bucharest, Romania 1976 Biennale in Venice, Italy 1982 Exhibition at Pallazzo dei Diamanti, Benvenuto Tissi Hall, Ferrara 1983 Editalia Gallery, Roma, Italy 1986 Plffy Palace, Vienna, Austria 1992-1993 Kara Gallery, Geneva, Switzerland Selected Participations in International Exhibitions 1954 Biennale di Venezia, Italy 1967 Middelheim Sculpture Park, Antwerp, Belgium 1975 "Plastik und Bulmen", Berlin, Germany Works of Constantin Lucaci are to be found in the main museums in Romania and in many state and private art collections abroad: Antwerp, Belgium; Copenhagen, Denmark; Venice, Rome, Milan, Ferrara, Italy Awards and Honors 1982 "Knight of the Italian Republic" Order of Merit 1984 Herder Prize of the University of Vienna, Austria 1999 Gold Medal at the International Biennale of Art dedicated to Dante, Ravenna, Italy 2001 Award of the Romanian Cultural Foundation
Frecventeaz~ Academia Liber~ de Art~ Guguianu", Bucure[ti Licen]iat al Institutului de Arte Plastice Nicolae Grigorescu, Bucure[ti 1963 Academia de Belle Arti Pietro Vannucci de la Perugia, Italia Din 1988 Membru n juriul interna]ional la Bienala Dantesca, Ravenna, Italia Din 1993 Profesor la catedra de sculptur~ a Academiei de Belle Arte din Cluj-Napoca Expozi]ii personale - selec]ie 1974 Spa]iu [i Lumin~", Sala Dalles, Bucure[ti 1976 Bienala de la Vene]ia, Italia 1982 Expozi]ie la Palazzo dei Diamanti, sala Benvenuto Tissi", Ferrara, Italia 1983 Galeria Editalia, Roma, Italia 1986 Muzeul Palatului Plffy, Viena, Austria 1992-1993 Galeria Kara, Geneva, Elve]ia Particip~ri 1954 1967 1975 expozi]ii interna]ionale - selec]ie Bienala de la Vene]ia, Italia Parcul de sculptur~, Middelheim, Anvers, Belgia Plastik und Blumen, Berlin, Germania
Lucr~rile artistului se afl~ n principalele muzee din ]ar~ [i n colec]ii de stat [i private la: Vene]ia, Roma, Milano, Ferrera, Italia; Anvers, Belgia; Copenhaga, Danemarca Premii - selec]ie 1982 Ordinul Cavaler al Meritului Republicii Italiene" 1984 Premiul Herder", Universitatea din Viena, Austria 1999 Medalia de aur a Bienalei Interna]ionale Dantesca, Ravenna, Italia 2001 Premiul Funda]iei Culturale Romne
Adresa: Str. Av. Theodor Iliescu, nr. 3-7, sector 1, Bucure[ti, Romania Tel / Fax: 0040 21 2311494 Tel. atelier: 0040 21 2304820 www.geocities.com/lucaci_constantin
Address: 3-7, Theodor Iliescu Av., Bucharest 1, Romania Phone / Fax: 0040 21 2311494 Phone studio: 0040 21 2304820 www.geocities.com/lucaci_constantin
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sultana MAITEC
Pictura Sultanei Maitec este un drum spre sud. Aurul: plaja, marea, soarele, turgescen]a ofensiv~ a fructului circumscriu, laolalt~, o aspira]ie (sau o surs~) meridional~, a c~rei emblem~ e, nu ntmpl~tor, Pomona, zei]a gr~dinilor [i a roadelor. Un mic studiu din 1955, v~dind o foarte matur~ dota]ie plastic~ de tip "central-european", e punctul de pornire, ndep~rtat, al acestei evolu]ii, care avanseaz~, mereu, spre Europa sudului. Mijloacele se simplific~, se sacrific~ aproape, pentru a se ajunge - c~tre sfr[itul anilor '60 - la o gesticula]ie radical~, la o viziune de mari suprafe]e destinse, de tente cromatice ample, care vorbesc cu o elementar~ vigoare [i cu o dezarmant~ sinceritate. Imaginile tind, de multe ori, s~ dispar~ n lumin~. Soarele alb apare abia perceptibil - ca un efect de timbru sec - pe o ntindere alb~. Pictura se desf~[oar~ la limita vizibilului. ntr-un spa]iu care [i pierde spa]ialitatea. Tradi]ia bizantin~ ne-a obi[nuit, de altfel, s~ socotim auriul, att de abundent n pictura Sultanei Maitec, ca pe o pojghi]~ vizibil~ a nev~zutului, ca pe un ve[mnt al spa]iului f~r~ de spa]iu. i totu[i, nu de aurul Bizan]ului e vorba aici: nu de Balcani, ci de Mediterana. Nu fundalul aurit al icoanei e analogia corect~ n statuile chrysoelephantine din Athena clasic~. E, cu alte cuvinte, un aur p~gn, cosmogonic, un fel de substan]~ primordial~. ntr-o Pomon~ din 1983, el transpare, de altfel, ca un substrat necesar, sub ro[ul surd al ctorva mere. Iar cnd se ntmpl~ invers, cnd ro[ul iese deasupra aurului, din el s-ar spune, aurul nc~ [i p~streaz~ func]ia lui de "obr[ie", de temei atotn~sc~tor. Ro[ul, cu implica]ia lui caloric~, e, de altfel, tot un semn al sudului: n China veche, sudul avea drept corespondent simbolic o pas~re ro[ie. Ct despre verde, prezent [i el masiv n expozi]ia Sultanei Maitec, el nu e, n fond, dect un galben r~corit de albastru, un auriu devenit materie, cum [i lujerul verde al plantei e lumin~ solar~, devenit~ materie.
Sultana Maitecs paintings are a journey towards the south. The gold: the beach, the sea, the sun, the aggressive swelling of the fruit come together to give shape to an aspiration (or a source) that is meridional, whose emblem is Pomona, not by chance the garden and fertility goddess. One small study from 1955, revealing a very mature talent of a central European type, is punctuated by the beginning , far away of this evolution that always advances towards Southern Europe. The means are simplified, almost sacrificed in order to arrive towards the end of the 60s at a radical gesture at a vision of an expansive surface, of ample chromatic hues that speak with an elemental vigor and with a disarming sincerity. The images tend, oftentimes, to disappear into the light. The white sun seems barely perceptible as an effect of dry tonality on a white expanse. The paintings unfold at the limits of the visible. In a space that loses its spatiality. Byzantine tradition has familiarized us, however, to consider gold, so abundant in Sultana Maitecs paintings, as a visible sign of the unseen, as a vestment of space that has no space. However, this is not the Byzantine gold: these are not of the Balkans, but the Mediterranean. The golden background of icons is not the correct analogy for the chryselephantine statues of classical Athens. In other words, this is a cosmogenic, pagan gold, a kind of primordial substance. In a Pomona from 1983 it shined through, like a necessary substratum under the dull red of a few apples. And when the opposite happens, when the red spills over the gold, from within it, you could say, the gold still performs its role as the root of the theme giving birth to all. Red, with its caloric implications is, in a way, also a sign for the South: in ancient China the south had a red bird as its symbolic correspondent. As for the green, also very present in the exhibition of Sultana Maitec, it is, in essence, only a yellow cooled by blue, a gold that has become material, just as the green stalk of plants is the light of the sun, turned into matter.
Andrei PLEU Spre Sud, Sultana Maitec (catalog), 1988
Andrei PLEU Towards the South, Sultana Maitec (catalog), 1988
Sultana MAITEC Pomona

Ulei pe pnz~, foi]~ de aur / Oil on canvas, gold leaf
Sultana MAITEC Soare negru / Black sun

Ulei pe pnz~, foi]~ de aur / Oil on canvas, gold leaf 2001
84
Sultana MAITEC Pomona

Sultana MAITEC Soare / Sun

85
Sultana MAITEC Menina

Sultana MAITEC Marea neagr~ / Black Sea

86
Sultana MAITEC
N~scut~ la Livezi, Grecia Studii 1955 Academia de Arte, Bucure[ti Debut expozi]ional, membr~ a Uniunii Arti[tilor Plastici Bucure[ti. Expozi]ii personale selec]ie 1967 Expozi]ie personal~, Sala Dalles, Bucure[ti 1968 Expozi]ie personal~, Sala Dalles, Bucure[ti 1992 Galeria "Art of the Century", Paris 1993 Centrul Cultural Romn, Paris 2000 Muzeul ~rii Cri[urilor 2001 Muzeul Na]ional de Art~ al Romniei Particip~ri 1969 1971 1979 1984 1986 1987 la expozi]ii romne[ti peste hotare - selec]ie Torino, Italia; Tel Aviv, Israel Dsseldorf, Germania Accademia di Romania, Roma, Italia Pinacoteca Na]ional~, Atena, Grecia The Mall Galleries, Londra, Anglia Glasgow, Anglia
Sultana MAITEC
Born in Livezi, Greece Education 1955 The Art Academy of Bucharest Debut, as member of the Artists Union of Bucharest Selected Solo Exhibitions 1967 Personal Exhibition, Dalles Hall, Bucharest 1968 Personal Exhibition, Dalles Hall, Bucharest 1992 Art of the Century Gallery, Paris 1993 Romanian Cultural Center, Paris 2000 The Museum of the Cri[ County 2001 National Art Museum of Romania Selected Romanian Exhibitions Abroad 1969 Torino, Italy;Tel Aviv, Israel 1971 Dsseldorf, Germany 1979 Romanian Academy, Rome, Italy 1984 The National Gallery of Painting, Athens, Greece 1986 The Mall Galleries, London, England 1987 Glasgow, England Selected International Exhibitions 1968 Women Painters exhibition, Edinburgh, Scotland 1983, 1985 Art against Apartheid, National Foundation for the Fine Arts, Paris, France; Lund, Sweden; Madrid, Barcelona, Spain 1991 Pentaconale Ptus, Demarco Gallery, Edinburgh, Scotland 1992 "Cit Internationale des Arts", Paris, France 1993 Homage to Mircea Eliade and Cioran, Paris, France 1994, 1995 Janne Castel, Paris, France 1998 Mcsarnok, Budapest, Hungary 2002 The European Palace of Parliament, Brussels, Belgium Awards and Honors 1975 Order for Cultural Merit 1989 Award of the Romanian Academy, Bucharest
Expozi]ii interna]ionale - selec]ie 1968 Expozi]ia Femei pictori, Edinburgh, Sco]ia 1983, 1985 - Art contre / against apartheid, Foundation Nationale des Arts Plastiques, Paris, Fran]a; Lund, Suedia; Madrid, Barcelona, Spania 1991 "Pentaconale Ptus", Demarco Gallery, Edinburgh, Sco]ia 1992 "Cit Internationale des Arts", Paris, Fran]a 1993 "Hommage M. Eliade et E. Cioran", Paris, Fran]a 1994, 1995 - "Janne Castel", Paris, Fran]a 1998 Mcsarnok, Budapesta, Ungaria 2002 Palatul Parlamentului European, Bruxelles, Belgia Premii, ordine - selec]ie 1975 Ordinul Meritul Cultural 1989 Premiui Academiei Romne, Bucure[ti
Adresa: Str. Emanoil Porumbaru nr. 14, S 1, Bucure[ti, Romnia
Address: 14, Emanoil Porumbaru St., Bucharest 1, Romania
87
gheorghe MARCU
Gheorghe Marcu este n acela[i timp artist [i poet, formele [i cuvintele se ntlnesc cteodat~ n operele sale. Metafora este profund integrat~ n vocabularul lui de crea]ie. Sculptura sa provoac~ uneori surprize, reflect~ st~rile afective ale autorului iar ele, adesea, determin~ op]iunile formale [i pe cele care privesc materialele. Ideea [i sensibilitatea, for]a expresiei [i subtilitatea sunt armonizate n universul lucr~rilor lui Gheorghe Marcu. Ironia se constituie la rndu-i n component~ a exprim~rii artistului. Figurativul [i abstractul m~r[~luiesc" mpreun~. La nceputurile sale, autorul practica o sculptur~ arhitecturalarhaizant~". Cu trecerea anilor, s-a dovedit conving~tor [i ca modelator de mici efigii, [i atunci cnd [i coloreaz~" personajele n nuan]e" fantastice, sau cnd [i construie[te discursul artistic cu ajutorul ready-made-urilor modificate. Cinele cu dou~ capete, realizat n teracot~ (Crepuscul", 1998), este rezultatul unei tulbur~toare experien]e onirice. Crepusculul se instituie n semnul for]elor contrare care se lupt~ n noi; ele ne devoreaz~, dar n acela[i timp pot s~ reprezinte vitalitatea sau chiar ndoiala n calitatea ei de condi]ie profund~ a existen]ei... Dac~ aceast~ creatur~ fantastic~ nu mai este liber~ (ci prizonier~ n coloana de c~r~mid~), nici noi nu mai suntem liberi. Adrian GU
Gheorghe Marcu is at the same time an artist and poet, forms and words meet occasionally in his works. The metaphor is profoundly integrated into his vocabulary of creation. His sculpture sometimes determine surprises; it reflects the affective states of their creator and they oftentimes determine the formal options as well as those regarding materials. The idea and sensitivity, the force and subtlety of expression are harmonized in the universe of Gheorghe Marcus works. Irony is, in its turn, a component of the artists expression. The figurative and the abstract march together. In his early period, the artist practiced an architectural-archaic sculpture. With the passing of time, he proved himself convincing as a molder of small effigies as well, when he colors his figures in fantastic nuances, or when he builds up his artistic discourse with the help of ready-mades aides. Dogs with two heads, realized in terracotta (Dusk, 1998) is the result of a troubling dream - like experience. Dusk is instituted as the sign of contrary forces that fight within us; they devour us and at the same time are able to represent vitality or even doubt in their quality as the profound condition of existence If this fantastic creature is no longer free (but a prisoner of the brick column), nor we are free any longer. Adrian GU
89
Gheorghe MARCU Punte / Bridge

Lemn [i piatr~ / Wood and stone 1994
Gheorghe MARCU Citadela / Citadel

Lemn / Wood 1995
Gheorghe MARCU Zidire / Walling -in

C~r~mid~, ceramic~ / Brik, ceramic 1998
Gheorghe MARCU T ronul conjugal / Marital Throne

Ceramic~ [i metal / Ceramic and metal 1998
91
Gheorghe MARCU Crepuscul / Dusk

Ceramic~ / Ceramic 1998
Gheorghe MARCU 12
Instala]ie, metal [i piatr~ / Installation, metal and stone Gala]i, 1995
92
Gheorghe MARCU
N~scut pe 6 februarie 1952 n comuna Pietro[ani, jud. Arge[ Studii 1981
Gheorghe MARCU
Born in Pietrosani village, Arges County, on February 6, 1952 Education 1981 Graduated the Fine Arts Institute Nicolae Grigorescu, Bucharest Member of the Romanian Artists Union Lecturer at the National University of Arts, Bucharest Selected Solo Exhibitions 1998 Lord of His Dogs, Simeza Gallery, Bucharest Selected International Exhibitions 1985 Experimental Art, Budapest, Hungary Day Art, Budapest, Hungary 1986, 1987, 1988 Impact Art Festival, Kyoto, Japan 1992 Biennial Drawings of Sculptors, Budapest, Hungary 1995 De Gele Rijder Gallery, Arnhem, Holland (group exhibition) 2001 International Drawing Biennial Joseph Amat, Spain 2007 Contemporary Romanian Sculpture, Museum Ianchelevici, La Louvire, Belgium Selected Sculpture Symposiums 1983 M~gura, Buz~u (stone) 1985, 1987 Oarba de Mure[, Mure[ (stone) 1991, 1995 Gala]i (metal) 1992 Earth-Sign-Earth, Gustrow, Germany 2000 The Florean Museum Foundation, Baia Mare 2006 Sculpture in Metal, Triade Garden, Timi[oara 2007, 2008 Sngeorz B~i Awards and Honors 1988 Youth Award, Cluj-Napoca 1998 Award of the Mayor of Bucharest, City Salon
Absolvent al Institutului de Arte Plastice "Nicolae Grigorescu", Bucure[ti Membru al Uniunii Arti[tilor Plastici din Romnia Lector la Universitatea Na]ional~ de Arte, Bucure[ti
Expozi]ii personale - selec]ie 1998 St~pnul cinilor s~i, Galeria Simeza, Bucure[ti Expozi]ii interna]ionale - selec]ie 1985 "Experimental Art", Budapesta, Ungaria "Day Art", Budapesta, Ungaria 1986, 1987, 1988 "Impact Art Festival", Kyoto, Japonia 1992 Bienala "Desene de sculptor", Budapesta, Ungaria 1995 Galeria De Gele Rijder, Arnhem, Olanda (grup) 2001 Bienala interna]ional~ de desen "Josep Amat", Spania 2007 Sculptura contemporan~ romneasc~, Muzeul Ianchelevici, La Louvire, Belgia
Simpozioane de sculptur~ - selec]ie 1983 M~gura, Buz~u (piatr~) 1985,1987 Oarba de Mure[, Mure[ (piatr~) 1991, 1995 Gala]i (metal) 1992 Simpozionul "P~mnt-semn-p~mnt", Gustrow, Germania 2000 Funda]ia Muzeul Florean, Baia Mare 2006 Simpozionul de sculptur~ n metal, Gr~dina Triade, Timi[oara 2007, 2008 Sngeorz B~i
Premii 1988 1998
Premiul tineretului, Cluj-Napoca Premiul Primarului capitalei, Salonul Municipal, Bucure[ti
Adresa: Atelier: Tel: Mobil:
Str. G-ral Berthelot 99, corp B, apart. 2, s 1, Bucure[ti, Romania Str. Olimpului 2, s 4, Bucure[ti, Romania 0040 21 3164600 0040 720 095742
Studio: Address: Tel: Mobile:
2, Olimpului St., Bucharest 4, Romania 99, G-ral Berthelot St., Bucharest 1, Romania 0040 21 3164600 0040 720 095742
93
viorel MRGINEAN
Culoare n mi[care, pas~re zburnd~, snge al privirii, negru de p~mnt. Ah, voi ochi, risipi]i pretutindeni n p~mntul n care suntem, n p~mntul n care sunt. Splendoare a vederii din afar~ vol doiseau cum ar spune alt~ dat~ Baudelaire, el nsu[i ndr~gostit de pictorii lui. Ce vis [i ct~ lini[te! Ce pat cu vise! Ce fluturi! Artistul realizeaz~ lini[tea nelini[tii. Nici nu mai sunt p~s~ri, sunt sentimente de p~s~ri! Dac~ vulturii ar clipi, dac~ pe[tii ar clipi, dac~ pas~rea [i-ar clipi ea ns~[i zborul, ah, dac~ pietrele ar avea pleoape [i ar clipi din ele! Vede]i ce ar vedea! Gndi]i ce ar vedea! Ce coroan~ de ochi poate s~ aib~ zborul lui! Ce vedere de vederi ale vederii poate s~ aib~ pas~rea lui, minunata lui pas~re. El se uit~ cu to]i ochii no[tri, de aceea l iubim, de aceea l stim~m. Iat~-ne, ntr-un fel, pe to]i privind, de acolo, din tandra lui alc~tuire de culori! Realul se scurge fin n vis, iar paradisul se scurge n p~mnt. Acest om este tot numai gnd. Acest om este tot numai gnd! Cntecul lui e n zbor, culorile lui curg aidoma trecerii timpului prin irisul nostru. M~rginean! N-o fi avnd el vreun bunic vultur de a prins n creier atta zbor! nf~ptuirea e grea, e delicat~, materialul zborului e dur, pana e trec~toare, soarele etern
Colors in motion, flying bird, the look is blood, earths black. Ah, you eyes, spread out everywhere on the earth which we are in, the earth in which I am. The splendor of seeing from the outside vol doiseau as Bauldelaire once said, he himself in love with his painters. What dream, and what peace! What bed of dreams! What butterflies! The artist realizes the peace of the lack of peace. There are no more birds, they are the feelings of birds! If the eagle were to wink, if the fish winked, if the bird winked its own flight, ah, if rocks had eyelids they would wink! See what they would see! Think what they would see! What crown of eyes his flight could have! What sight of sights sight could his bird have, his miraculous bird. He looks with all our eyes, that is why we love him, why we honor him. Look at us, in a way, all of us looking, from there, from his gentle construction of colors! The real finely drains into dream, and paradise drains into earth. This man is wholly thought. This man is wholly thought! His song is in flight, his colors flow simultaneously with the passage of time through our iris. M~rginean! Has he an eagle for a grandfather that so much flight has caught in his mind! Accomplishment is hard, it is delicate, the material of flight is harsh, the feather is passing, the sun is eternal
Nichita STNESCU Culorile zborului
Nichita STNESCU The Color of Flight
95
Viorel MRGINEAN Coco[i pe fond ro[u / Roosters on a red field

Viorel MRGINEAN Pas~rea [i mediul / The Bird and the environment

96
Viorel MRGINEAN Zbor / Flight

97
Viorel MRGINEAN Soare ascuns / Hidden sun

Viorel MRGINEAN Peisaj ritmat / Rhythmic landscape

Viorel MRGINEAN Petale pe trotuar / Petals on the pavement

98
Viorel MRGINEAN
N~scut pe 12 decembrie 1933 n comuna Cenade, jude]ul Alba. Studii 1953-1959 Institutul de Arte Plastice Nicolae Grigorescu, Bucure[ti, clasa profesor Ioan Maric. 1958 Debuteaz~ la Expozi]ia interregional de pictur~, sculptur~ [i grafic~, Bucure[ti, sub pseudonimul Gheorghe Sandu. 1981 Membru al Academiei Europene de tiin]e, Arte [i Litere, Paris 1999 Membru al Academiei Interna]ionale de Art~ Modern~, Roma 2006 Membru de onoare al Academiei Romne Expozi]ii personale 1970 Sala Dalles, Bucure[ti Galeria Hartmann, New York, SUA 1974 Galeria Lbke, Hamburg, Germania 1979 Galeria Bausback, Mannheim, Germania 1980 Palatul Palffy, Viena, Austria 1983 Expozi]ia retrospectiv~ de la Sala Dalles, Bucure[ti 1988 Galeria Kutscha, Salzburg, Austria 1992 Palatul UNESCO, Paris, Fran]a 1993 Accademia di Romania, Roma, Italia Institutul Cultural Romn, Viena, Austria 1995 Muzeul Brukenthal, Sibiu 1996 Muzeul de Art~, Craiova Institutul Cultural Romn, Madrid, Spania 2003 Muzeul Na]ional de Art~ al Romniei 2006 Parlamentul European - Bruxelles, Belgia Premii 1981
Viorel MRGINEAN
Born on December 12, 1933 in Cenade, district Alba. Education 1953-1959 Fine Arts Institute Nicolae Grigorescu, Bucharest, the class of professor Ioan Maric. 1958 Debut at the Interregional Painting, Sculpture and Graphics Exhibition, Bucharest, under the pseudonym Gheorghe Sandu. 1981 Member of the European Academy of Sciences, Arts and Letters, Paris, France 1999 Member of the International Academy of Modern Art, Rome, Italy 2006 Honorary Member of the Romanian Academy Selected Solo Exhibitions 1970 Dalles Hall, Bucharest Hartmann Gallery, New York, USA 1974 Lbke Gallery, Hamburg, Germany 1979 Bausback Gallery, Mannheim, Germany 1980 Palffy Palace, Vienna, Austria 1983 Retrospective exhibition at the Dalles Hall, Bucharest 1988 Kutscha Gallery, Salzburg, Austria 1992 UNESCO Palace, Paris, France 1993 Accademia di Romania, Rome, Italy Romanian Cultural Institute, Vienna, Austria 1995 Brukenthal Museum, Sibiu 1996 Museum of Art, Craiova Romanian Cultural Institute, Madrid, Spain 2003 Romanian National Museum of Art 2006 European Parliament - Brussels, Belgium Awards and Honors 1981 Great Award Trionfo 81, Rome The Homage to Picasso Award, Rome 1984 Great Award of the Romanian Artists Union 1995 Diploma "Ad Honores" of the European Arts Academy. 2003 National order "Faithful Service" in the rank of Knight 2004 The "Ion Andreescu" Award, Romanian Academy 2005 The "Star of Solidarity order Commendatore II Classe", awarded by the President of Italy
1984 1995 2003 2004 2005
Marele Premiu Interna]ional Trionfo 81 acordat de Sindicatul Liber Italian al Arti[tilor Profesioni[ti, Roma Premiul Omagiu lui Picasso acordat de Centrul Cultural Caravaggio, Roma Marele Premiu al Uniunii Arti[tilor Plastici Diploma "Ad Honores" a Academiei Europene a Artelor. Ordinul Na]ional Serviciul Credincios n Grad de Cavaler Premiul "Ion Andreescu", acordat de Academia Romn~ Ordinul "Steaua solidarit~]ii Commendatore II Classe" acordat de Pre[edintele Italiei
Adresa:
Str. Aviator S~n~tescu nr. 46, ap. 1, S 1, Bucure[ti, Romnia
Address: 46, Aviator S~n~tescu St., Bucharest 1, Romania
99
anca MUREAN
Anca Mure[an pare o divizionist~ atta vreme ct este raportat~ la Seurat. Lucr~rile ei degaj~ aceea[i senza]ie de nst~pnire total~, unde nimic nu este l~sat la ntmplare. Totul este ordonat cu grij~, conform opticii personale, for]nd tonurile divizate s~ se aglutineze ntr-o luminozitate ireal~. Time-off pentru o clip~ de frumuse]e pur~, de pace [i lini[te. Momentul astral cnd arta transcende cotidianul. Privirea ei sf[ie impetuos v~lul, focaliznd n~prasnic ]esutul de dincolo. Din acest punct se declan[eaz~ tirania Anc~i Mure[an, atributele ei care nu sunt fictive, ci viguros de net~g~duite. Prin alternan]a energiilor din lentilele sale, prin acest blow-up continuu, Anca Mure[an ne aduce aproape aproapele din spatele departelui. Atomizeaz~ aparen]a, alungnd esen]a n desfigurativ. Subiectele se descompun n puncte vizuale de baz~, precum alt~dat~ poza din ziar, sub lup~. Apoi, subit, printr-un procedeu invers (de ast~ dat~, al min]ii!), ele se recompun. S~ nu crede]i ns~ c~ tensiunea conexiunilor dintre aceste celule nu se simte la fiecare tablou! Din contr~. tim c~ fiecare structur~ con]ine n sine cupluri de for]e ce pot oricnd anula ordinea. Numai c~, la Anca Mure[an, v-am spus, situa]ia e sub control. Dinamica aceasta poten]ial~ nu e un joc gratuit al flexibilit~]ii, ci o staz~. De pasiune. De genul feminin; autoironie blnd~, izvort~ din mul]umirea artistului care a mblnzit esen]a. Sebastian AMZA Anca Mure[an, expozi]ia Atribute fictive, 2008
When compared to Seurat, Anca Muresan seems almost a divisionist. Her works radiate the same feeling of full mastery, since nothing happens there by chance. Everything is carefully thought-out, in accordance with a personal outlook, forcing the divided tonalities to agglutinate in an unreal lighting. Time-off for pure beauty, peace and composure. The very moment when art transcends daily life. Her insight penetrates the veil, impetuously focusing on the weft behind it. From this point Anca Muresans tyranny starts, that is her vigorously undeniable, not fictitious, attributes. By alternating the energies inside her lens, by means of this continuous blow-up, Anca Mure[an brings close the nearness at the back of remoteness. She atomizes the appearance, pushing away the essence towards dis-figuration. The subjects are decomposed in their basic visual points, like the newspaper photographs under the magnifying glass. Then, suddenly, by means of a reversed procedure, this time one of the mind, they recompose. You shouldnt imagine that the tension of interconnecting all these cells is not experienced by each and every painting! On the contrary, each structure contains couples of forces able to cancel the order anytime. But, as was previously said, the situation is under control with Anca Mure[an. This potential dynamic is not a flexible, gratuitous play, but a stasis, a passionate one. A feminine one too - the bland self-irony sprung from the content of an artist who has tamed the essence. Sebastian AMZA The exhibition Fictitious Attributes, by Anca Mure[an, 2008
Anca MUREAN n~untru / Innermost

101
Anca MUREAN Cap / Head

Anca MUREAN Serie f~r~ titlu / Untitled series

102
Anca MUREAN Cuplu / Pair

Anca MUREAN
(stnga / left)
Parc / Park
(dreapta / right)
Diagonala / The Diagonal

Anca MUREAN Elisa

104
Anca MUREAN
N~scut~ n 1965 n Bucure[ti Studii 1990 1998 2000
Anca MUREAN
Born 1965, Bucharest. Education 1990 MA in Painting, Bucharest Art Academy 1998 MA Studies with Professor Konrad Klapheck 2000 Akademiebrief, Kunstakademie Dsseldorf Selected Solo Exhibitions 1991 Studio 35 Gallery, Bucharest 1997 ArTei Gallery, Bucharest 2001 Manfred Zischke Gallery, Dsseldorf 2005 Fell ein!, Alte Post, Dsseldorf 2006 Even, Mogo[oaia Palace, Bucharest 2008 Fictive Atributes, Curtea Veche Gallery, Bucharest Selected Group Exhibitions 1996 Fracture ferme, French Institute, Bucharest Vertrauen ins Bild, Goethe Institut, Bucharest 1997 Ad hoc, Ludwig Museum, Budapest 1999 Bruno Goller Museum, Gummersbach 2000 Ilse Frankenthal Prize, Brunssum 2002 Octopus, Ulrike Rathert Gallery, Minden 2005 Storage, The National Museum of Contemporary Art, Bucharest 2008 40 Jahre Kunstverein Gelsenkirchen Awards and Honors 1992 The Painting Prize of the Union of the Romanian Artists 1996 Karl-Schwesig-Preis, Gelsenkirchen Museum Works in public collections The National Museum of Contemporary Art, Bucharest, Gelsenkirchen Museum, PriceWaterhouseCoopers, Dsseldorf PSD Bank, Dsseldorf Public commission 2000 The Kult Building, Dsseldorf
Academia de Art~ din Bucure[ti Meisterschuelerin, Profesor Konrad Klapheck, Kunstakademie Dsseldorf Akademiebrief, Kunstakademie Dsseldorf
Expozi]ii personale - selec]ie 1991 Atelier 35, Bucure[ti 1997 Galeria ArTei, Bucure[ti 2001 Galeria Manfred Zischke, Dsseldorf 2005 Fell ein!, Alte Post, Dsseldorf 2006 Neted, Palatul Mogo[oaia, Bucure[ti 2008 Atribute fictive, galeria Curtea Veche, Bucure[ti Expozi]ii de grup - selec]ie 1996 Fracture ferme, Institutul francez, Bucure[ti Vertrauen ins Bild, Institutul Goethe, Bucure[ti 1997 Ad hoc, Muzeul Ludwig, Budapesta 1999 Muzeul Bruno Goller, Gummersbach 2000 Premiul Ilse Frankenthal, Brunssum 2002 Octopus, Galeria Ulrike Rathert, Minden 2005 Depozit, Muzeul Na]ional de Art~ Contemporan~, Bucure[ti 2008 40 Jahre Kunstverein Gelsenkirchen Premii - selec]ie 1992 Premiul pentru pictur~, UAP 1996 Premiul Karl-Schwesig, Muzeul din Gelsenkirchen Lucr~ri n colec]ii publice Muzeul Na]ional de Art~ Contemporan~, Bucure[ti Muzeul din Gelsenkirchen PriceWaterhouseCoopers, Dsseldorf PSD Bank Luc~ri monumentale 2000 Cl~direa Kult, Dsseldorf
Atelier: Mobil:
Str. elari nr.13, S 6, Bucure[ti, Romnia 0040 749 396230
Studio: Mobile:
13 elari St., Bucharest 6, Romania 0040 749 396230
105
lila PASSIMA
Arta Lilei Passima este profund autoreferen]ial~ (deocamdat~). Lucrurile st~teau a[a nc~ de la personala din 1997, De vorb~ cu iarba verde-verde, o instala]ie total~ (termenul lui Kabakov), la galeria C~minul Artei (parter). Dup~ trei ani, tn~ra artist~ continu~ s~-[i pun~ crea]ia n slujba autodescoperirii, autodefinirii. Acum, ns~, nu mai asist~m la un simplu discurs autobiografic. Autoarea ne pune la dispozi]ie repere care i amprenteaz~ senza]iile, sentimentele [i gndurile, conexiunile familiale, ambian]a intim~, dar ne [i invit~ ca, intrnd n aceast~ lume, s~ r~spundem printr-un comportament firesc, s~ dialog~m cu ea, s~-i ad~ug~m contribu]iile personale care s~ o transforme ntr-un loc al comunic~rii (ceea ce nu i dizolv~ particularit~]ile). Astfel, prin extrapolare, universul Lilei Passima devine unul generic n care ar putea s~ se reg~seasc~ multe altele, pentru a se mplini miza umaniz~rii realului. Lila Passima nu este adepta operei finite n atelier [i expuse ca atare. i-a mutat, pentru aceast~ expozi]e, bazarul atelierului n sala Eforie (...) Configura]ia ultimului act ncepe timpul a depins de ntreaga evolu]ie de pn~ la el [i a nsemnat reg~sirea resorturilor celor mai intime, nc~ o dat~ impregnate de leg~turile familiale, ntro stare de relativ~, m~car, mp~care cu lumea. Stratificarea timpilor, ce au ritmat expozi]ia, a condus ([i de aceast~ dat~) la o instala]ie total~. Care nu s-a alc~tuit doar prin adi]ionare de repere materiale (desene parietale, texte, obiecte confec]ionate, ready-mades), ci [i prin suflul viu al unor performances coregrafice [i sonore, cu interven]iile personale ale reprezentan]ilor unor categorii diverse de public. (...) Ceea ce a realizat Lila Passima prin Bazarul s~u Estic a fost o oper~ interdisciplinar~. Nu doar gra]ie coresponden]elor dintre diverse limbaje artistice, ntre ele [i cel literar, ci [i prin jonc]iunea artei cu ini]iativa sociologic~ (vezi [i vnzarea la pre] simbolic a unor obiecte second-hand). Puteam vorbi de o strategie asem~n~toare celei definite ca sculptur~ social~ de c~tre Beuys cu alte cuvinte, prieteni sau necunoscu]i, intrnd n expozi]ie, erau ndemna]i de comunicabilitatea autoarei s~ [i manifeste propriile impulsuri creatoare. Bazarul Estic, prin pluralitatea func]iilor [i deschiderilor sale, i-a permis Lilei Passima libera mi[care ntre registrul grav, cel meditativ [i registrul ludic; nu a lipsit, astfel, nici ironia, nici chiar, uneori, autoironia poate o contrapondere la inflexiunile nostalgice, acestea din urm~ avnd ns~ contribu]ia lor ntru conturarea unui univers personal subtil [i bogat nuan]at. Adrian GU First Bazar [i Timpii s~i
Lila Passimas art is profoundly self-referential (currently). Things have been this way since 1997 with the personal exhibition Speaking with grass, green green, a complete installation (Kabakovs term), at the C~minul Artei Gallery (ground floor). After three years, the young artist continued to use her creations in the service of selfdiscovery, self definition. Now, however, we no longer witness a simple autobiographical discourse. The artist places reference points at our disposal that imprint their sensations, sentiments, and thoughts, familial connections, intimate ambiance, but she also invites us, while entering into this world, to a dialogue with her, to add our personal contributions that will be transformed into a place for communication (which does not dissolve particularities). So that through extrapolation, the universe of Lila Passima becomes a generic one, where many others can be found, so as to fulfill the goal of humanizing the real. Lila Passima is not an adept of works finished in studio and shown as such. She moved into the exhibition hall from the whole bazaar of the studio (...) The configuration of the last act Time Begins depends on the entire previous evolution and it meant the rediscovery of the most intimate resources, yet again pregnant with familial connections, in a state of at last relative coming to peace with the world. Times stratification, which creates the rhythm for the exhibition, lead (this time) to the complete installation. Which was not made just by hand adding material references (mural wall drawings, texts, made objects, ready-mades), but rather through the living breath of performances choreographed and melodious in addition to dialogues with, and personal interventions of certain categories of beholders. (...) What Lila Passima accomplished through her Eastern Bazaar was an interdisciplinary work. Not only due to the correspondence between diverse artistic languages, literature being among them, but through the junction of art with sociological initiative (see selling second-hand objects at a symbolic price). We can speak of a strategy like the one defined as social sculpture by Beuys in other words, friends or strangers entering the exhibition were urged by the communicability of the artist to manifest their own creative impulses. From the East Bazar, through the plurality of her functions and openness, Lila Passima has been able to move freely between a serious, meditative and a playful register; in this way irony was not absent, not even, occasionally, self-irony perhaps as a balance to the nostalgic inflexions that contribute to the shaping of a personal, subtle and richly toned universe. Adrian GU Her First Bazaar and Times
107
Lila PASSIMA
East-Bazar
Lila PASSIMA De 13 ori Eu, spa]iu personal - portrete / 13 times Me, personal space - portraits
108
Lila PASSIMA Val / Wave East Bazar

(detalii / details)
Lila PASSIMA East Bazar

Instala]ie / Installation Work in progress 2000
Lila PASSIMA E timpul verzei / Its cabbages time

Lila PASSIMA
N~scut~ pe 19 iulie 1967 n Bucure[ti Studii 1996
Lila PASSIMA
Born in Bucharest, on the 19th of July, 1967 Education 1996 The Art Academy, Bucharest Selected Solo Exhibitions 1997 Speaking with the Grass Green Green, installation, C~minul Art Gallery, Bucharest 2000 Ist BAZAAR experiment / work in progress, Eforie Gallery, Bucharest 2004-2003 Subterranean Imaginings / The Building Beneath Us artistic interventions in public space / installation, interdisciplinary projects realized in subway stations 2004 Medium and Small Drawings, C~rture[ti bookstore National Group Exhibitions Abroad 1994 Installation the most spoken language, Gallery UNA, Bucharest 1995 Textile Art, The National Art Museum, Bucharest 2001 Peripheric 1, The Biennial of Contemporary Art, Ia[i 2003 The Forest from the Sleeping Beauty, C~minul Art Gallery, Bucharest 2004 Small and Average Size Things, Jean and Sabina Negulescu Gallery, Bucharest Selected International Exhibitions 1994 The Tenth International Biennial of Miniature Textiles, Szombathely, Hungary 1996 Its About Time, Wentz Gallery, Portland, Oregon, USA 1996, 1998 Fibre Art on the Outside, the Norton Priory Museum, Cheshire, England 2002 Motherland / Fatherland, Moscow International Forum of Art Initiatives 2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento, Florida Works in Public Collections The National Contemporary Museum of Art, Bucharest Contemporary Art Gallery, Szombathely, Hungary Norton Priory Museum, Cheshire / Bebington Civic Center Library, England Works in Private Collections Romania, Canada, Great Britain
Academia de Arte, Bucure[ti
Expozi]ii personale - selec]ie 1997 De vorb~ cu iarba verde-verde, instala]ie, Galeria C~minul Artei, Bucure[ti 2000 Ist BAZAR experiment / work in progress, Galeria Eforie, Bucure[ti 2004-2003 nchipuiri subterane / Blocul de sub noi interven]ii artistice n spatiu public / instala]ii, proiecte interdisciplinare realizate la metrou 2004 Desene mici [i mijlocii, libr~ria C~rture[ti Expozi]ii na]ionale [i de grup - selec]ie 1994 Installation - the most spoken language, Galeria UNA, Bucure[ti 1995 Textil Art, Muzeul Na]ional de Art~, Bucure[ti 2001 Periferic 1, Bienala de Art~ Contemporan~, Ia[i 2003 P~durea din frumoasa adormit~, Galeria C~minul Artei, Bucure[ti 2004 Lucruri mici [i mijlocii, Galeria Jean [i Sabina Negulescu, Bucure[ti Expozi]ii Interna]ionale - selec]ie 1994 Bienala Interna]ional~ de miniatur~ textil~, a X-a edi]ie, Szombathely, Ungaria 1996 Its about time, Wentz Gallery, Portland / Oregon, USA 1996, 1998 Fibre Art on the outside, Muzeul Norton Priory, Cheshire, Anglia 1999 Arti[ti Contemporani Romni, Muzeul Ianchelevici, La Louvire, Belgia 2002 Motherland / Fatherland, Moscow International Forum of Art Initiatives 2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento, Florida Lucr~ri n colec]ii publice Muzeul Na]ional de Art~ Contemporan~, Romnia Galeria de Art~ Contemporan~, Szombathely, Ungaria Norton Priory Museum, Cheshire / Bebington Civic Centre Library, Anglia Lucr~ri n colec]ii private Romania, Canada, Marea Britanie
Atelier: Tel: Mobil: e-mail:
Bd. D. Cantemir, nr. 21, bl. 4, sc. C, ap. 67, s 4, Bucure[ti, Romania 0040 21 3304283 0040 743 752260 lilapassima@yahoo.com
Studio: Phone: Mobile: email:
21, D. Cantemir Blvd., Bucharest 4, Romania 0040 21 3304283 0040 743 752260 lilapassima@yahoo.com
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romelo PERVOLOVICI
Crea]ia lui Romelo Pervolovici se situeaz~ undeva la ntlnirea dintre dimensiuni. E [i multi-dimensional~, e [i hiperdimensional~. Prolifereaz~ f~r~ s~ intre n disolu]ie, pentru c~ nu [i abandoneaz~ niciodat~ punctul de origine. Se sparge n fragmente, n decupaje [i r~mne, n acela[i timp, totalizant~. Porne[te de la materii [i materiale, p~trunde abil n structuri noetice, de cunoa[tere [i n]elegere obiectiv~ a proceselor de crea]ie, c~rora le testeaz~ validitatea pentru a ajunge n ultim~ instan]~ la un exerci]iu hermeneutic... Nelini[te[te pentru c~ atinge frontierele [i limitele att ale experien]ei sensibile, ct [i pe cele, mai riscante, ale fenomenului fizic [i ale experimentului [tiin]ific. E dificil s~ l plasezi ntr-o formul~ de unitate stilistic~ n istoria sculpturii contemporane romne[ti. A fost, rnd pe rnd, neoexpresionist, experimentator, intermedial, factor subversiv, mitograf [i c~ut~tor de arhetipuri. Postmodern, n mod necesar. Odat~ cu formarea grupului 2 META (proiect conceput mpreun~ cu Maria Manolescu) se ntoarce, n aceea[i ncercare de testare a limitelor, spre zona conceptual~ [i spre investiga]ia de tip sociologic. Refuz~ imaginea sculpturii ca simplu obiect material n favoarea ludicului, a ironiei, a interven]iei sociale [i a crea]iilor hibride ale artopologiei. Investiga]ia [i explorarea sunt modalit~]ile sale predilecte de cercetare. Inoculeaz~ o metod~, construie[te forme [i probeaz~ concepte. Iar cele trei instan]e nu pot fi scindate n sculpturile lui Pervolovici, pentru c~ ns~[i aceast~ interdependent~ d~ coeren]~ propunerilor sale estetice. mi place s~ cred c~ artistul face parte din categoria celor care cerceteaz~; adic~ face parte din rndul c~ut~torilor, al exploratorilor. Modific~rile care apar sau muta]iile pe care obiectul sau imaginea le sufer~ n proiectele lui nu nseamn~ alterare a conceptului, ci un nou stadiu al cercet~rii, etap~ a experimentului. i odat~ experimentul construit, exploratorul-c~ut~tor p~trunde ntr-una dintre bre[ele sale, i plaseaz~ strategic o cantitate suficient~ de explozibil [i l detoneaz~ pentru a-i descoperi noile resurse, noile poten]ialit~]i.
Romelo Pervolovicis work is located somewhere at the meeting point of dimensions. It is multi-dimensional, and hyper dimensional. It proliferates without entering into dissolution, because it never abandons its place of origin. It breaks up into fragments, in cuts and remains, at the same time, totalizing. It starts from matter and material, and ably penetrates into noetic structures of knowledge and objective understanding of the processes of creation, whose validity he tests, to ultimately end up in a hermeneutical exercise He upsets, because he reaches the frontiers and limits of both sense experience, and those, more adventurous, of the physical phenomenon and of the scientific experiment. It is difficult to put him in a formula of stylistic unity in the history of contemporary Romanian sculpture. He was called, in turn expressionist, experimental, inter-medial, a subversive factor, mythographer, and a searcher of archetypes. Surely postmodern. With the establishment of 2 META group (a project conceived together with Maria Manolescu) he returned in the same attempt of testing the limits, towards a conceptual zone and towards sociological investigation. He refuses the image of sculpture as a simple material object in favor of game, of irony, of social intervention, and of hybrid creations of atr-apology. Investigation and exploration are his favored methods of research. He inoculates a method, builds up forms and probes concepts. But these three instances cannot be separated in Pervolovicis sculpture, because this very interdependence gives coherence to his aesthetic proposals. I would like to believe that the artist belongs in the category of those who research; in other words, who belong to the world of seekers, of explorers. The changes that appear and the mutations that the object or image suffers in his projects does not mean an alteration of the concept, but a new stage of research, a new step in the experiment. And once the experiment is built, the explorer-searcher penetrates into one of its openings, where he strategically places a sufficient quantity of explosive, and detonates it to discover new resources, new potentialities.
Mica GHERGHESCU
Mica GHERGHESCU
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Romelo PERVOLOVICI Euro meduze / Euro Jelly Fishes Romelo PERVOLOVICI Meduze / Jelly Fishes
Instala]ie / Installation Instala]ie / Installation
114
Romelo PERVOLOVICI Meduza / Jelly Fish

Romelo PERVOLOVICI Meduza / Jelly Fish

115
Romelo PERVOLOVICI Osiris

Lemn pictat / Painted wood
Romelo PERVOLOVICI 3R
116
Romelo PERVOLOVICI
N~scut pe 5 noiembrie 1956 n Zorleni - Vaslui, Romnia. Membrul al Uniunii Arti[tilor Plastici Studii 1982
Romelo PERVOLOVICI
Born in Zorleni, Vaslui, Romania on the 5th of November, 1956 Education 1982 Graduated from the Nicolae Grigorescu Institute of Fine Arts, Departament of sculpture Selected Solo Exhibitions 1985 Gallery Orizont; Studio 35, Bucharest 1988 The Village Museum, Bucharest 1990 Kiklos art Gallery, Paphos, Cyprus 1996 The Art Gallery of the National Theatre, Bucharest 2002-2003 Audi Art Gallery, Bucharest 2006 The Contemporary Art Gallery, Sibiu Selected Group Exhibitions 1993 Pro Art Gallery, Hallein, Austria 2007 Ambient Urban, Sibiu Breakfast not Included, Gallery 2 META, Bucharest Process, Space Art Festival, 2007, Balcic, Bulgaria Selected Sculpture Symposiums 1982 M~gura, Buz~u 1983 Piatra-Neam] 1985, 1995 Babadag, Tulcea 1987 Sighetul Marma]iei 1988, 1982 Scnteia, Ia[i 1990 Modena, Italy Prilep, Yugoslavia 1991 Adnet, Austria 1993 Mallot, Israel Malta, Austria
Absolvent al Institutului de Arte Plastice N. Grigorescu, Facultatea de Arte Plastice, sec]ia Sculptur~.
Expozi]ii personale - selec]ie 1985 Galeria Orizont; Atelier 35, Bucure[ti 1988 Muzeul Satului, Bucure[ti 1990 Galeria de art~ Kiklos, Paphos, Cipru 1996 Galeria de art~ a Teatrului Na]ional, Bucure[ti 2002-2003 Audi Art Gallery, Bucure[ti 2006 Galeria de Art~ Contemporan~, Sibiu Expozi]ii de grup - selec]ie 1993 Galeria Pro Arte, Hallein, Austria 2007 Ambient Urban, Sibiu Breakfast is not included, Galeria 2META, Bucure[ti Process, Space Art Festival, Balcic, Bulgaria Simpozioane de sculptur~ - selec]ie 1982 M~gura, Buz~u 1983 Piatra-Neam] 1985, 1995 Babadag, Tulcea 1987 Sighetul Marma]iei 1988, 1982 Scnteia, Ia[i 1990 Modena, Italia Prilep, Iugoslavia 1991 Adnet, Austria 1993 Mallot Israel Malta Austria
Address: 39, Silvestru St., Bucharest 2, Romania
Adresa:
Str. Silvestru nr. 39, S 2, Bucure[ti, Romnia
Romelo PERVOLOVICI Babadag

Piatr~ / Stone
marilena PREDA SNC

Am avut [ansa s~ observ evolu]ia artistic~ a Marilenei Preda Snc de la nceputurile ei n 1980, care au coincis cu debutul ntregii noastre genera]ii, cunoscute n cultura romn~ ca faimoasa genera]ie optzecist~. De la bun nceput, Marilena Preda Snc a reu[it s~ se individualizeze ntre colegi prin voin]a ei puternic~ de a evolua [i prin perseveren]a de a construi un destin artistic coerent [i independent. n opinia mea, Preda Snc a fost un artist reprezentativ pentru direc]ia neo-expresionist~ care a l~sat o urm~ profund~ n pictura romneasc~ tn~r~ a ultimei decade. n acest sens, Preda Snc s-a f~cut remarcat~ prin for]a violent~ genuin~ a discursului ei vizual, dar [i prin impactul unei imagerii foarte personalizate, centrate pe sinele [i feminitatea sa. Din acest punct de vedere, Preda Snc poate fi considerat~ una din primele femei artiste romnce care au avut curajul s~ construiasc~ un ntreg univers pictural din explorarea ndr~znea]~ a condi]iei ei biologice, sociale [i spirituale. Astfel, picturile ei tari [i uneori aspre din 1989, ntinse pe pnze largi [i expuse cu ocazia multor evenimente importante ale timpului, au atins intuitiv o problematic~ de gen [i o dimensiune genuin feminist~, manifestate printr-o autentic~ implicare existen]ial~ [i prin nalte calit~]i estetice. De la sfr[itul anilor 80 pn~ ast~zi, Marilena Preda Snc a fost atras~ din ce n ce mai mult de explorarea sistematic~ a provocatoarei expresivit~]i tridimensionale oferite de instala]ie [i performance, precum [i de posibilit~]ile metamorfice fabuloase deschise de arta video [i de tehnologia multimedia. n aceste domenii, care s-au dezvoltat abia recent n Romnia, Preda Snc e de asemenea considerat~ un artist remarcabil, datorit~ calit~]ii experimentelor [i a cantit~]ii lucr~rilor ei. n virtutea acestora, cred c~ Marilena Preda Snc [i-a asigurat o pozi]ie solid~, respectat~, dar [i foarte personalizat~, n cercetarea vizual~ contemporan~ din Romnia [i din Europa de Est.
I have had the chance to observe Marilena Preda Sncs artistic evolution since its beginning in 1980, which coincided with the start of our entire generation known in the Romanian culture as the famous Eightys Generation. From the very start Preda Sanc has managed to individualize herself among the colleagues by her strong will to evolve and her perseverance in building a coherent and independent artistic destiny. In my opinion, Preda Snc has been a representative artist for the neo-expressionist direction, which left a profound mark on the young Romanian painting of the last decade. Within this direction, Preda Snc made herself noticed by the genuine violent force of her visual discourse, but also by the impact of a forcefully personalized imagery focused around her own self and femininity. From this point of view, Preda Snc can be considered one of the very first Romanian female-artists daring to construct a whole pictorial universe out of the courageous exploration of her biological, social and spiritual condition. Consequently, her strong and sometimes rough paintings of the 1989s, laid on large canvases and exhibited in many important shows of the time, have intuitively touched gender issues and a genuine feminist dimension, manifested in an authentic existential involvement and in high aesthetic qualities. From the end of the 1980s up to the present, Marilena Preda Snc has been attracted more and more by the systematic exploration of the provocative three-dimensional expressiveness offered by the installation and the performance, as well as by the fabulous metamorphic possibilities opened up by the video-art and by the multimedia technology. In these domains, which have developed only recently in Romania, Preda Snc is also considered an outstanding artist due to the quality of her experiments and to the quantity of her work. Thanks to all this, it is my conviction that Marilena Preda Snc has secured a solid and esteemed, as well as a highly personalized position, in the contemporary visual research from Romania and from Eastern Europe.
Magda CRNECI
Magda CRNECI
119
Marilena PREDA-SNC Peisaj urban / Urbanscape


120
Marilena PREDA-SNC Bodyscape

Marilena PREDA-SNC Bodyscape

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Marilena PREDA-SNC Body urbanscape


Marilena PREDA-SNC
N~scut~ n 1955 la Bucure[ti Studii 1979
Marilena PREDA-SNC
Born on 1955 in Bucharest Education 1979 Graduated the University of Art, Bucharest Selected Solo Exhibitions 1997 Presentation of video movies, Kultur Kontakt, Vienna, Austria 2007 Inside the Living, Studio D.V.O., Brussels, Belgium 2008 Construciones-Espacios, Anagma Copenhaguen Gallery, Valencia, Spain. Selected Group Exhibitions 1981 The Juan Mir Drawing Contest, Barcelona, Spain 1983 International Summertime Mailart show, Kanagawa, Japan 1988, 1987, 1986, 1985, 1983 International Impact Art Festival, International Art Center of Kyoto, Japan 1992 Obra Actual Damunt Paper / Works on paper, exhibition organized by the Mir Foundation, Barcelona, Spain, curators: Lluis Bosch I Cruanas, Doina Simionescu 1993, 1986, 1984, 1983 Premio Internazionale di Grafica del Pomero, Galeria d'Arte "La Viscontea'' di Rho, Italy 1997 Bucharest Nach80, video theater installation, Ludwig Museum, Aachen, Germany, curator Ruxandra Balaci 1999 Artistes de Bucarest La Louvire, Idel Ianchelevici Museum, Belgium, curator Adrian Gu]~ 2003 Nuit blanche de la Video, La Chaufferie, Strasbourg, France, curator Irina Cios 2004 Cosmopolis, Museum of Contemporary Art, Thessaloniki, Greece, curator Magda Crneci 2007 Affinit Diversit, Palazzo Albrizzi Venezia, Forum Austriaco di Cultura, Milano 2008 International Biennale of Art, Beijing Works in Collections National Museum of Contemporary Art, Bucharest Kunsthale Nurnberg, Germany Albertina Collection, Vienna, Austria Poliac Research Corporation, Saint Paul, SUA. Centro d'arte Spatiotempo, Firenze, Italy Awards and Honors 1982 Studio 35 award for painting 1983, 1986, 1993 Amici Del Pomero Medal 1988 Award for the best group exhibition, JUNIJ Photo Moon in Paris, France 2004 Cultural Merit Order
Institutul de Arte Plastice N. Grigorescu
Expozi]ii personale - selec]ie 1997 Prezentare de filme video, Kultur Kontakt, Viena 2007 nl~untrul Viului, Studio D.V.O., Bruxelles, Belgia 2008 Construciones-Espacios, Galeria Anagma Copenhaguen, Valencia. Expozi]ii de grup - selec]ie 1981 The Juan Miro Drawing Contest, Bacelona, Spania 1983 International Summertime Mailart show, Kanagawa, Japonia 1988, 1987, 1986, 1985, 1983 International Impact Art Festival International Art Center of Kyoto, Japonia 1989 IX Bienal Internacional De Arte, Valparaiso, Chile 1992 Obra Actual Damunt Paper / Works on paper, expozi]ie organizat~ de Funda]ia Mir, Barcelona, Spania, curatori: Lluis Bosch I Cruanas, Doina Simionescu 1993, 1986, 1984, 1983 Premio Internazionale di Grafica del Pomero, Galeria d'Arte "La Viscontea'' di Rho, Italia 1997 Bucharest Nach80, video teatru instala]ie, Muzeul Ludwig, Aachen, Germania, curator Ruxandra Balaci 1999 Artistes de Bucarest a La Louviere, Muzeul Idel Ianchelevici, Belgia, curator Adrian Gu]~ 2003 Nuit blanche de la Video, La Chaufferie, Strasbourg, France, curator Irina Cios 2004 Cosmopolis, Muzeul de Art~ Contemporan~, Thessalonic, Grecia, curator Magda Crneci 2007 Affinita Diversita, Palazzo Albrizzi Venezia, Forum Austriaco di Cultura, Milano 2008 Bienala Interna]ional~ de Art~, Beijing Lucr~ri n colec]ii Muzeul Na]ional de Art~ Contemporan~, Bucure[ti (MNAC) Kunsthale Nrnberg, Germania Colec]ia Albertina, Viena Poliac Research Corporation, Saint Paul, S.U.A. Centro d'arte Spatiotempo, Floren]a, Italia Premii - selec]ie 1982 Premiul pentru pictur~ Atelier 35 1983, 1986, 1993 Medalia Amici Del Pomero 1988 Premiul pentru cea mai bun~ Expozi]ie de Grup, JUNIJ Photo Moon in Paris 2004 Ordinul Meritul Cultural
Adresa: Str. M~gura Odobe[ti 36, s 1, Bucure[ti, Romnia Tel: 0040 21 2201446, 0040 21 3134262 Mobil: 0040 723 512971 e-mail: mpsanc@valhalla.racai.ro http://marilenapredasanc.blogspot.com/
Address: 36, M~gura Odobe[ti St., Bucharest 1, Romania Phone: 0040 21 2201446, 0040 21 3134262 Mobile: 0040 723 512971 e-mail: mpsanc@valhalla.racai.ro http://marilenapredasanc.blogspot.com/
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florica PREVENDA
Siluete cu un desen sintetic, uneori statice alteori dinamice, singulare ori dublate, interferente, cuprind fragmente de chipuri, ochi, mini adesea elemente de autoportret mai clar adunate structural ori plutind liber. Eului i r~spunde sugestia cuplului. Rafinatele jocuri volumetrice practicate n alte etape sunt nlocuite de stratificarea transparen]elor a[a se na[te efectul de palimpsest, poate una din cele mai evocatoare traduceri vizuale (n cazul de fa]~) a ceea ce numim memorie... Cteodat~ siluetele sunt integral ori par]ial invadate de ritmate colaje-relief n hrtie tratat~, f~cnd leg~tura cu anterioare procedee de lucru, dar apar [i situa]ii plastice, cuceritoare la rndul lor, cnd vorbim mai degrab~ de relief n adncime (en creux) ca [i cnd corpul ecor[at d~ la iveal~, de aceast~ dat~, sistemul amintirilor. Un spirit ludic pare s~ dicteze cnd [i cnd pozi]ia elementelor faciale, ntr-o ordine suprarealist~, n lucr~ri de mai mici dimensiuni definite de detalii m~rite. Albul [i negrul, griurile derivate, au prioritate, c~ci n discu]ie sunt radiografii ale amintirilor. Nu dispar cu totul albastrul, ro[ul, ocrurile sau brunurile, dar prezen]a lor mai degrab~ discret~ [i episodic~ nu implic~ o logic~ simbolic~, ci impulsuri plastice. Pnze de mari dimensiuni sunt dedicate amintirilor citadine, cascade de imagini fotografice a c~ror compunere reactualizeaz~ [i interpreteaz~, ca [i la celelalte subserii, procedeul fotomontajului. De fapt, aceste ample lucr~ri concentreaz~ toate cele trei direc]ii de investiga]ie ale etapei: eul, eu printre ceilal]i, ora[ul (ca orizont de civiliza]ie [i mediu al existen]ei personale [i colective). Fotografia transpus~, straturile de materie pictural~, colaje subtile, armonizarea lor, confer~ o personalitate plastic~ aparte acestor opere. Deopotriv~ cu atmosfera pe care o creeaz~. Pe aceste generoase suprafe]e, cucerite de vaste [i dense re]ele ce atrag ochiul de la ansamblu spre detaliu, artista picteaz~ cu imagini (foto) cum sugestiv se exprim~. Serializarea vertical~ a imaginii-semn trimite la derularea unui film. Pe de o parte, acest flux impresionant de semnale vizuale, suprapunerile [i re]elele, sunt ecouri ale faptului c~ existen]a cotidian~ e invadat~ de imagini. Pe de alta, efectul de palimpsest cu care lucreaz~ Florica Prevenda, frumuse]ea detaliilor care cheam~ privirea pe multiple trasee secundare, reactiveaz~ n receptor pl~cerea contempl~rii. Cu alte cuvinte, s~ dep~[im aparen]ele, pentru a g~si realitatea profund~. S~ refacem pe cont propriu experien]a autoanalizei, s~ ne redescoperim vechi coordonate senzoriale [i afective. S~ armoniz~m timpul exterior cu cel interior. Adrian GU
Silhouettes with a synthetic "drawing" sometimes static, sometimes dynamic, singular or doubled, include fragments of faces, eyes, hands - elements of a self portrait - brought together in a clearer structure, or more freely floating. The representation of the self is complemented by suggestions of the couple. The refined volumetric speculations practiced by Prevenda in other stages of her work are now replaced by the stratification of transparencies - this is how the palimpsest effect is achieved, which, in this case, is one of the most convincing visual translations of what one calls memory... Sometimes the silhouettes are totally or partially invaded by rhythmic reliefcollages made of specially created paper; there are other graphic situations, powerful ones, when it is more suitable to speak of en creux relief - as if the corch now revealed a "system of memories". A playful spirit seems to determine, now and then, the position of the facial elements in a surrealist "order", in smaller works defined by enlarged details. Black, white and derived grays are predominant, since we are referring to radiographs of memories. Red, blue, ochre, brown do not disappear completely, but their presence is discrete, episodic and determined by graphic impulses, not by a symbolic logic. The large canvases are dedicated to the artists urban memories: we see cascades of photographic images whose composition revisits and interprets, as in the other series, the technique of the photomontage. In fact, these ample works concentrate the three directions of research of this stage of Prevenda's creation: herself, herself among others, the city. The transferred photography, the complex paint strata, subtle collages, all these elements in harmonious coordination, confer a special graphic personality to the works, which project a special atmosphere. On these generous surfaces, conquered by vast and dense networks of "signs" that attract the eye from the ensemble to the details, the artist "paints with (photo) images" as she suggestively says. The vertical serialization of the image-sign alludes to the watching of a film. On the one hand, this impressive flux of visual signs, the overlaps and networks, echo the fact that our daily existence is invaded by images. On the other hand, the palimpsest effect with which Florica Prevenda works, the beauty of the details which call our eyes to follow multiple secondary routes, reactivate in the spectator the pleasure of contemplation. In other words, let us transgress the appearances in order to find a deeper reality. Let us relive, on our own, the experience of self-analysis, let us rediscover some of our old sensory and affective coordinates. Let us harmonize external with internal time. ADRIAN GU
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Florica PREVENDA Umbre ale prezentului / Shadows of the present time

Florica PREVENDA Umbre ale prezentului / Shadows of the present time

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Florica PREVENDA Net People

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Florica PREVENDA Timpul reg~sit / Recovered time

Tehnic~ mixt~ pe pnz~ / Mixed media on canvas 300 x 150 cm 2008
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Florica PREVENDA
N~scut~ pe 5 aprilie 1959 n Dor M~runt (C~l~ra[i), Romnia Studii 1984 Absolv~ Academia de Arte, Ia[i 1993-1997 Profesor asociat la Universitatea Na]ional~ de Arte Bucure[ti Expozi]ii personale - selec]ie 1996 Comisia European~ (Rotonde), Bruxelles 1999, 2001, 2004 Arthus Gallery, Bruxelles 2000 Galerie Lamber, Valkenswaard, Olanda 2002 FNV Kiem, Amsterdam 2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Olanda 2007 M.I.A. One Woman Show, Milano, Italia 2008 Centrul Cultural Palatele Brncovene[ti, Mogo[oaia, Romnia Expozi]ii colective - selec]ie 1992 Artist of Europe, Efehaus Gallery, Wernigerode, Germania 1994, 1997 Romanian Contemporary Art, Agial Gallery, Beirut 1995 Rives 95. Exposition Peintures Sculptures, C.N.B.D.I., Angoulme, Fran]a 24 Peintres et Sculpteurs Contemporains. Itinraires au del des voyages, Maureen OHare Wolson Gallery, Grenoble, France 1999 Galeria Marga Kramer, Ilsselstein, Olanda Artistes de Bucarest, Mussee Ianchelevici, La Louvire, Belgia 2000 Frozen Moments, Galerie Lamber, Valkenswaard, Olanda 2001 Heinolan Taidemuseum, Finlanda 2002 Galerie Het Dijkstoelhuis, Wageningen, Olanda 2003 Galerie Kralingen, Rotterdam, Olanda 2007 WTC Art Gallery, Rotterdam, Olanda Premii - selec]ie 2005 Ordinul Meritul Cultural Romnia 1995 Premiul Municipiului Bucure[ti acordat tinerilor arti[ti 1989, 1990 Premiul pentru Pictur~ la Expozi]ia Tinerilor Arti[ti, Artexpo, Bucure[ti
Florica PREVENDA
Born on the 5 April 1959 in Dor M~runt (C~l~ra[i), Romania Education 1984 Graduates the Academy of Art Iassy 1993-1997 Visiting professor at the University of Arts, Bucharest Selected Solo Exhibitions 1996 European Commission (Rotonde), Brussels 1999, 2001, 2004 Arthus Gallery, Brussels 2000 Galerie Lamber, Valkenswaard, Holland 2002 FNV Kiem, Amsterdam 2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Holland 2007 M.I.A. One Woman Show, Milano, Italy 2008 The Cultural Center Brncoveanu Palace, Mogo[oaia, Romania Selected Group Exhibitions 1992 Artist of Europe Efehaus Gallery, Wernigerode, Germany 1994, 1997 Romanian Contemporary Art, Agial Gallery, Beirut 1995 Rives 95. Exposition Peintures Sculptures C.N.B.D.I., Angoulme, France 24 Peintres et Sculpteurs Contemporains. Itinraires au del des voyages Maureen OHare Wolson Gallery, Grenoble, France 1999 Marga Kramer Gallery, Ilsselstein, Holland Artistes de Bucarest, Mussee Ianchelevici, La Louvire, Belgium 2000 Frozen Moments, Galerie Lamber, Valkenswaard, Holland 2001 Heinolan Taidemuseum, Finland 2002 Galerie Het Dijkstoelhuis, Wageningen, Holland 2003 Galerie Kralingen, Rotterdam, Holland 2007 WTC Art Gallery, Rotterdam, Holland Awards and Honors 2005 Cultural Merit Romania 1995 Bucharest City prize for young artists 1989,1990 Prize for Painting at the Youth Exhibition, Artexpo, Bucharest
Adresa: Tel. / Fax: Tel.: Mobil: e-mail:
Str.Biserica Amzei, 7-9, s 1, Bucure[ti, Romnia 0040 21 3189592 0040 21 3204845 0040 748 081471 prevendaf@yahoo.com; info@floricaprevenda.com
Address: Tel./Fax: Tel: Mobile: e-mail:
7-9, Biserica Amzei St., Bucharest 1, Romania 004 021 3189592 004 021 3204845 0040 748 081471 prevendaf@yahoo.com; info@floricaprevenda.com
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gheorghe RASOVSZKY
CLTORIE SPRE BURICUL LUI RASOVSZKY Resorturile [i imagistica citadin~ hr~nesc de mult crea]ia acestui autor (ceea ce nu nseamn~ nchiderea altor orizonturi, [i poate vom fi martorii, ntr-un viitor nu prea ndep~rtat, spiritualiz~rii unor altfel de locuri). Scenografia ca ocupa]ie remunerat~, lucrul n televiziune au accentuat propensiunea c~tre coexisten]a limbajelor, c~tre imaginea-fragment asociat~ muzicii (de la febra punk ncoace) [i textului, ducnd la structuri dense [i ritmuri alerte proprii, s~ spunem, videoclipului. uvoiul acesta de informa]ie artistic~ se deplaseaz~ ntr-o albie s~pat~ de un mecanism al crea]iei, marcat de amintiri suprarealiste [i dadaiste. (...) Pe de alt~ parte, ca artist contemporan, cu sim]urile culturale n alert~, Rasovszky nu las~ totul n seama hazardului; strategia fragmentului este prin urmare una asumat~, veghea ironic~ se implic~ n comentariul parodic al automatismelor de expresie vizual~ [i textual~, procentajul de ntmplare d~ prospe]ime, dar este supus unei rela]ii dinamice cu mecanismele de control. Artistul cultiv~ ambiguitatea, vrea n primul rnd s~ creeze o atmosfer~, nu descrie ci sugereaz~. [i ofer~ universul unei lecturi alerte [i combinate, dar nu l explic~ solicit~ publicului o percep]ie activ~. Rasovszky propune o perspectiv~ inversat~ fa]~ de normalitate, asupra unor obiecte de dimensiuni mici, juc~rii. Nu este vorba doar de reconstituirea, din punctul de vedere al insului matur, a unui cod de percep]ii al copil~riei (fiicei artistului), ci [i de posibilitatea de a transfera acestui cod induio[~tor ludic inofensiv angoase mediatice, re]ete ale produc]iei cinematografice horror. Filtrul parodic ndep~rteaz~ astfel strigoii unor categorii ale simulacrului contemporan. Rasovszky accept~ confruntarea cu lumea de fantasme confec]ionate din jurul s~u, cu hiper-realitatea; aceasta este inevitabil~, izvor~[te din ecranul televizorului, recep]ionarea ei ofer~ pl~ceri [i primejdii. Autorul face un slalom f~r~ gre[ printre acestea [i produce din respectiva materie prim~ un univers artistic de-a dreptul captivant, unul care l face pe spectator mai sensibil [i mai puternic n acela[i timp. (...) Revenim astfel [i la n]eleptul Duchamp [i la efortul de [tergere a grani]elor dintre art~ [i via]~. Adrian GU, Observator Cultural, nr. 18, 27 iunie 2000
A JOURNEY TOWARDS RASOVSZKYS NAVEL The resources and images of the city have fed the work of this artist for a long time (which does not mean that he has closed off to other horizons and maybe we will be witnesses in a not too distant future of the spiritualization of different kind of places). Scenography as a remunerated occupation and work for television have stressed the propensity towards the coexistence of languages, towards image-fragments associated with music (from punk on) and text, leading to dense structures and alert rhythms that belong to video clips, so to speak. The torrent of artistic information moves into a river bed dug out by mechanisms of creation marked by surrealist and Dadaist memories. (...) On the other hand, as a contemporary artist, with his cultural senses on the alert, Rasovszky does not leave everything to chance; the strategy of the fragment is assumed in the end, the ironical watchfulness is implicated in the parodied commentary of the automatization of visual and textual expressions, the percentage of coincidence gives freshness, but it is subordinated to the dynamic relationship with the mechanisms of control. The artist cultivates ambiguity, and wants first of all to create an atmosphere, he does not describe, but suggests. He offers to the universe an alert and combined reading, but he does not explain it he solicits an active perception from the public. Rasovszky proposes a gulliverian reversal, addressing certain objects of small dimensions, toys. The aim is not just to recover, from the viewpoint of an adult, a code of perception from childhood (the artists daughter), but also the possibility of transferring to this heart warming code playful inoffensive media nightmares, the recipe of cinematic horror. The parodying filter separates in this way the ghosts from categories of contemporary imitation. Rasovszky accepts the confrontation with the world of contrived phantasms around him, with their hyper-reality; this is inevitable, it springs from the television screen, receiving it offers pleasure and danger. The artist navigates a slalom without error between these extremes and perceiving produces the prime material of a truly captivating artistic universe, one that makes the spectator more sensitive and stronger at the same time. (...) We come back again to the wise Duchamp and to the effort of erasing the border between art and life. Adrian GU, Observator Cultural, nr. 18, (The Cultural Observer), 27th of June 2000
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Gheorghe RASOVSZKY Big Foot

Acril pe pnz~ / Acryl on canvas 2005
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Gheorghe RASOVSZKY Mail check

Gheorghe RASOVSZKY New metal

Gheorghe RASOVSZKY The Smiths

Gheorghe RASOVSZKY Little god

Gheorghe RASOVSZKY Performance

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Gheorghe RASOVSZKY
N~scut pe 4 septembrie 1952 n Suceava Studii 1977
Gheorghe RASOVSZKY
Born in Suceava on the 4th of September, 1952 Education 1977 Graduated the National University Arts of Bucharest, departament in stage design Selected Solo Exhibitions 1985 Anthropomorphic Figures paintings, drawings, Galateea Gallery, Bucharest 1988 Non Scenic Design stage design projects, assemblages together with Carmen Rasovszky, the C~minul artei Gallery, Bucharest 1990 Surrounding Figures paintings, drawings, objects, photographs, C~minul artei Gallery, Bucharest 1992 Hours of Gold paintings, drawings, photo assemblages, C~minul artei Gallery, Bucharest 1994 Conversation photographs, assemblages, GAD Gallery, Bucharest, Curator Ruxandra Balaci 1995 Conversation II installation, photographs, together with Iulian Mereu]~, France, GAD Gallery, Bucharest The Dogs House installation, Media CULPA, SOROS Center for Contemporary Art, Bucharest, curator Irina Cios 1996 Study on the ephemeral and perishable paintings, assemblages photographs, SOROS Center for Contemporary Art, Bucharest, curator Adrian Gu]~ 1998 Fanatic Reign paintings, assemblages, photographs, Simeza Gallery Bucharest, Biennial at Venice, Romanian House, curator, Adrian Gu]~ 2000 The Belly Button multimedia installation / photographs and assemblages, National Art Museum of Romania, curator Ruxandra Balaci Restitutio In Integrum multimedia project, TRANSITIONLAND, The National Art Museum of Romania, curator, Ruxandra Balaci 2001 Terra Nova multimedia project, the 49th Biennial in Venice, the Romanian pavilion, curator Ruxandra Balaci 2004 Maybe Next Time photographs and multimedia projects, New Gallery, Bucharest 2005 The Small Universe (Scum Evil Ruin) photo-installation, together with Carmen Rasovszky, C~minul Artei Gallery, Bucharest Good Times Bad Times photographs, drawings assemblages (1980-2004) together with Teodor Graur, HT003 Gallery, Bucharest Awards and Honors 1997 Award for stage design / Union of Artists Romania 2000 Award for Photo / Video / Performance / Union of Artists, Romania 2005 Award for Installation and Ambiance/Union of Artists, Romania
Absolvent al Institutului de Art~ N. Grigorescu Bucure[ti, sec]ia Scenografie
Expozi]ii personale - selec]ie 1985 Figuri antropomorfe picturi, desene, Galeria Galateea, Bucure[ti 1988 Design nonscenografic, asamblaje mpreun~ cu Carmen Rasovszky, Galeria C~minul Artei, Bucure[ti 1990 Figuri nconjur~toare picturi, desene, obiecte, fotografii, Galeria C~minul Artei, Bucure[ti 1992 Orele de aur, Galeria C~minul Artei, Bucure[ti 1994 Conversa]ia, Galeria GAD, Bucure[ti, curator Ruxandra Balaci 1995 Conversa]ia II, mpreun~ cu Iulian Mereu]~, Fran]a, Galeria GAD, Bucure[ti Casa cinelui instala]ie, Media CULPA, Centrul SOROS pentru Art~ Contemporan~, Bucure[ti, curator Irina Cios 1996 Studiu despre efemer [i perisabil picturi, asamblaje, fotografii, Centrul SOROS pentru Art~ Contemporan~, Bucure[ti, curator Adrian Gu]~ 1998 Regnul fanatic picturi, asamblaje, fotografii, Galeria Simeza Bucure[ti, Bienala de la Vene]ia, Casa Romn~, curator: Adrian Gu]~ 2000 Buricul instala]ie multimedia / fotografii [i asamblaje, Restitutio In Integrum proiec]ie multimedia, TRANSITIONLAND, Muzeul Na]ional de Art~ al Romniei, curator Ruxandra Balaci 2001 Terra Nova proiec]ii multimedia, a 49-a Bienal~ de la Vene]ia, pavilionul Romniei, curator Ruxandra Balaci 2004 Maybe next time fotografii [i proiec]ii multimedia, Galeria Nou~, Bucure[ti Pluralul singular picturi [i fotografii reg~site, HT003 Gallery, Bucure[ti 2005 Micul Univers (Scum Evil Ruin) fotoinstala]ie, mpreun~ cu Carmen Rasovszky, Galeria C~minul Artei, Bucure[ti Good times bad times fotografii, desene asamblaje inedite (1980-2004) mpreun~ cu Teodor Graur, HT003 Gallery, Bucure[ti Premii 1997 2000 2005
Premiul pentru Scenografie / UAP Romnia Premiul pentru Foto / Video / Performance / UAP Romnia Premiul pentru Instala]ie [i Ambient / UAP Romnia
Tel: Mobil: email:
0040 21 3238326 0040 722 669945 g_rasovszky@yahoo.com
Phone: Mobile: email:
0040 21 3238326 0040 722 669945 g_rasovszky@yahoo.com
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doina SIMIONESCU
CIOCOLAT NEAGR, EMPORIO ARMANI I THE HOT 80S
BLACK CHOCOLATE, EMPORIO ARMANI AND THE HOT 80S
Doina Simionescu practic~ cu deosebit interes montarea [i demontarea unor mecanisme vizuale saturate de forme elegante. Senzorialitatea se personalizeaz~ astfel imediat. Leg~tura ei cu atelierul devine o art~ aproape fizic~. Pentru c~ atelierul este pentru Doina Simionescu un joc discursiv cu ingrediente neobi[nuite: lux, miros de ceai englezesc, borcane elegante de cerneal~, hrtie manual~, evantaie, c~r]i [i haine negre perfect croite. Identitatea vizual~ a desenului preia aceste obiecte, de fapt obiectele unei elegan]e pre-moderne. n prezen]a lor, te sim]i integru [i intact. Toate aceste st~ri fiind de fapt sentimente de duio[ie protectoare pentru toate desenele din atelier. Doina Simionescu ajusteaz~ realitatea la teoriile ei. Momentul prezent este livrat n toat~ elegan]a lui. Doina Simionescu cunoa[te principiile abstracte ale luxului. Un lux t~cut, care ]i inspir~ ncredere. Doina Simionescu practic~ n atelier un tip de emo]ie care urmeaz~ s~ fie evocat [i un tip de pozi]ionare care urmeaz~ s~ aib~ loc. O emo]ie [i o pozi]ionare din gama luxului necesar. Liviana DAN
Doina Simionescu practices the assembling and dismantling of visual mechanisms saturated by elegant forms. Sensuous behavior is thus immediately personified. The connection with her studio becomes an almost physical art. For Doina Simionescu the studio is a discoursive game with unusual ingredients: luxury, the scent of English tea, elegant jars of ink, hand-made paper, fans, books and perfectly cut black clothes. The visual identity of drawing takes over these objects, actually the objects of a pre-modern elegance. In their presence, one feels untouchable and intact, all these states being in fact feelings of protective tenderness for all the drawings in the studio. Doina Simionescu adjusts reality to her theories. The present moment is offered in its unmitigated elegance. Doina Simionescu is aware of the abstract principles of luxury. A quiet luxury, that inspires trust. In her studio, Doina Simionescu practices a type of emotion that is to be evoked and a type of positioning that is to take place. The type of emotion and positioning imposed by necessary luxury. Liviana DAN
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Doina SIMIONESCU Compozi]ie / Composition

Cerneluri colorate pe hrtie / Coloured ink on paper 1998

138

Cerneluri colorate pe hrtie (detaliu) / Coloured ink on paper (detail) 2000
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Doina SIMIONESCU F~r~ titlu / Without title

Doina SIMIONESCU Souvenir damour

Doina SIMIONESCU F~r~ titlu / Without title

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Doina SIMIONESCU
N~scut~ pe 28 februarie 1947 n Snagov, Bucure[ti Studii 1972 1977
Doina SIMIONESCU
Born on February 28, 1947 in Snagov, Bucharest Education 1972 "Nicolae Grigorescu" Institute of Fine Arts, Bucharest Selected Solo Exhibitions 1981 Romanian Academy, Rome, Italy Palazzo Orsini, Monterotonto, Rome, Italy 1982 Palazzo Comunale, Assisi; Viarreggio, Italy 1985 Palazzo Comunale, Sulmona, Italy 1989 Simeza Gallery, Bucharest Selected Group Exhibitions 1979 Drawing Joan Mir, Orizont Gallery Bucharest 1992 Book object, Art Collection Museum, Bucharest The Sex of Mozart, ArtExpo Gallery, Bucharest 1994 Hommage au Rococo, ArtExpo Gallery, Bucharest 1997 Experiment, ArtExpo Gallery, Bucharest 2001 In full dress, Brukental Museum, Sibiu Selected International Exhibitions 1980 Drawing Joan Miro, Gulbenkian Foundation, Lisbon, Portugal 1981 Veinte Anos de Sensibilidad Contemporary Art Museum Madrid, Spain 1983 The corner Art Association, Charlottenborg Gallery, Copenhagen, Denmark 1984 6th European Gravure Biennial, Mulhouse, France 1985 International Engraving Exhibition, Kanagawa, Yokohama, Japan 1988 Group exhibition, The Artist Point Gallery, Stockholm, Sweden 1989 Abstractions et autres bonnes figures, FRAC, Colmar, France International Engraving Festival 2nd edition, Menton, France 1990 Drawing, Gulbenkian Foundation, Lisbon, Portugal 1993 S.A.G.A, Grand Palais, Paris, France Book - obiect, Cultural Center Zonmehof Amersfoort, Holland 1995 Book - object, Spoorweg Gallery, Amhem, Holland 1978, 1979, 1981, 1983, 1986 Contest of drawing Juan Mir, Barcelona, Spain; Awards and Honors 1979 First Mention in the Juan Mir Contest in Barcelona, Spain 1981 The Trionfo Award, Rome, Italy The Juan Mir Foundation Award, Barcelona, Spain Works in Public Collections MNAC Romania; Albertina Museum, Vienna, Austria; Museum de Arte Sao Paulo, Brasilia; FRAC Alsace, France; Charlottenborg Gallery, Copenhagen, Denmark; Juan Mir Foundation in Barcelona, Spain; Works in Private Collections Germany, Italy, Spain, Belgium, France, Austria, Russia, Sweden, Switzerland, USA. Phone: Mobile: 0040 21 3140279 0040 744 160080
Institutul de Arte Frumoase Nicolae Grigorescu, Bucure[ti Membru al Uniunii Arti[tilor Plastici din Romnia
Expozi]ii personale selec]ie 1981 Accademia di Romania, Roma, Italia Pallazo Orsini, Monterotonto, Roma, Italia 1982 Palazzo Comunale, Assisi, Viarreggio, Italia 1985 Palazzo Comunale Sulmona, Italia 1989 Galeria Simeza Bucure[ti Expozi]ii de grup - selec]ie 1979 Desen Joan Mir, Galeria Orizont Bucure[ti 1992 Carte obiect, Muzeul Colec]iilor de Art~, Bucure[ti Sexul lui Mozart, ArtExpo Galeria 3/4, Bucure[ti 1994 Hommage au Rococo, ArtExpo Galeria 3/4, Bucure[ti 1997 Experiment, ArtExpo, Galeria 3/4, Bucure[ti 2001 In full dress, Muzeul Brukental Sibiu Expozi]ii interna]ionale - selec]ie 1980 Desen Joan Mir, Funda]ia Gulbenkian, Lisabona, Portugalia 1981 Veinte Anos de Sensibilidad Muzeul Spaniol de Art~ Contemporan~, Madrid, Spania 1983 The corner Art Association, Galeria Charlottenborg, Copenhaga, Danemarca 1984 A 6-a Bienal~ de Gravur~ european~, Mulhouse, Fran]a 1985 Expozi]ia Interna]ional~ de Gravur~, Kanagawa, Yokohama, Japonia 1988 Expozi]ie de grup, Galeria The Artist Point, Stockholm, Suedia 1989 Abstractions et autres bonnes figures, FRAC Colmar Festivalul Interna]ional de Gravur~ edi]ia a 2-a, Menton 1990 Desen, Funda]ia Gulbenkian, Lisabona, Portugalia 1993 S.A.G.A, Grand Palais, Paris, Fran]a Carte obiect, Centrul Cultural Zonmehof Amersfoort, Olanda 1995 Carte obiect, Galeria Spoorweg, Amhem, Olanda 1978, 1979, 1981, 1983, 1986 Concursul de desen Juan Mir, Barcelona, Spania; Premii - selec]ie 1979 Prima Men]iune, Concursul Juan Mir, Barcelona, Spania 1981 Premiul Trionfo, Roma, Italia Premiul Funda]iei Juan Mir, Barcelona, Spania Lucr~ri n colec]ii publice MNAC Romania, Albertina Museum, Viena, Austria; Museu de Arte Sao Paulo, Brazilia; FRAC Alsace, Fran]a; Galeria Charlottenborg, Copenhaga, Danemarca; Funda]ia Juan Mir Barcelona, Spania; Lucr~ri n colec]ii particulare Germania, Italia, Spania, Belgia, Fran]a, Austria, Rusia, Suedia, Elve]ia, S.U.A. Tel. atelier: Mobil: 0040 21 3140279 0040 744 160080
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ana-maria SMIGHELSCHI
IMAGINI STRNSE DIN VALURILE MRII Grafician reputat, autor de c~r]i pentru copii, Ana-Maria Smigelschi este unul dintre cei mai discre]i arti[ti pe care i-am cunoscut. Expozi]iile ei sunt rare, dar, cu att mai surprinz~toare. Pentru iubitorii de art~ este o pierdere. Crea]ia ei cucere[te printr-o rar~ mbinare de rigoare [i poezie, de ordine [i visare. Construc]ia este solid~, culoarea, de o expresivitate pe care ar putea-o invidia mul]i pictori. Ana-Maria Smigelschi are capacitatea descoperirii esen]ei n lucrurile mici: o felie de pine, o scoic~, un odgon rupt [i aruncat de valuri pe malul m~rii. Creeaz~ cu ele compozi]ii pline de sensuri aproape filosofice, acaparante prin c~ldura pe care le-o confer~, prin monumentalitatea pe care fiecare element o degaj~. Bijuterii construie[te artista [i n ilustra]ia de carte, fie cu capacitatea de a rezona cu autorul volumului, fie prin talentul [i umorul cu care imagineaz~ pove[tile pentru copii, desenele menite s~-i amuze [i s~-i educe n acela timp. O energie debordant~, o fine]e a raporturilor cu lumea, un umor inteligent caracterizeaz~ personajul [i crea]ia lui. Pentru c~ AnaMaria Smigelschi este un personaj n via]a particular~, a[a cum este o autentic~ personalitate n domeniul artelor vizuale.
IMAGES GATHERED FROM THE WAVES OF THE SEA A reputed graphic artist, an author of childrens books, AnaMaria Smigelschi is one of the most discrete artists that I have met. Her exhibitions are rare, but all the more surprising. For art lovers it is a loss. Her work wins you through a rare combination of rigor and poetry, order and dreaming. The construction is solid, the colors have an expressiveness that many painters would envy. Ana-Maria Smigelschi has the capacity of discovering the essence in small things: a piece of bread, an oyster, a thick rope broken and tossed out on the waves at the seaside. She creates a composition with them, full of almost philosophical meaning, captivating through the warmth that she confers to them, through the monumentality each element emits. The artist also makes jewels of her books of illustrations, through the capacity to resonate with the author of the book, and through the talent and humor with which she imagines the stories for children, the drawings intended to amuse and educate them at the same time. An overflowing energy, a delicacy of rapport with the world, an intelligent humor characterizes her personality and works. This is because Ana-Maria Smigelschi is a distinct personality in her private life, just as she is an authentic character in the visual arts domain.
Victoria ANGHELESCU
Victoria ANGHELESCU
143
Ana-Maria SMIGHELSCHI Vama Veche

Acuarel~ pe hrtie / Watercolor on paper
Ana-Maria SMIGHELSCHI Scoici / Shells

Acuarel~ pe hrtie / Watercolor on paper 1989
Ana-Maria SMIGHELSCHI Studiu 3 / Study 3

Acuarel~ pe hrtie / Watercolor on paper
Ana-Maria SMIGHELSCHI Mania persecu]iei / The persecution mania

Acuarel~ pe hrtie / Watercolor on paper 1996
145
Ana-Maria SMIGHELSCHI Matrimoniale / Stories of a couple

Aquatinta 1981
Ana-Maria SMIGHELSCHI Via]a e o lupt~ / Life is a battlefield

Aquatinta 1981
146
Ana-Maria SMIGHELSCHI
N~scut~ pe 30 mai 1938 n Bucure[ti Studii 1961
Ana-Maria SMIGHELSCHI
Born in Bucharest on the 30th of May, 1938 Education 1961 Nicolae Grigorescu Institute of Fine Art, Bucharest, studies in graphic arts with professors Ion Luca, Iosif Molnar and Nicolae Kazar Selected Solo Exhibitions 1980 Orizont Gallery, Bucharest 1981 The Romanian Academy, Rome Palazzo Comunale, Monte Rotondo, Italy 1982 Assisi, Italy 2007 Veroniki Gallery, Bucharest Awards and Honors 1966 Honorable Mention at the First Poster Biennial, Warsaw 1967 Award of the Artists Union 1968 Cultural Merit Order, class II 1981 International Grand Prize Trionfo 81, Italy 1987 The La Minerva DOro Award, Italy 2000 The Order for Merit in the rank of officer
Institutul de Arte Plastice Nicolae Grigorescu, Bucure[ti, la sec]ia Grafic~ cu profesorii: Ion Iuca, Iosif Molnar, Nicolae Kazar.
Expozi]ii personale - selec]ie 1980 Galeria Orizont, Bucure[ti 1981 Accademia di Romania, Roma Palazzo Comunale, Monte Rotondo, Italia 1982 Assisi, Italia 2007 Galeria Veroniki, Bucure[ti Premii, ordine - selec]ie 1966 Men]iune de onoare la Prima Bienal~ de Afi[, Var[ovia 1967 Premiul Uniunii Arti[tilor Plastici pentru Grafic~ 1968 Ordinul Meritul Cultural cl II 1981 Grande Premio Internazionale Trionfo 81 Italia 1987 Premiul La Minerva DOro Italia 2000 Ordinul Pentru Merit n grad de ofi]er
Adresa:
Str. Av. Petre Cre]u 6, Bucure[ti
Address: 6, Av. Petre Cre]u St., Bucharest 6, Romania
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ion STENDL
Deloc prins n capcanele re]etei, postmodernismul artei profesorului Ion Stendl se afirm~ azi ca un instrument inventiv al cupl~rii timpilor istorici [i muzeistici. El admir~ capodoperele artei universale c~rora le aduce omagiul, le integreaz~ sensibilit~]ii [i mentalit~]ii contemporane. Trecerea de la o morfologie la alta, detalii faimoase din capodoperele picturii universale sunt asimilate eterogen compozi]iilor insolite. Jocul, amestecul ideilor [i schimb~rile coeren]ei metaforice creeaz~ mobilitatea de la un cadru la altul. Cora antic~ prime[te semnifica]ia vie]ii n al~turarea nudului palpitnd de via]~ al tinerei femei imaginat~ n reverie, ecvestra roman~ este integrat~ cavalcadei trupurilor c~zute n ultimul r~zboi.(...) Minotaurul cretan se mistific~ n antropomorfie actual~. Tonul grav al con]inutului este absorbit n jocul senin al formelor, libere de corsetul prescrip]iilor. Istoria, simbolurile [i prezentul se apropie [i convie]uiesc n clipa de cultur~ [i de via]~. Spa]iul plastic, expresie a nonconformismului, se comunic~ dezinvolt. Stendl trece de la severitatea construc]iei formei la libera ei distrugere. Solu]ii inedite cu fiecare lucrare se inser~ n dialogul semantic [i c~utarea expresivit~]ii ansamblului. Dispunerea scenografic~ a personajelor se nscrie n cmpul compozi]ional deschis, f~r~ limita cadrului. Perspectivele moderne convie]uiesc cu rigorile perspectivei clasice europene [i orientale. n acest univers plastic postmodern, morfologiile combinate sunt puse de acord, formele clasice ale culturii mediteraneene se al~tur~ armonios lumii secolului XXI, ansamblurile artei figurative se afl~ n slujba emo]iei artistice nobile. Desenul este determinantul rela]iei form~ - construc]ie - expresie. Nonconformismul artei lui Ion Stendl bazat pe surpriz~, inova]ie [i curajul detron~rii grani]elor rigide dintre arte, afirm~ concepte [i solu]ii plastice originale, reprezentative pentru rela]ia dintre modern [i tradi]ie, m~rturisite de m~iestria artistic~ [i performan]a profesional~ ale pictorului. Adriana BOTEZ - CRAINIC Text extras din studiul ap~rut n revista Contemporanul Ideea European~, nr.4, aprilie 2007
Never caught in the pitfalls of recipe, the postmodernism of professor Ioan Stendl has been confirmed today as an inventive instrument for coupling together historic times and museum like features. He admires the masterpieces of universal art to which he pays homage, he integrates them into contemporary sensitivities and mentalities. The passage from one morphology to another, well-know details from the universal masterpieces of painting are heterogeneously assimilated into unique compositions. The game, the mix of ideas and the changes of metaphorical coherence creates mobility from one frame to another. The ancient greek maiden is endowed with life by being placed beside the nudes, full of the life of young women, imagined in revelry; Roman riders are integrated with the cavalcade of fallen troops from the last war; (...) The Cretan Minotaur turns into current anthropomorphism. The sober tone of the content is absorbed in the quiet play of forms, free from the constraints of prescriptions. History, symbols and the present draw closer to one another and live together in a moment of culture, of life. The nonconformist expression of space is naturally communicated. Stendl passes from the rigorous construction of forms to their free destruction. Wonderful solutions for each work are inserted into the semantic dialogue and the ensembles search for expression of the whole. The scenic display of figures is inscribed in the open compositional field, unlimited by the frame. The modern perspectives live together with the rigors of the classical European and oriental perspectives. In this universe of postmodernism combined morphologys are placed in accordance, classical Mediterranean forms of culture stand harmoniously alongside the 21st century world, the ensembles of figurative art are serving the noble artistic emotions. Drawing is determining for the relations of form construction expression. The nonconformism of Ion Stendls art is based on surprise, innovation and the courage to overturn the rigid boundaries between the arts; it affirms original concepts and solutions that are representative for the relationship between the modern and the traditional, witnessed by the artistic mastery and professional accomplishment of the paintings. Adriana BOTEZ - CRAINIC Excerpt from a study in the magazine, Contemporanul Ideea European~, (The Contemporary European Idea) nr.4 (661), April 2007
149
Ion STENDL Cal troian / Trojan Horse

Tehnic~ mixt~ pe pnz~ / Mixed media on canvas
Ion STENDL Cal troian 2 / Trojan Horse nr. 2

150
Ion STENDL Cal troian 3 / Trojan Horse nr.3

Ion STENDL Cal troian 4 / Trojan Horse nr.4

151
Ion STENDL Sinopia

Ion STENDL Sinopia 2

152
Ioan STENDL
N~scut 18 februarie 1939, Re[i]a, jud. Cara[ Severin Studii 1963
Ioan STENDL
1939 Born in Resi]a, Caras-Severin County on the 18th of February
Absolvent al lnstitutului de Arte Plastice Nicolae Grigorescu din Bucure[ti
Education 1963 Graduate of the Institute of Fine Arts, Nicolae Grigorescu Bucharest 1971-1972 DAAD scholarship of the State Academy of Dsseldorf, with professor Rolf Sackenheim Since 1993, guest professor to the annual International Summer Academy at Beratzhausen, Bavaria Selected Solo Exhibitions 1971, 1973 Apollo Gallery, Bucharest 1983 The Art Museum of Romania, Bucharest 1995 Aspekte Gallery, Waibstadt, Germany 1996 Round Hall, National Theater of Bucharest 1996, 2004 Kunstkontor Westnerwacht Gallery, Regensburg, Germany 1998 Grafik Museum Stifiung Schreiner, Bad Steben, Germany Selected Group Exhibitions 1976 Nine Romanian Artists Tapestry Exhibition, Paris,France 1991 Exhibition of Painting and drawing, Wageningen, Holland 1994, 1995 Zehentstadel, Beratzhausen, Germany 1994 Stationen, Bucharest, Bonn 1997, 1999 Gallery Im Altstadthof, Nuernberg, Germany 1998 Romanian Art Today, Cobra Museum, Amstelveen, Holland Selected International Exhibition 1967, 1975, 1977, 1979, 1981 Biennial of Graphic Art, Ljubliana, Slovenia 1968, 1972, 1978 Xylon, Geneva, Sweden 1969 The Youth Biennial, Paris, France 1969-1975, 1977-1981 Drawing Contest, Joan Mir, Barcelona, Spain 1970, 1977 Graphic Biennnial, Europahaus, Vienna, Austria 1972 Art Biennial, Venice, Italy 1979 Mail Art Book Project, Vienna, Austria 1980 Intergraphik, Berlin, Germany International Impact Art Festival, Kyoto, Japan 1981 European Graphic Biennial, Baden-Baden, Germany 1982 International Drawing Exhibition, Bilbao, Spain Awards and Honors 1969 Award at the Youth Biennial, Paris, France 1970 Medal from the 3rd Biennial of Krakow, Poland 1974 Third Mention at the contest Joan Miro, Barcelona, Spain 1984 The Ioan Andreescu Award of the Romanian Academy, Bucharest 1995 Special Prize of the Artists Union of Romania 2000 National Order for Faithful Service in the rank of Officer Order of Merit in Education in the rank of Officer
1971-1972 burs~ DAAD la Academia de Stat din Desseldorf Din 1993 anual, profesor invitat la Academia Interna]ional~ de var~ la Beratzhausen, Bavaria Expozi]ii personale - selec]ie 1971, 1973 Galeria Apollo, Bucure[ti 1983 Muzeul de Art~ al Romniei, Bucure[ti 1995 Galeria Aspekte, Waibstadt, Germania 1996 Sala Rond~ a Teatrului Na]ional, Bucure[ti 1996, 2004 Galeria Kunstkontor Westnerwacht, Regensburg, Germania 1998 Grafik-Museum Stiftung Schreiner, Bad Steben, Germania Expozi]ii de grup - selec]ie 1976 9 arti[ti romni - Expozi]ie de tapiserie, Paris, Fran]a 1991 Expozi]ie de pictur~ [i desen, Wageningen, Olanda 1994, 1995 "Zehentstadel, Beratzhausen, Germania 1994 Stationen, Bucure[ti - Bonn 1997, 1999 Gallerie im Altstadthof, Nernberg, Germania 1998 Arta romneasc~ azi, Muzeul Cobra, Amstelveen, Olanda Expozi]ii interna]ionale - selec]ie 1967,1975,1977,1979,1981 Bienala de grafic~, Ljubliana, Slovenia 1968, 1972, 1978 Xylon, Geneva, Elve]ia 1969 Bienala de tineret, Paris, France 1969-1975, 1977-1981 Concursul de desen Joan Mir, Barcelona, Spania 1970, 1977 Bienala de grafic~ Europahaus, Viena, Austria 1972 Bienala de Art~, Vene]ia, Italia 1979 Mail Art - Book Projekt, Viena, Austria 1980 Intergraphik, Berlin, Germania International Impact Art Festival, Kyoto, Japonia 1981 Bienala de grafic~ european~, Baden-Baden, Germania 1982 Expozi]ie Interna]ional~ de desen, Bilbao, Spania Premii, distinc]ii - selec]ie 1969 Premiu al Bienalei de tineret, Paris, Fran]a 1974 Men]iunea a 3-a la concursul Joan Mir, Barcelona, Spania 1984 Premiul lon Andreescu al Academiei Romne, Bucure[ti 1995 Premiul special al Uniunii Arti[tilor Plastici din Romnia 2000 Ordinul Na]ional Serviciul Credincios n gradul de Ofi]er Ordinul Meritul pentru nv~]~mnt n gradul de Ofi]er
153
ioana ETRAN
MICROCOSM Cnd Ioana etran rotunje[te cu spatula dentar~ una dintre cele trei articula]ii ale celor [ase picioru[e din por]elan alb, mi pot imagina starea de concentrare fericit~ [i acuitatea vis~toare a celebrei Maria Sibylla Merian, gravorul-entomolog cu voalet~ [i dantele str~vezii, pierdut n jungla amazonian~. Artist~ apar]innd barocului german, Maria Sibylla a zugr~vit [tiin]ific, n compozi]ii involuntar poetice, metamorfozele [i ambientul vegetal al unor fascinante [i nemaiv~zute insecte. Nu [tiu dac~ Maria Sibylla a fost, precum Ioana, o f~ptur~ minion~, t~cut~ [i emotiv~, cu o nelini[te a degetelor [i cu o repeziciune a privirii, dar, peste secoli, ambele artiste fac performan]~ n sensul caleidoscopicei aventuri din viul insectifirm. Cu bagheta alb~ de caolin, Ioana etran e o zn~-savant care ncremene[te mi[unarea de sub ierburi. Nu inventeaz~ ludic, ci, doctoral, transfocheaz~ microcosmul lui Fabre la propor]iile p~s~rilor cerului. (...) De aproape jum~tate de veac, ceramista articuleaz~ este verbul cel mai judicios nfiorate popoare de gze. Artist~ de o exigen]~, discre]ie [i pasiune care evoc~ naturalistul autentic, Ioana etran oferea, n marile etal~ri ale artelor decorative din anii '70'80, tipsii cu ierburi [i frunze mineralizate n alb sideral. Printre ele, treptat, au nceput s~ fojg~ie elitre, antene, cili, picioru[e, gheru]e [i carapace de coleoptere. (...) Roca alburie, cu siliciu [i aluminiu, a Marelui Deal chinez (Gaoling) are structura hexagonal~ a fagurelui divin, plus molecula de ap~, divin~ [i ea, care-i d~ plasticitatea [i memoria tu[eului: n r~ceala-i sticloas~, por]elanul este contrariat de atingerile [i model~rile operate pe memoria lui ini]ial~, de past~ umed~. Dac~ viul apei dispare prin coacere, formele infinit fragile ale acestui macroinsectar sunt astfel gndite, nct, n pofida vitrifierii, s~ evoce, s~ exalte colc~itoarea densitate a regnului liliput. Ioana etran are o continuitate remarcabil~ de atelier [i solu]ii tehnologice care ]in de [iretlicurile [arpantelor, de mbin~rile de atelaje ori de chirurgia reparatorie: dup~ o prim~ asamblare de carcase, arhitecturizeaz~ ntregul diafan motoriu al insectei [i recoace lipiturile de pe articula]iile fine. Aliat~ cu focul, artista nal]~ regnul cel mai umil, mai perisabil [i mai fecund al biologicului. Este eternul pariu de transmutare. Momente precise [i ritualizate ale artei milenare a ceramicii surprind taina prolifer~rii viului, clipa de miracol. Aurelia MOCANU
MICROCOSM When Ioana etran rounds off with a dental spatula one of the three articulations each of the six tiny legs a white porcelain locust has, I can imagine the happy concentration, the dreamy acuity of Maria Sibylla Merian, the famous engraver-entomologist wearing a hat veil and transparent laces, lost in the Amazonian jungle. An artist belonging to the German baroque, Maria Sibylla had scientifically depicted, in involuntary poetic compositions, the metamorphoses and the vegetal surroundings of some fascinating and unknow insects. I do not know whether Maria Sibylla was, like Ioana, a delicate, silent and emotional being, with restless fingers and a swift regard, but after centuries, both artists proved their accomplishment in the analysis of the living insects' kaleidoscopic adventure. With her "white kaolin wand," Ioana etran is the fairy scientist who makes the undergrass swarming stock-still. She does not invent the game, but, like a genuine scientist, she zooms Fabre's microcosm to birdlike proportions. (...) For almost half a century, the ceramist has articulated it seems the most proper verb out of kaolin thrilling populations of flying insects. An artist having the exigency, discretion and passion of a naturalist, Ioana etran has offered, in the large decorative arts displays of the '70s and '80s, trays with grasses and leaves mineralized in sidereal white. Among them, a number of elytra, antennae, cilia, tiny legs, little claws and coleopteran shells have gradually turned up. (...) The silicium-andaluminium whitish rock of the Great Hill (Gaoling) has the hexagonal structure of the divine honeycomb to which the no less divine water molecule offers plasticity and memory: in its glassy coldness, the porcelain is "upset" by the touches and moulding performed on its prime memory of wet paste. When, during baking, the living water disappears, the extremely frail shapes of this macroinsectarium are so conceived, that in spite of vitrification, they evoke and exalt the swarming density of the Lilliputian kingdom. Ioana etran has a remarkable studio continuity and technological solutions that obey framework tricks, team joining or restoring surgery: after a first carcass assembling, she redesigns, the way an architect does, the whole of insects' motor delicacy and bakes again the sticks on the thin joints. Allied with fire, the artist raises the most humble, perishable and prolific biological kingdom. It is the eternal bet of transmutation. Certain ritualized moments of the millenary art of ceramics are able to catch the mystery of life proliferation, of the instant miracle. Aurelia MOCANU
155
Ioana ETRAN Gndac cu cioc / Beetle with beak

Por]elan / Porcelain
Ioana ETRAN
(dreapta / right)
Gze 2 / Insects 2
Ioana ETRAN Plaur 1 / Turf 1

Ioana ETRAN
(dreapta / right)
Mare 2 / Seaside nr. 2

156
157
Ioana ETRAN 2 bicorni / Double horned beetles

Ioana ETRAN R~da[c~ / Stag beetle

Ioana ETRAN Plaur 2 / Turf 2

Ioana ETRAN
N~scut~ la 1 ianuarie 1936 n Bucure[ti Studii 1959
Ioana ETRAN
Born on the 1st of January 1936 in Bucharest, Romania Studies Graduated the Nicolae Grigorescu Fine Arts Institute in Bucharest (1959) Member of the International Academy of Ceramics, Geneva, Switzerland (since 1978) Awards and Honors 1974 Prize for Decorative Arts granted by the Romanian Fine Artists Union 1978 Acquisition Prize granted at the Erfurt quadriennial Exhibition Acquisition Prize granted by the International Academy of Ceramics (Geneva) Prize granted by the Ariana Museum, Geneva 1984 Mention of Honour granted at the Zagreb Triennial Exhibition 1989 Mention of Honour granted at the Mino Competition of Ceramics National Order "For Merit" (in the rank of officer )
Absolvent~ a Institutului de Arte Frumoase Nicolae Grigorescu, Bucure[ti Din 1978 Membru al Academiei Interna]ionale de Ceramic~, Geneva, Elve]ia Premii - selec]ie 1974 Premiul pentru art~ decorativ~ acordat de Uniunea Arti[tilor Plastici din Romnia 1978 Premiu acordat de Expozi]ia cvadrienal~ de la Erfurt, Germania Premiu acordat de Academia Interna]ional~ de Ceramic~ (Geneva) la Expozi]ia Bienal~ de la Vallauris, Fran]a Premiu acordat de Ariana Museum, Geneva 1984 Men]iune de onoare acordat~ la Expozi]ia trienal~ de la Zagreb, Croa]ia 1989 Men]iune de onoare acordat~ la Concursul de ceramic~ Mino, Japonia Distinc]ii Meritul Cultural cu grad de ofi]er Adresa: Bld. Mare[al Al. Averescu nr. 42 A, S 1, Bucure[ti, Romnia
Address: 42 A, Mare[al Al. Averescu Boulevard, Bucharest 1, Romania
159
160
simona TNSESCU
Simona T~n~sescu este o optezicist~ de tranzi]ie. De[i a intrat n mi[carea artistic~ pe la nceputul anilor 90, ea leag~ ntr-un fel, spiritualismul genera]iei 70 de autoreflexibilitatea genera]iei 80 [i de ie[irea n contingent [i n social a nou~zeci[tilor. Ca structur~? intim~, voca]ia ei este teologic~; din punctul de vedere al rela]iei cu forma plastic~ ea are o enorm~ ndemnare de tehnician, iar ca deschidere c~tre consumatorul de art~ [i ca strategie de comunicare dezv~luie o acut~ con[tiin]~ pedagogic~ [i o devo]iune de taumaturg. Ceramist~ prin fascina]ia ei aproape mistic~ pentru p~mntul ca materie arhetipal~, ca spa]iu al vie]ii [i ca substan]~ a genezei, Simona T~n~sescu s-a eliberat tacit din captivit~]ile decorativelor [i s-a emancipat de frustr~rile acestora. Desf~[urndu-se pe mai multe planuri, care implic~ deopotriv~ tehnicile tradi]ionale [i procedeele alternative, ea intr~ mai curnd n tipul de comportament al artistului care-[i dubleaz~ gestul crea]iei cu ncercarea de a interveni direct n psihologia [i n comportamentul receptorului.
Simona T~n~sescu is a member of 80s generation. Though she entered the artistic movement at the beginning of the 90s, she is tied in a way to the spiritualism of the 70s generation, and the self-reflexivity of the 80s and to the opening towards the contingent and social of the 90s. In its intimate structure, her vocation is theological; from the viewpoint of the relationships with graphic forms she has extraordinary skill as a technician, and her openness to the art consumer along with her strategy for communication reveal an acute pedagogic concern and a taumaturgical devotion. An artist in ceramics through her nearly mystical fascination for earth as an archetypical material, as the space of life and substance of genesis, Simona T~n~sescu tacitly freed herself from the captivity of decorations and emancipated herself from the frustrations that derive from them. Developing on many levels that implicate both traditional techniques and alternative processes, she exemplifies rather the kind of behavior of an artist that doubles the gesture of creation through the attempt of directly intervening in the psychology and behavior of the beholder.
Pavel UAR
Pavel UAR
Simona TNSESCU Ad~post / Shelter

Gresie / Sandstone 1997
Simona TNSESCU 2 Media

Gresie / Sandstone 1998
Simona TNSESCU Carte / Book

Bronz / Bronze 2005
162
Simona TNSESCU Ho]ul de mere / Apples thief

Bronz / Bronze 2002
Simona TNSESCU Autoportret n oglind~ / Self-portrait in the mirror

Bronz / Bronze 2004
Simona TNSESCU Clopot / Bell

Tehnic~ mixt~, hrtie pnzat~ / Mixed media, paper on canvas 1995
164
Simona TNSESCU
N~scut~ pe 20 ianuarie 1959 n Bucure[ti Studii 19791983 Institutul de Art~ Plastic~ N.Grigorescu, Bucure[ti 2002 Burs~ Management Cultural, Ministerul Culturii [i Comunica]iilor din Fran]a Premii 1996 1995 1998 2004
Simona TNSESCU
Born in Bucharest on the 20th of January, 1959 Education 1979-1983 Nicolae Grigorescu Fine Arts Institute, Bucharest 2002 Cultural Management Scholarship, the Ministry of Culture and Communication, France Awards and Honors 1996 Mention of Honor at Aveiro, Portugal 1995 The Union of Artists Award for Youth 1998 The Union of Artists Environement Award 2002 Scholarship from the Ministry of Culture, France 2004 Third Prize for monumental project; Ministry of Culture and Cults Order of Cultural Merit in the rank of Knight Works in Private Collections Mont Dauphin, LEscarenne, Nice, France Arandjelovac Gallary, Golden Eye, Novy Sad, Serbia Freiburg, Germany Los Angeles, USA
Men]iune de Onoare Aveiro, Portugalia Premiul UAP pentru tineret Premiul UAP Ambient" Premiul III, proiect monumental; Ministerul Culturii [i Cultelor Ordinul Meritul Cultural n grad de Cavaler
Lucr~ri n colec]ii particulare Mont Dauphin, LEscarenne, Nice, Fran]a Arandjelovac, Galeria Golden Eye Novy Sad, Serbia Freiburg, Germania Los Angeles, SUA
Adresa: Mobil:
Biserica Amzei nr. 5, s 1, 010391 Bucure[ti, Romnia 0040 724 209050
Address: 5, Biserica Amzei St., Bucharest 1, Romania Mobile: 0040 724 209050
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mircea TOHTAN
Pictura lui Mircea Toh~tan se na[te din exerci]iul privirii - am folosit timpul prezent pentru a sublinia o constant~ n crea]ia sa. Artistul s-a confruntat mereu cu motive dintre cele mai dificile, aidoma realit~]ii apropiate. Interiorul, Autoportretul, Curtea... iar acum c]iva ani, vederile v~zute de la fereastra atelierului. Pentru acest autor apar]innd genera]iei '80, totul, de la percep]ie la reprezentare [i receptarea ei, se raporteaz~ la emo]ie. Banalul a exercitat o atrac]ie constant~, iar luciditatea artistului a [tiut s~ sesizeze [i s~ speculeze bog~]ia de resurse a obi[nuitului. n anii '80, ecor[area banalului cotidian, n reprezentare neoexpresionist~, era o manifestare a noii sensibilit~]i. Cnd Toh~tan a trecut la o rea[ezare a valorilor n urma contactului cu muzeele [i galeriile Occidentului, cnd s-au potolit furtunile nceputurilor (artistul a intrat ntr-un proces de reevaluare a picturii n fundamentele ei tradi]ionale. Chiar dac~ n datele modernit~]ile clasice [i cu un fel de ascez~ a privirii ntoars~ insistent asupra naturii fie ea [i n ipostaza citadin~ - Toh~tan reprezint~ simplitatea [i firescul. Rodul exerci]iului de privire solicit~ un singur lucru: un exerci]iu de contempla]ie, aproape uitat, nghi]irile erei informa]ionale. Drumul spre firesc, ns~, cu ntoarcerea la inocen]~; luciditatea distribuie nc~ o dat~ accentele! - s-o indentific~m, acum, drept luciditate postmodern~. Artistul se ntoarce f~r~ nostalgie, ci printr-o op]iune cump~nit~, n func]ie de armonizarea dintre numita ascez~ a privirii [i un cod artistic redescoperit prin revizitarea [i avatarurile sale, prelucrnd att modele franceze ct [i pe cele romne[ti. Asceza privirii s-ar traduce prin ascu]irea ei o tensiune subtil~ se instaleaz~, credem, ntre purificarea spre care se tinde [i instrumentarea ei cu mijloace care, de[i schimb~ cursul experien]elor artistice anterioare, nu au cum s~ nu ]in~ cont de acumularea acestora am putea cuantifica aici o doz~ de (auto)ironie.... Adrian GU
Mircea Tohtans paintings are born from the exercise of the gaze - I use the present tense here to emphasize a constant of his works. The artist has always faced the most difficult motives, that is, the closest reality. The Interior, the Self-portrait, the Yard... and now (for a few years), the Views fragments of urban landscape seen from the window of his studio. Everything - from perception to its representation and reception - relates to emotion for this author belonging to the 80 generation. Yet, how much lucidity, painful, we should say, accompanies this emotion. The banal exerted a constant attraction upon him. Perhaps the lucidity itself and the irony helped him detect and speculate on the wealth of the resources of the ordinary. Back in the 80s, the skinning of the daily banal in a neo-expressionist manner was a sign of the new sensibility. When Toh~tan came to reorganize his system of values as a consequences of his contact with Western museums and galleries, when the storms of the beginnings (in the 90s) faded away without any missionary exaltations! he began a process of re-evaluation of the painting in its traditional foundations. Reverting to classical modernity and practicing an asceticism of the gaze turned towards nature, be it in its urban expression - Toh~tans art has simplicity and naturality. The outcome of his gazing exercise asks for only one thing: an exercise of contemplation, almost forgotten, swallowed by the accelerations of the information era. Yet, the way to normality and simplicity is not to be mistaken for the return to the primordial innocence; lucidity distributes once more the accents! lets identify it now as a post-modern lucidity. The artist returns without nostalgia, but with a balanced option, relying on the harmonization of the already mentioned ascetic gaze with an artistic code rediscovered in Impressionism and its avatars by revisiting Art History, while processing the French models as well as the Romanian ones. An ascetic gaze would mean its sharpening there is a subtle tension, we believe, between the purification towards which one is tending and the tools that change the course of the previous artistic experiences, but cannot ignore its accumulation; and we could identify here a dose of (self)irony. Adrian GU
167
Mircea TOHTAN Curte dup~ s~rb~tori / Courtyard after the Holidays

Mircea TOHTAN Vedere / View

Mircea TOHTAN Curte / Courtyard

169
Mircea TOHTAN Studiu de nud / Nude - study

Mircea TOHTAN Studiu de nud / Nude - study

Mircea TOHTAN Un om - un pom / A man - a tree

170
Mircea TOHTAN
N~scut la 5 august 1957 la Media[, Romnia Studii Absolvent al Institutului de Arte Plastice N. Grigorescu, clasa prof. Octav Grigorescu. ntre 1995 [i 1999 a fost membru al grupului Prolog. Expozi]ii personale - selec]ie 1987 Atelier 35, Bucure[ti 1996 Hanul cu Tei, Bucure[ti1997, 2003 Galeria Simeza 1997, 2003 Galeria Simeza Expozi]ii de grup - selec]ie 1987 Alternative, galeria Orizont, Bucure[ti 1988 Galeria Simeza 1990 Filocalia, Galeria Artexpo, Bucure[ti 1991 Arta contestatar~ n Europa de Est, Muzeul Colec]iilor de Art~ Le pied galeria Mdiathque, Die, Fran]a 1992 A[teptare [i Izbucnire Muzeul de Art~ din Szombathelly, Ungaria Muzeul de Art~ Arad 1993 Espace Prevert, Savigny-le-Temple, Fran]a Muzeul Colec]iilor Orient-Occident, Muzeul de Art~ Timi[oara 1994 Tema-Eseu de art~ comparat~, Muzeul Na]ional al Romniei Galeria Catacomba 1995 Filocalia, Cluj Prolog, Limassol, Cipru 1996 Chipuri de pictori, Galeria Etaj 3/4 Versions of Transfiguration, Muzeul Mcsarnok, Budapesta Studiu nud, Galeria Etaj 3/4 Rudenie [i Patrimoniu, 2001 Colec]ia Casei Regale a Romniei, Muzeul Literaturii Romne
Mircea TOHTAN
Born on August 5, 1957 in Romania Education Academy of Fine Arts Nicolae Grigorescu, Bucharest, class of professor Octav Grigorescu. Member the Prolog Group between 1995-1999. Selected Solo Exhibitions 1987 Studio 35, Bucharest 1996 Hanul cu Tei, Bucharest 1997, 2003 Simeza Gallery, Bucharest Selected Group Exhibitions 1987 Alternative, Orizont Gallery, Bucharest 1988 Simeza Gallery, Bucharest 1990 Filocalia, Artexpo Gallery, Bucharest 1991 Art of Dissent in Eastern Europe, Art Collection Museum Le pied Mdiathque Gallery, Die, France 1992 Expectation and outburst Szombathelly Museum of Art Hungary Museum of Art, Arad 1993 Espace Prevert, Savigny-le-Temple, France Orient-Occident, Museum of Art, Timi[oara 1994 The topic: An Essay in Contemporative Art, National Museum of Art, Bucharest Catacomba Gallery, Bucharest 1995 Filocalia, Cluj Prolog, Limassol, Cyprus 1996 Faces of Painters, Floor 3/4 Gallery of National Theatre, Bucharest Versions of Transfiguration, Mcsarnok Museum, Budapest Nude Studies, Floor 3/4 Gallery of National Theatre, Bucharest 2001 Collection of the Romanian Royal House, the Museum of Romanian Literature, Bucharest
Lucr~ri n colec]ii Romnia, Elve]ia, Statele Unite ale Americii, Portugalia, Marea Britanie, Italia, Fran]a.
Works in Collections Romania, Switzerland, UK, Italy, USA, Portugal, Germany, France.
Mobil: e-mail:
0040 730 457123 mircea.tohatan@gmail.com
Mobile: e-mail:
0040 730 457123 mircea.tohatan@gmail.com
171
vasile TOLAN
Neoexpresionismul abstract al lui Vasile Tolan nu este oglinda transfigur~rii unor angoase ascunse, a unor tr~iri violente. Se [tie, romnul, prin structur~, are darul de a mblnzi lucrurile care au tendin]a de a ie[i din scar~, de a le face mai suportabile. La Vasile Tolan gama cromatic~ e surdinizat~, trecut~ prin filtrul unui temperament care [i tr~ie[te cu o anume cump~tare nelini[tile [i bucuria crea]iei, investind obiectul cu valen]e estetice remarcabile, f~r~ a se feri, ca al]ii, de ideea de armonie cromatic~. Vrtejul de linii, de energii ale gestului plastic ncepe de la un timp s~-[i aproprieze din cotidian citate, elemente umile; [ipci de lemn patinate de vreme, [osete, bilete de tren consumate, deci tot semne ale mi[c~rii, ale trecerii, ale tranzitoriului ntr-o propunere cu adieri neodada. C~lin DAN
The abstract neoexpressionism of Vasile Tolan is not the reflection of hidden phobic transfigurations of a violent life. It is known that a Romanian has through his structure a gift for taming things that have a tendency towards getting out of scale, to make them more bearable. With Vasile Tolan the chromatic range is toned down, passed through the filter of a temperament that lives with a certain moderation the troubles and joys of creation, investing the object with remarkable aesthetic valences, without avoiding, as others do, the idea of chromatic harmony. The whirlpool of lines, of energy of graphic gesture begins at some point to appropriate quotations from daily life, humble elements: slats of wood plated by time, socks, used train tickets, signs of movement, of passage, of the transitory in a proposal with neo-dada undertones. C~lin DAN
Privind dintr-o perspectiv~ plonjat~ firul evolu]iei demersului plastic al lui Vasile Tolan, putem constata o lini[tire treptat~ a turbulen]elor nest~pnite din lucr~rile de acum un deceniu, o limpezire gradual~ a imaginii/formei. Apar chiar nuclee centrate vizual, semn c~ apropierea de centrul labirintului e, pn~ la urm~, pentru o evolu]ie s~n~toas~, aproape inevitabil~. ncep s~ se schimbe propor]iile, s~ se echilibreze, ntre zonele fr~mntate, preponderente la nceput, [i cele care insinueaz~ un nceput de rigoare [i ordine. n haosul general [i face apari]ia geometria, ideea de for]~ a centrului vizual n compozi]ie. Prin [irurile de macropuncte, a[ezate pe registre, se instituie proiectul unei ordini ce se suprapune peste fundalul turbulent. Onisim COLTA Obiectele gata f~cute, semne [i resturi ale unei lumi a consumului, lipite pe fundul casetelor nchise cu sticl~ [i acoperite cu lac str~lucitor, vorbesc despre o invazie a formelor de serie, despre un contingent uniformizator care ascunde, ns~, o poezie simpl~, surprinz~toare, aflat~ dincolo de normele ndeob[te cunoscute ale artisticului, deloc str~in~ de kitsch-ul populist. Lumea aceasta poate fi recuperat~, repus~ n noi termeni, ntr-un regim de resemnare estetic~. Este o lume dat~, c~reia artistul nu-i poate face concuren]~. O poate cita, o poate ironiza, i poate releva grotescul, diversitatea, absurdul, str~lucirea efemera, misterul [i cam att. Suficient ns~ pentru zdruncinarea stereotipiilor perceptive ale privitorului. Pe lng~ acest spa]iu al obiectelor gata fabricate, Vasile Tolan ini]iaz~ ns~ [i propriile sale procese de fabrica]ie, n urma c~rora cap~t~ form~ compozi]ii delicate, fragile, luminoase, rezultate din colarea unor buc~]i de hrtie de diferite culori, calit~]i [i texturi. (...) Gheorghe CRCIUN Observator Cultural, nr. 108, 19 martie 2002
Looking from a birds eye view at the graphic approach of Vasile Tolans, we can observe a gradual settling of the uncontrolled turbulence from the works of a decade ago, a gradual clearing of images and forms. Visually centered nuclei appear, a sign that nearing the center of the labyrinth is, in the end, a healthy evolution, almost inevitable. Proportions begin to change, to become more balanced in troubled areas (predominant in the beginning), rigor and order. In the general chaos geometry, the idea of the force of the visual center in composition makes its appearance. Through the rows of macro points set in registers, a project of order is instituted over the turbulent backdrop. Onisim COLTA Ready made objects, signs and remains of a consumer world, glued to the bottom of boxes closed with glass and with shining varnish, speak of an invasion of a series of forms, of a uniform contingent that hides, however, a simple poetry, surprising, beyond the common norms of the artists, not at all alien to populist kitsch. This world can be recovered, put in new terms, in a regime of aesthetic re-significations. It is an passuned world, which the artist cannot compete with. He can quote it, he can ironize it, he can point out its grotesqueness, diversity, the absurd, ephemeral glimmer, mystery, and that is all about. Yet it is sufficient for shaking the viewers perceptive stereotypes. In addition to this space of ready made objects, Vasile Tolan initiates his own processes of fabrication, and because of this the compositions acquire delicate, fragile, luminous forms, result from the color of pieces paper with different colors qualities and textures. (...) Gheorghe CRCIUN The Cultural Observer, nr. 108, March 19, 2002
173
Vasile TOLAN F~r~ titlu / Without title

174


Vasile TOLAN F~r~ titlu/Without title



Vasile TOLAN
N~scut pe 10 martie 1953 n Buru, jud. Cluj, Romnia Studii 1972-1975 Institutul de Arte Plastice "Ion Andreescu" Cluj-Napoca 1997-1999 Universitatea de Art~, Bucure[ti Din 2001 profesor asociat la Universitatea de Art~ Bucure[ti Expozi]ii personale - selec]ie 1975 Galeria Institutului de Medicin~ [i Farmacie, Cluj-Napoca 1987 Galeria Academiei Romne, Roma, Italia 1995 Galeriile "Atelier", Besanon, Fran]a 1996 Galeria "T & T", Nremberg, Behringersdorf, Germania 2001 Centrul Cultural Francez, Cluj-Napoca 2003 Centrul Cultural German, Cluj-Napoca Expozi]ii de grup - selec]ie 1983 "Romanian Art Exhibition", Detroit, Columbus, Youngstone, Washington, New York, USA 1983, 1986 Expozi]ia Interna]ional~ de Desen "Joan Mir", Barcelona, Spania 1985 Expozi]ia Interna]ional~ de Acuarel~, "Arcobalena" Gallery, Roma, Italia 1987, 1989 "Muse de petit format", Couvin, Belgia 1989 Festivalul Interna]ional de Grafic~ a ~rilor Europei de Est, Menton, Fran]a 1993 Al Galerie Gerlinde Walz, Stuttgart, Germania 1994 Trienala din Osaka, Japonia 1999 "Tinsel and paper" - Action space, Los Angeles, USA Expozi]ie de grup, arti[ti romani - International Center of Exhibitions, Shanghai, China 2007-2008 East West Artists (expozi]ia simpozionului), Stuttgart, Germania Premii 1983 1988 2001 2004 2007
Vasile TOLAN
Born in Buru, Cluj County, Romania on the 10th of March, 1953 Education 1972-1975 Ion Andreescu Fine Arts Institute, Cluj-Napoca 1997-1999 Art University Bucharest From 2001 Visiting professor at the Art University of Bucharest Selected Solo Exhibitions 1975 Gallery of the Medical and Pharmaceutical Institute, Cluj-Napoca 1987 Gallery of the Romanian Academy, Rome, Italy 1995 Studio, Besancon, France 1996 T & T Gallery, Nuremberg, Behringersdorf, Germany 2001 French Cultural Center, Cluj-Napoca 2003 German Cultural Center, Cluj-Napoca Selected Group Exhibitions 1983 Romanian Art Exhibition, Detroit, Columbus, Youngstown, Washington, New York, USA 1983, 1986 International Exhibition of WatercolorJoan Mir, Barcelona, Spain 1985 International Exhibition of Wathercolor, Arcobalena Gallery, Rome, Italy 1987, 1989 Muse de petit format Couvin, Belgium 1989 International Graphic Festival of Eastern Europe, Menton, France 1993 Al Galerie Gerlinde Walz, Stuttgart, Germany 1994 The Triennial at Osaka, Japan 1999 Tinsel and paper Action space, Los Angeles, USA Group Exhibition, Romanian artists, International Exhibition Center, Shanghai, China 2007-2008, East West Artists (exhibitions of the symposium), Stuttgart, Germany Awards and Honors 1983 Award for Painting from Romanian Artists Union, Cluj affiliation 1988 Award for Youth from Romanian Artists Union 2001 National Award for painting from Romanian Artists Union 2004 Cultural Merit in the rank of officer 2007 Award from the Ministry of Culture (with the group 8Art+) Works in Collections Collection B.W.A. Sandomierz, Poland Acrobalena Gallery, Italy Al Galerie Gerlinde Walz, Al Edition, Adriana Schmidt Gallery, Kunsthaus Schaller KG, La Corde,Eterso Gallery, Paris; Le Tondo Gallery, Strasburg, France, Gabriele Huehnergarth, Merzig, Germany Im Altstadthof, Nuremburg, T&T Gallery, Nremberg Behringersdorf, Germany
Premiul pentru pictur~ al UAR filiala Cluj Premiul pentru tineret al UAR Premiul na]ional pentru pictur~ al UAP Meritul Cultural in grad de Ofi]er Premiul Ministerului Culturii (cu grupul 8Art+)
Lucr~ri n colec]ii Colec]ia B.W.A. Sandomierz, Polonia Galeria "Arcobalena", Italia "Al Galerie Gerlinde Walz", "Al Edition", "Adriana Schmidt" Gallery, "Kunsthaus Schaller KG", "La Corde", "Eterso" Gallery, Paris; "Le Tondo" Gallery, Strasbourg, Fran]a "Gabriele Huehnergarth", Merzig, Germania "Im Altstadthof", Nrenberg, "T & T" Gallery, Nrenberg, Behringersdorf, Germania
177
iuliana VLSAN
Iuliana Vlsan apar]ine n mod natural modernit~]ii conceput~ azi ca permanent refuz al limitelor [i cult al comunic~rii ntre arte. Separa]ia e acum arhaic~ [i c~utarea autonomiei vetust~. Totul dialogheaz~, se altoiesc corpuri str~ine, se ngem~neaz~ practici vecine. Teatrul, pictura, sculptura, instala]ia video.... Nimic nu e pur, totul e n mi[care, instabil [i impermanent. Iuliana Vlsan navigheaz~ cu gra]ie ntre aceste teritorii nedefinite unde balizele au disp~rut. C~rei arte i apar]ine? Ce caut~? Unde? Ea e un electron liber ce nu se teme de r~t~cire. Cnd se deseneaz~ o linie nesigur~, cnd pe un fond albastru apare o broderie de alt~ dat~, pecete de vis, grafitti lirice. Ca desenele lui Miro la care m~ gndesc acum ie[ind de la vernisajul expozi]iei sale. Iuliana Vlsan are ceva din minimalismul sentimental pe care marele catalan l-a impus, nu singur, spune el, pornind de la economia lui HoKusai. Sunt familii artistice care se constituie n timp [i ai c~ror membrii se lumineaz~ reciproc. La Iuliana Vlsan, ca [i la Mir, minimalismul nu e sistematic, auster [i teoretic, ci ludic. Jocul, mereu jocul... ea [tie s~ se joace n via]~ ca [i n art~. Pe un fond ns~ de exigen]~ pe care pudic l ascunde. La Iuliana Vlsan, n tot ce face, dincolo de dispozi]ia artistului, recunoa[tem etica artizanului, gustul pentru adev~rul produs din implicarea pn~ la cap~t, tacit [i modest, n fiecare act, n fiecare culoare [i gest. Iuliana Vlsan este un amestec de u[urin]~ n concentrare: [i astfel din nou se apropie de Mir. Ca el, lucrnd, ea ne ncurajeaz~ [i se ncurajeaz~. Ne suntem necesari unii altora. Nu numai nevoia de a se exprima se impune aici, ci [i aceea de a ni se adresa. E o form~ de socialitate estetic~, invita]ie pentru a mp~rt~[i o experien]~ comun~. Arta, o clip~, reu[e[te.
Iuliana Vlsan belongs naturally to modernity, conceived today as a permanent refusal of limits and as the cult of communication between the arts. Separation is now archaic, and the search for autonomy obsolete. Everything is in dialogue, foreign bodies are grafted in, and neighboring practices are germinated. Theater, painting, sculpture, video installation... Nothing is pure, everything is in motion, unstable and transitory. Iuliana Vlsan gracefully navigates through this indefinite territory where beacons have disappeared. What kind of art does she belong to? What is she trying to do? She is like a free electron that is not afraid of getting lost. When an unsure line is drawn, when embroidery from days gone by appears on a blue background, sealed by visions, lyrical graffiti. Like the drawings of Mir, who I think of now, having just left from the varnish of her exhibition. Iuliana Vlsan elicits something of the sentimental minimalism that the great Catalan (and not he alone) imposed, beginning with the economy of Ho Kusai. There are artistic families that are created with time and whose members reciprocally enlighten each other. With Iuliana Vlsan as with Mir, minimalism is not systematic, austere and theoretical, but playful. Games, always games she knows how to play in life as well as in art. She does this however, on a foundation of exigency, which she modestly hides. In all she does, beyond the inclination of the artist, we recognize the ethics of the artisan, the taste for truth produced from implication to the end, tacit and modest, in each action, in each color and gesture. Iuliana Vlsan is a mixture of ease in concentration: and therefore again she comes close to Mir. Like him, while working, she encourages us and is encouraged. We are necessary to each other. It is not only the need for expression that is imposed here, but also her need to address us. It is a form of aesthetical sociality, an invitation to share a common experience. Art, for a moment, succeeds in achieving this.
George BANU
George BANU
179
Iuliana VLSAN Portret, costum / Portrait, costume

Iuliana VLSAN Costume / Costumes

180
Iuliana VLSAN Costum / Costume

181
Iuliana VLSAN Rochie cu juc~rie / Dress with Toys

Iuliana VLSAN Costume / Costumes

Acrilic pe pnz~ / Acrylic on canvas 103 x 200 cm 2004-2005
Iuliana VLSAN Rochie cu [unc~ / Dress with Ham

182
Iuliana VLSAN
N~scut~ n 1971 la Constan]a Studii 1995 2000 2006
Iuliana VLSAN
Born in 1971 at Constan]a Education 1995 Graduated from the University of Bucharest, Departament of classical studies 2000 The Art University of Bucharest 2006 The Center for Advanced Instruction in the Cultural Patrimony at Volterra; coordinates Project Callas in Romania, and is the director of Le Monde Diplomatique She created costumes, stage designs and paintings for shows such as: 1998 Genosse Frankenstein, unser Geliebter Fhrer, made for Weimar, cultural capital of Europe 1999 Joan of Arc, Giurgiu State Theatre and The National Theatre, Bucharest 2003 Reise ins Gluck, State Theatre, Oradea 2007 Kultur Fabrik, Esch sur Alzette made for Luxemburg, European cultural capital 2006 During the Francophone year, together with Jan de Maere coordinated the project Voyages Transylvaniens, Brkenthal Museum, Sibiu Selected Solo Exhibitions 1999 Black / White, The Romanian Cultural Institute, Bucharest 2000 Inter Animales in the The Animal project, Romanian Literature Museum, Bucharest 2002 The Dwarf Pedros House, Donkey of Gold, Gallery de Interese, Bucharest 2004 We are Necessary to Each Other, Gallery Possible, Bucharest 2005 Costume, Gallery Possible, Bucharest Selected Group Exhibitions 1997, 1998 Student Fest, Timi[oara 1998 Accents, Gallery Dominus, Timi[oara 1999 Bella Center, Copenhagen 2003 Palais de Tokyo Awards and Honors 1998 Dominus award for painting 2005 Award for the best costumes at Pecsi Orszagos Szinhaz Talalkozo (POSZT) 2006 Award for the best stage design and costumes at Hataron Tuli Magyar Szinhazak Takalkozoja-Kisvarda Her works are in private collections in Denmark, Germany, France, Italy, Sweden and Romania Address: 45, Lasc~r Catargiu Blvd., Bucharest 1, Romania Mobile: 0040 744 985220 e-mail: iulinavi@gmail.com
Licen]iat~ a facult~]ii de litere a Universit~]ii Bucure[ti, sec]ia clasic~ Universitatea de Art~, Bucure[ti Centrul de instruire avansat~ n patrimoniul cultural de la Volterra, Italia; coordoneaz~ proiectul Callas \n Romnia [i este director al Le Monde Diplomatique
A relizat costume, decoruri sau pictur~ pentru spectacole precum: 1998 Genosse Frankenstein, unser Geliebter Fuhrer, creat pentru Weimar, capitala cultural~ a Europei 1999 Ioana d'Arc. Pagini de dosar, coproduc]ie Smart [i Teatrul Na]ional Bucure[ti 2003 Reise ins Gluck, Teatrul de stat Oradea 2007 Kultur Fabrik, Esch sur Alzette creat pentru Luxembourg, capitala cultural~ European~ 2006 n cadrul Anului Francofoniei a coordonat mpreun~ cu Jan de Maere proiectul: Voyages Transylvaniens, Muzeul Brukenthal, Sibiu Expozi]ii personale selec]ie 1999 Alb / Negru, Institutul Cultural Romn, Bucure[ti 2000 Inter Animales n cadrul proiectului Animalul, Muzeul Literaturii Romne, Bucure[ti 2002 Casa piticului Pedro, M~garul de aur, Galeria de INTERESE, Bucure[ti 2004 Ne suntem necesari unii altora, Galeria Posibil~, Bucure[ti 2005 Costum, Galeria Posibil~, Bucure[ti Expozi]ii de grup - selec]ie 1997, 1998 Student Fest, Timi[oara 1998 Accente, Timi[oara 1999 Bella Center, Copenhaga 2003 Palais de Tokyo, Paris Premii selec]ie 1998 Premiul Dominus pentru pictur~ 2005 Premiul pentru cele mai bune costume la Pecsi Orszagos Szinhaz Talalkozo (POSZT) 2006 Premiul pentru cele mai bune decoruri [i costume Hataron Tuli Magyar Szinhazak Talalkozoja-Kisvarda Lucr~rile ei se afl~ n colec]ii private n Danemarca, Germania, Fran]a, Italia, Suedia [i Romnia.
Adresa: Mobil: e-mail:
Bd. Lasc~r Catargiu nr. 45, apt.11, s 1, Bucure[ti, Romania 0040 744 985220 iulinavi@gmail.com
183

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ioan BOLBOREA geta BRTESCU alexandru CLINESCU-ARGHIRA vlad CIOBANU elena COPUZEANU laura COVACI mircia DUMITRESCU daniela

FINI theodor GRAUR ion GRIGORESCU

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ATELIERE DE ARTITI DIN BUCURETI

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Grafica / Graphic Design

Dan HULIC Rene HUYGHE

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Pr. John Downie

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Artists studios in Bucharest

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R~zvan THEODORESCU, Member of the Academy

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Ioan BOLBOREA Miriapod 3 / Myriapode 3

Ioan BOLBOREA Roata / Wheel

Ioan BOLBOREA Miriapod 4 / Myriapode 4

Ioan BOLBOREA Miriapod 2 / Myriapode 2

Ioan BOLBOREA Roata 2 / Wheel 2

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Absolvent al Institutului de Arte Plastice Nicolae Grigorescu Cluj, sec]ia Sculptur~

Burs~ de studii, Perugia, Italia Burs~ de studii, Roma, Italia

Artists studios in Bucharest

Geta BRTESCU C~tre alb / Towards White

Geta BRTESCU Sursul / Smile

Geta BRTESCU Athanor

Geta BRTESCU Compozi]ie / Composition

Geta BRTESCU Nud pe sofa / Nude on the sofa

Geta BRTESCU Autoportret n oglind~ / Self-portrait in the mirror

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Artists studios in Bucharest

Alexandru CLINESCU-ARGHIRA Pat nup]ial pentru doi copaci,

Wedding bed for two trees

Alexandru CLINESCU-ARGHIRA Parcul olimpic,

The Olympic Park,

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Alexandru CLINESCU-ARGHIRA T recerea albastr~,

Alexandru CLINESCU-ARGHIRA T recerea albastr~ (detaliu),

Blue Passage (detail),

Artists studios in Bucharest

Home phone: Mobile: email:

Artists studios in Bucharest

Vlad CIOBANU Brncoveanu

Vlad CIOBANU T recere (Dante [i Virgiliu) / Passage (Dante and Virgilius)

Artists studios in Bucharest

Vlad CIOBANU Punte / Bridge Tab~ra S~li[te / S~li[te Camp

Vlad CIOBANU Deal (Peisaj) / Hill (Landscape)

Vlad CIOBANU Personaje mitice / Mythical Figures

Artists studios in Bucharest

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Elena COPUZEANU Exerci]ii de supravie]uire / Execises in Survival

Elena COPUZEANU Exerci]ii de supravie]uire / Execises in Survival

Artists studios in Bucharest

Premii : 1995 1997

Adresa: Tel: Mobil: e-mail:

Address: Tel: Mobile: Email:

Artists studios in Bucharest

Laura COVACI Hibrid / Hybrid

Artists studios in Bucharest

Laura COVACI Copil / Child

Laura COVACI Hikykomori - viziunea nr. 2 / Hikykomori - vision nr. 2

Laura COVACI Var~ / Summer