ioan BOLBOREA

geta BRÅTESCU
alexandru CÅLINESCU-ARGHIRA
vlad CIOBANU
elena COPUZEANU
laura COVACI
mircia DUMITRESCU
daniela FÅINIß
theodor GRAUR
ion GRIGORESCU
viorel GRIMALSCHI
ATELIERE DE ARTIßTI gheorghe IACOB
DIN BUCUREßTI
partea a II-a constantin LUCACI
sultana MAITEC
gheorghe MARCU
viorel MÅRGINEAN
ARTISTS’ STUDIOS
anca MUREßAN
IN BUCHAREST
part II lila PASSIMA
romelo PERVOLOVICI
marilena PREDA-SÂNC
florica PREVENDA
gheorghe RASOVSKI
ioana ßETRAN
doina SIMIONESCU
ana-maria SMIGHELSCHI
ion STENDL
simona TÅNÅSESCU
mircea TOHÅTAN
vasile TOLAN
iuliana VÎLSAN
ATELIERE DE ARTIßTI
DIN BUCUREßTI
partea a II-a
E ARTIST’S STUDIOS O F B
ARTISTS’ STUDIOS IN
B U C H A R E S T
part II Texte critice / Critical texts

Pietro AMATO
Sebastian AMZA
Aducem mul]umiri
colec]ionarilor, Victoria ANGHELESCU
arti[tilor, George BANU
criticilor de art~
[i fotografilor Adriana BOTEZ-CRAINIC
care au contribuit la realizarea acestei lucr~ri
Magda CÂRNECI
Cornel Radu CONSTANTINESCU
We would like to thank Onisim COLTA
the collectors,
artists, Gheorghe CRÅCIUN
art critics,
and photographers Maria Magdalena CRIßAN
who have contributed to the making of this book
C~lin DAN
Liviana DAN
Editor Coordonator / Coordinating Editor
Mica GHERGHESCU
Mihai OROVEANU
Adrian GU¥Å
Grafica / Graphic Design Dan HÅULICÅ
TANIT DESIGN
Rene HUYGHE
Fotografii / Photos Erwin KESSLER
Mihai BRÅTESCU
Aurelia MOCANU
Marius CARAMAN
Andrei PLEßU
Ion GRIGORESCU
Magda RADU
Traian LUPE
Pierre RESTANY
Mihai OROVEANU
R~zvan THEODORESCU
Emilian SÅVESCU Pierre Cornette de SAINT CYR
Nicolas SCHÖFFER
Traducere / English Version
Pr. John Downie Nichita STÅNESCU
Procesare texte / Text processing Paul ßUßARÅ
Mariana ßTEFAN
Alexandra TITU
Procesare foto
Cristina MIRCIA Gerard XURIGUERA

Aceast~ carte – a doua având ca subiect atelierele arti[tilor
bucure[teni – apare la un an de la publicarea celei dintâi,
oferindu-ne posibilitatea de a l~rgi selec]ia, prin for]a lucrurilor
restrâns~, a arti[tilor prezenta]i cu acel prilej.
Am c~utat s~ evit~m [i de aceast~ dat~ orice sugestie de ierarhie,
s~ ocolim, în selec]ia arti[tilor, prejudec~]ile tematice sau de alt~
natur~, s~ evit~m for]ate grupaje potrivit unor afinit~]i stilistice.
Am inclus în acest al doilea volum, a[a cum am f~cut [i în primul,
arti[ti din genera]ii diferite, cu preocup~ri distincte, lucrând în
medii variate. Le-am solicitat tuturor s~ respecte un format de
prezentare uniform, care cuprinde o imagine a atelierului, câteva
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 în 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~mâne 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, în 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 îi
sunt, poate, mai pu]in cunoscu]i. Am fost [i r~mânem anima]i de
dorin]a de a ar~ta cât de divers~ [i de bogat~ este scena artistic~
bucure[tean~ [i sper~m c~ îi vom convinge de acest lucru pe cei
care vor r~sfoi albumul.
ING Bank România [i-a dovedit o dat~ în plus generozitatea [i
interesul pentru art~, catalizând [i sprijinind apari]ia acestui volum.
Le exprim~m întreaga noastr~ recuno[tin]~.
Mihai OROVEANU
Artists’ studios in Bucharest
It’s 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

Într-o ]ar~ [i într-o vreme în care monumentele de for public
turnate în bronz se rânduiesc, mai curând cumin]i, în tipologii
bine [tiute [i demult v~zute, a fost o noutate pe care am
salutat-o cu entuziasm [i am sprijinit-o pe cât am putut, crea]ia
lui Ioan Bolborea. L-am cunoscut prin „Monumentul infanteriei"
de la ßosea, aidoma unei plato[e - turn care respir~ for]~ pe
paji[tea înverzit~ unde a fost în~l]at~. L-am reg~sit v~zându-l cum
lucra cu fervoare [i d~ruire la „Arcul de Triumf" într-un parc
ar~dean, unde sculptura era voit pus~ în slujba unei idei politice
generoase, cea a reconcilierii între dou~ popoare vecine. Aici
Bolborea a gândit mariajul fericit al pietrei cu bronzul, într-o
compozi]ie dinamic~ care trebuia s~ fie, în 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 într-un energic [uvoi, aidoma unei cavalcade venind din
trecut c~tre noi, reliefuri puternice evocând figuri notabile [i
momente memorabile ale istoriei na]ionale. Bolborea, creator al
unei opere sculpturale din ce în 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, sugerând 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 curând, menit a
mobila fericit, în desf~[ur~ri concentrice, o pia]~ a Capitalei.
Dar sigur este c~ opera care îl 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 în
str~vechiul vehicol al histrionilor lumii, pe esplanada Teatrului
Na]ional bucure[tean, câteva zeci de personaje lesne
recognoscibile, mon[tri sacri ai scenei române[ti, ca un memento
nepieritor ridicat pentru to]i cei pe care genera]ii de români i-au
aplaudat frenetic decenii de-a rândul.
Slujind cu mijloacele sale plastice istoria [i cultura na]ional~,
Ioan Bolborea îmi pare a fi artistul cet~]ii de care avem ast~zi
atâta nevoie.
Academician R~zvan THEODORESCU
Artists’ studios in Bucharest
ioan BOLBOREA
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 self-
abandonment 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 world’s 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.
R~zvan THEODORESCU, Member of the Academy
5
 Ioan BOLBOREA

Miriapod 6 / Myriapode 6
Bronz / Bronze

6
 Ioan BOLBOREA

Miriapod 3 / Myriapode 3
Bronz / Bronze

Ioan BOLBOREA
Roata / Wheel
Bronz / Bronze
 Ioan BOLBOREA

Miriapod 4 / Myriapode 4
Bronz / Bronze

Ioan BOLBOREA Ioan BOLBOREA

Miriapod 2 / Myriapode 2 Roata 2 / Wheel 2

Bronz / Bronze Bronz / Bronze
 Artists’ studios in Bucharest

Ioan BOLBOREA Ioan BOLBOREA

N~scut în martie 1956 în Bra[ov Born in Bra[ov in March, 1956

Studii Education
1981 Absolvent al „Institutului de Arte Plastice Nicolae Grigorescu” 1981 Graduated Nicolae Grigorescu’s Institute of Fine Art in Cluj,
Cluj, sec]ia Sculptur~ sculpture

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1982 Sala Orizont / Atelier 35 Bursa de studii Perugia / Italia: 1982 Orizont / Studio 35, Perugia scholarship / Italy:
lemn, bronz, sticl~ wood, bronze, glass
1988 Sala Galateea, Bucure[ti 1988 Galateea Hall, Bucharest
1992 Sala Simeza, Bucure[ti 1992 Simeza Hall, Bucharest

Expozi]ii colective - selec]ie Selected Group Exhibitions

1980 Galeria Amfiteatru, Bucure[ti 1980 Amphitheater Gallery, Bucharest
1982 „Expresia corpului uman”, Sala Kalinderu, Bucure[ti 1982 “The Expression of the Human Body”, Kalinderu Hall,
1983 „Locul, fapta [i metafora”, Muzeul Satului, Bucure[ti Bucharest
Atelier 35, Bucure[ti 1983 “The Place, Fact and Metaphor”, the Village Museum,
1988 „Dantesca”, Ravenna, Italia Bucharest Studio 35, Bucharest
1992 Expo'92, Sevilla, Spania 1988 “Dantesca”, Ravenna, Italy
1994 „Sculptura Mic~”, Galeria Orizont, Bucure[ti 1992 Expo ’92, Sevilla, Spain
1995 „Pictori [i sculptori contemporani” Muzeul de Art~ al României, 1994 “Small Sculpture”, Orizont Gallery, Bucharest
Bucure[ti 1995 “Contemporary Painters and Sculptors”, The Romanian Art
1997 „Sculptura Mic~”, Galeria Orizont, Bucure[ti Museum, Bucharest
1997 “Small Sculpture”, Orizont Gallery, Bucharest
Tabere - selec]ie
1982 Tab~ra de sculptur~, M~gura Art Camps
1983 Tab~ra de sculptur~, Str~ule[ti 1982 Sculpture camp, M~gura
1983 Sculpture camp, Str~ule[ti
Burse
1982 Burs~ de studii, Perugia, Italia Scholarships
1983 Burs~ de studii, Roma, Italia 1982 Perugia, Italy
1983 Rome, Italy

Adresa: Str. Ceasornicului, nr. 12 C, sector 1 Bucure[ti, Romania Address: 12C, Ceasornicului St., Bucharest 1, Romania
Atelier: Drumul S~b~reni, nr. 167-173, sector 6, Bucure[ti, Romania Studio: 167-173, Drumul Sabareni St., Bucharest 6, Romania
Tel.: 0040 21 2217722 Phone: 004 021 2217722
E-mail: ioan@bolborea.ro e-mail: ioan@bolborea.ro
www.bolborea.ro www.bolborea.ro

9

Accep]iunea suprarealist~ a ob]inerii unei spontaneit~]i egale în
desen [i pictur~ ca în scris este problematic~ pentru Geta
Br~tescu, deoarece exigen]a «imediate]ei» este bruiat~ de
intruziunea memoriei. Artista dep~[e[te aceast~ dificultate,
încorporând în desenul «automatic» emergen]a formelor atunci
când mâna transcrie ceea ce îi dicteaz~ mintea, într-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) în care mai multe idei artistice dezvoltate
anterior converg într-o sintez~ unic~. În seria de fotografii alb-
negru artista este treptat acoperit~ de alb, absorbit~ de spa]iul
înconjur~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~ în în]elegerea
artei [i a creativit~]ii în general. Multe din lucr~rile ei surprind
artificialitatea lor inerent~, captând mi[carea tranzitorie de la
natur~ la cultur~.
Geta Br~tescu este prins~ într-o mi[care contradictorie, devoalând
artificialitatea [i admi]ând în acela[i timp inevitabilitatea ei.
Revelatoare în acest sens sunt obiectele cu chipul ei ca o masc~,
accentuând sau diminuând prezen]a artificiului. În 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~utând participarea privitorului.
Ca în alte rânduri, artista trece de la seriozitate la umor, de la
gravitate la fantezie non[alant~ [i capriciu, de la rigoare
conceptual~ la inventivitate de neoprit.
Magda RADU
Artists’ studios in Bucharest
geta BRÅTESCU
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~tescu’s 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 artist’s 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 viewer’s 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
11
Geta BRÅTESCU

C~tre alb / Towards White

Fotografii pe suport textil /
Photographs on canvas
1976

Geta BRÅTESCU

Surâsul / Smile
Fotografii, tifon, tempera, ipsos /
Photographs, tempera, gauze, plaster
1978

Geta BRÅTESCU

Athanor
Tehnic~ mixt~, colaj / Mixed media
1974
 Geta BRÅTESCU

Doamna Oliver [i Cavalerul Thonet /

Lady Oliver and Sir Thonet
Instala]ie / Installation
1991

13
 Geta BRÅTESCU

Compozi]ie /
Composition
Colaj / Collage
2005

Geta BRÅTESCU

Nud pe sofa / Nude on the sofa

Obiect / Object
1991

Geta BRÅTESCU

Autoportret în oglind~ /
Self-portrait in the mirror
Tehnic~ mixt~ / Mixed media
1985

14
 Artists’ studios in Bucharest

Geta BRÅTESCU Geta BRÅTESCU

N~scut~ în 1926 Born in 1926

Începutul anului 1946 "Expozi]ia oficial~ de Grafic~ Alb [i Negru", 1946 Debut, "The Official Exhibition of Black and White Graphics",
Sala Dalles, Bucure[ti Dalles Hall, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1975 "Studio 3. Towards White", Galeria Galateea, Bucure[ti [i 1975 "Studio 3. Towards White", Galateea Gallery and Accademia di
Accademia di Romania, Roma Romania, Roma
1980 Colec]ia Michael Winter, Hamburg, cu albumul de litografii 1980 Michael Winter Collection, Hamburg, with the lithograph
"Mythology" album "Mythology"
1981 "Portretele Medeei", Galeria Simeza, Bucure[ti 1981 "Medeea's Portraits", Simeza Gallery, Bucharest
1992 "Miturile [i pove[tile Getei Br~tescu". Muzeul Universit~]ii 1984 "I have drawn for Faustus", Culture House of West
din Missouri, Columbia, U.S.A Germany, Bucharest
1999-2000 "Retrospectiv~", Muzeul Na]ional de Art~, curator 1992 "The Myths and Stories of Geta Br~tescu". Museum of Art
Ruxandra Balaci and Archeology, University of Missouri, Columbia, U.S.A
2006 HT003 Gallery, curator Teodor Graur 1999-2000 - "Retrospective", National Museum of Art, curator
2008 Galerie în Taxispalace, Innsbruck Ruxandra Balaci
2006 HT003 Gallery, curator Teodor Graur
Expozi]ii de grup - selec]ie 2008 Galerie im Taxispalais, Innsbruck
1974 "Arta [i Energie", New Gallery, Bucure[ti
1991 "Cartea-obiect", Muzeul de Art~ al Colec]iilor, Bucure[ti Selected Group Exhibitions
"Sexul lui Mozart", Artexpo, Bucure[ti 1974 "Art and Energy", New Gallery, Bucharest
1993 "Ex Oriente Lux", Sala Dalles, Bucure[ti 1991 "Book-object", Museum of Art Collections, Bucharest
1996 "Experiment în Arta Româneasc~ dup~ 1960", Bucure[ti, "Mozart's Sex", Artexpo, Bucharest
curator Alexandra Titu 1993 "Ex Oriente Lux", Dalles Hall, Bucharest
2000 "In Full Dress", Muzeul Brukhental, Sibiu, curator Liviana Dan 1996 "Experiment in Romanian Art after 1960", Bucharest,
2001 "Transitionland", Muzeul Na]ional de Art~, curator Alexandra Titu
curator Ruxandra Balaci 2000 "In Full Dress", Brukhental Museum, Sibiu, curator
2007 "Geta Br~tescu [i Ion Grigorescu. Resurse", MNAC, Bucure[ti, Liviana Dan
curator Ruxandra Balaci [i Magda Radu 2001 "Transitionland", National Museum of Art, curator
Ruxandra Balaci
Expozi]ii de grup [i interna]ionale - selec]ie 2007 "Geta Br~tescu and Ion Grigorescu. Resources", MNAC,
1965, 1969 A doua [i a patra Bienal~ Interna]ional~ de Bucharest, curator Ruxandra Balaci and Magda Radu
Tapiserie, Lausanne
1983, 1987 Bienala de la Sao Paolo, Brazilia Selected Group Exhibitions - International Exhibitions
1984 Bienala European~ de Gravur~, Fredrikstad, Norway 1965, 1969 2eme et 4eme Biennale Internationale de la
1993 "OSTranenie"- Primul festival interna]ional video de la Tapisserie, Lausanne
Bauhaus, Dessau 1983, 1987 Sao Paolo Biennial, Brasil
1994 "Europa, Europa", Bonn, Germania 1983 European Biennial of Engraving, Baden-Baden, Germany
2000 „Arta Europei de Est în dialog cu Occidentul. De la 1960 pân~ 1984 European Biennial of Engraving, Fredrikstad, Norway
în prezent“, Moderna Galerija, Ljubljana, curator Zdenka 1993 "OSTranenie"- 1st International Video Festival at the
Badovinac Bauhaus, Dessau
2002 "În c~utarea Balcaniei", Neue Galerie Graz, curator 1994 "Europa, Europa", Bonn
Roger Conover. Eda Cufer, Peter Weibel 2000 "The Art of Eastern Europe in Dialogue with the West.
From the 1960s to the Present", Moderna Galerija,
Premii - selec]ie Ljubljana, curator Zdenka Badovinac
1993 Premiul "Ion Andreescu" decernat de Academia Român~ 2002 "In Search of Balkania", Neue Galerie Graz, curators
2008 Premiul na]ional pentru arte vizuale Roger Conover, Eda Cufer, Peter Weibel

Awards and Honors

Adresa: Str. Sp~tar Milescu nr.26, Bucure[ti, România 1993 "Ion Andreescu" prize awarded by the Romanian Academy
Tel: 0040 21 653 2182, 0040 21 653 8522 2008 National Award for Visual Arts

Address: 26, Sp~tar Milescu St., Bucharest, Romania

Phone: 0040 21 653 2182, 0040 21 653 8522

15

alexandru CÅLINESCU-ARGHIRA
„Opera realizat~ la Olimpiada Artelor de la Seul, cu materiale
naturale - p~mânt, iarb~, ap~, pietre de râu - î[i trage for]a din
marea puritate a liniilor în~l]ate c~tre cer, o adev~rat~ sfidare a
legilor gravita]iei, [i aduce un plus peisajului, integrându-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 SCHÖFFER
sculptor, membru al Academiei Franceze Paris
„Lucr~rile sale sunt dominate de o înclina]ie nativ~ c~tre arhitectur~
în majoritatea cazurilor bazat~ pe o tehnic~ de asamblaj.
Este mai degrab~ un dialog constant cu p~mântul, cerul [i lumina,
în 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 în urm~ pe Arghira participând la un simpozion
de sculptur~ în marmur~ într-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 înn~scut pentru
controlul volumelor. Firesc - la el m-am gândit pentru Parcul Olimpic
din Seul - 1988.
Sculptura tobogan - asamblaj în form~ de coad~ de rândunic~ - 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 „însemna locul” [i de a
transmite taina genera]iilor viitoare. Construc]iile sale acoperite cu
un ve[mânt de iarb~ - reprezint~ monumentele megalitice [i
menhirele modernit~]ii noastre.”
Pierre RESTANY,
„Megalitice [i Menhire ale Modernit~]ii”, Paris
Artists’ studios in Bucharest
“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 SCHÖFFER,
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 swallow’s-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,
“Modernity’s Megaliths and Monoliths”, Paris
17
Alexandru CÅLINESCU-ARGHIRA

Pat nup]ial pentru doi copaci,

Oloron, Fran]a /
Wedding bed for two trees
Oloron, France
1990

Alexandru CÅLINESCU-ARGHIRA

Parcul olimpic,
Seul, Coreea de Sud /
The Olympic Park,
Seoul, South Korea
1987
 Artists’ studios in Bucharest

Alexandru CÅLINESCU-ARGHIRA

Trecerea albastr~,
Madrid, Spania /
Blue Passage,
Madrid, Spain
1992

Alexandru CÅLINESCU-ARGHIRA

Salzburg, Austria
1992
 Alexandru CÅLINESCU-ARGHIRA

Trecerea albastr~ (detaliu),

Madrid, Spania /
Blue Passage (detail),
Madrid, Spain
1992

Alexandru CÅLINESCU-ARGHIRA

Como, Italia / Como, Italy

1986
20
 Artists’ studios in Bucharest

Alexandru CÅLINESCU-ARGHIRA Alexandru CÅLINESCU-ARGHIRA

N~scut în 1935 în Bucure[ti Born in Bucharest, 1935

Studii Education
1962 Absolvent al Academiei de Art~ Bucure[ti 1962 Graduates from the Art Academy of Bucharest
1968 Membru al Uniuni Arti[tilor Plastici din România 1968 Member of the Artists’ Union of Romania
1983-1985 Bursa - atelier la "Cite internationale des Arts", Paris 1983-1985 Scholarship – studio at the “Cité internationale des Arts”, Paris
1990-1991 Bursa - atelier a ora[ului Mannheim, Germania 1990-1991 Scholarship – studio in Mannheim, Germany
1991 Membru de onoare al Academiei de Art~, Madrid 1991 Honorary Member of the Art Academy of Madrid

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1968, 1971, 1974, 1982, 1993 - la Galeria "Simeza", Bucure[ti 1968, 1971, 1974, 1982, 1993 at the “Simeza”Gallery, Bucharest
1970 Galeria de art~ modern~ "Gaeta", Italia 1970 The Modern Art Gallery “Gaeta”, Italy
1984 Cite Internationale des Arts, Paris, Fran]a 1984 Cité Internationale des Arts, Paris, France
1985 Galeria "Nora" Heilbron, Germania 1985 “Nora” Gallery, Germany
1991 Kulturzentrum Mannheim, Germania Dresdener Bank – Winnenden, Germany
1991 Kulturzentrum Mannheim, Germany
Expozi]ii colective - selec]ie
1970, 1985 Bienala Interna]ional~ de Sculptur~ "Funda]ia Pagani", Selected Group Exhibitions
Milano, Italia 1970, 1985 International Biennial of Sculpture “Fondazione Pagani”,
1971 Salonul tinerei sculpturi, Paris, Fran]a Milan, Italy
1983 Edi]ia a VI-a a Bienalei Interna]ionale de Sculptur~, Ravena, 1971 Salon of Young Sculptors, Paris, France
Italia 1983 The 6th edition of the International Biennial of Sculpture,
1984, 1985 Expozi]ia Interna]ional~ organizat~ de Cité Internationale Ravenna, Italy
des Arts, Paris, Fran]a 1984,1985 – The International Exhibition organized by
1985 Art~ contemporan~ româneasc~, Stuttgart, Germania Cité Internationale des Arts, Paris, France
A II-a Expozi]ie Interna]ional~ de Sculptur~ Mic~, 1985 The Exhibition of Contemporary Romanian Art, Stuttgart, Germany
"Funda]ia Pagani", Milano, Italia The 2nd International Exhibition of Small Sculpture,
1985 A X-a Bienal~ Intera]ional~ de la Cannes, Fran]a “Fondazione Pagani” Milan, Italy
1986 Al XV-lea salon Interna]ional de Art~ Contemporan~ de 1985 The 10th International Biennial, Cannes, France
la Nisa, Fran]a 1986 The 15th International Salon of Contemporary Art, Nice, France
1987 Expozi]ia Interna]ional~ de Sculptur~ Centrul Olimpic, 1987 The International Exhibition of Sculpture, the Olympic
Seul, Coreea de Sud Center, Seoul, South Korea
1992 Art~ Contemporan~ Româneasc~, Barcelona, Spania 1992 Exhibition of Contemporary Romanian Art, Barcelona, Spain
1998 Expo "Dante în România" Sala Apolo, Bucure[ti 1998 Exhibition “Dante in Romania” Apolo Hall, Bucharest

Premii - selec]ie Awards and Honors

1985 Premiul de sculptur~ la a XV - lea Salon Interna]ional al 1985 Prize for sculpture of the Michelangelo Foundations 15th
Funda]iei Michelangelo - Corsica International Salon, Corsica,
Crucea de Argint pentru merit [i devotament francez Croix d’argent pour le mérite, France
1996 Premiul pentru sculptur~ la "Grand Prix", Nisa, Fran]a 1996 Prize for sculpture at the “Grand Prix”, Nice, France
Premiul I pentru sculptur~ la simpozionul Interna]ional 1st prize for sculpture at the International Symposium
de la Pognana Lario (Como), Italia at Pognana Lario (Como), Italy
1991 Premiul Uniunii Arti[tilor Plastici din România pentru 1991 Prize of the Romanian Artists’ Union for monumental sculpture
sculptur~ monumental~ 2000 National order for merit in the rank of commander
2000 Ordinul na]ional pentru merit în grad de Comandor
conferit prin decret preziden]ial Works in Collections
Romania, Belgium, Austria, Bulgaria, France, Italy, Germany,
Lucr~ri în colec]ii Sweden, Czechoslovakia, Turkey, Canada, the United States.
România, Belgia, Austria, Bulgaria, Fran]a, Italia, Polonia,
Germania, Suedia, Cehoslovacia, Turcia, Canada, Statele Unite.
Home adress: 158, Ion Mihalache Blvd, Bucharest 1, Romania
C.P. 32415
Adresa: B-dul. Ion Mihalache, nr. 158, bl. 4. sc. D, ap. 102, sect. 1, C.P. Home phone: 0040 21 352 2425
32415, Bucure[ti, Romania Mobile: 0040 744 138 565
Tel: 0040 21 352 2425 email: arghiracalinescu@yahoo.com
Mobil: 0040 744 138 565
e-mail: arghiracalinescu@yahoo.com

21

Vlad Ciobanu [i-a însemnat decis locul în arta noastr~ de ast~zi.
Înc~ de la prima lui expozi]ie personal~, cea de la Galeria Simeza,
eveniment amânat mult~ vreme [i, poate, nu f~r~ o anume strategie, [i
pân~ 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 în 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 întâi, diversitatea vine din îns~[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, îns~, înc~
de la primul contact cu arta lui Vlad Ciobanu, este determinismul
doar aparent în rela]ia desen-sculptur~ sau invers, în esen]~ fiecare
dintre limbaje având un statut de sine st~t~tor.
...
Oscilând între monumentalismul imaginii [i grija pentru detaliu, între
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~, pân~ la un punct, chiar anumite oscila]ii
stilistice. Chiar dac~ diferit~ în esen]~, sculptura se înscrie [i ea cam
în acela[i scenariu. Diversitatea ei material~ [i formal~ arat~, ca [i în
cazul desenului, dac~ nu o continu~ mobilitate a proiectului, oricum
o anumit~ stare de urgen]~ în ceea ce prive[te nevoia de a r~spunde
unor solicit~ri interioare cu o discontinuitate bine controlat~.
Modelator [i cioplitor în aceea[i m~sur~ – de altfel gipsul, bronzul [i
lemnul au în proiectul s~u o prezen]~ aproape egal~ – Vlad Ciobanu
încearc~ s~ imprime fiec~rui material, prin tehnicile specifice, forma
optim~ care deriv~ din îns~[i natura lui.
Vlad Ciobanu are un demers implicat [i sobru, înc~rcat de sensuri [i
purt~tor de mesaje, ceea ce-l face s~ par~ u[or mefient în 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, în pofida faptului c~ acest vis cere uneori
sacrificii; de imagina]ie [i de spontaneitate, în primul rând.
Pavel ßUßARÅ
Artists’ studios in Bucharest
vlad CIOBANU
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 form’s 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 ßUßARÅ
23
 Vlad CIOBANU

Brâncoveanu
Lut / Clay
1986

Vlad CIOBANU

Trecere (Dante [i Virgiliu) /

Passage (Dante and Virgilius)
Bronz / Bronze
1987

24
 Artists’ studios in Bucharest

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

26
 Artists’ studios in Bucharest

Vlad CIOBANU Vlad CIOBANU

N~scut la 11 aprilie 1948 în comuna Punge[ti, jude]ul Vaslui Born in the village of Pungesti, Vaslui on April 11th, 1948

Studii Education
Sculptura - Institutul de Arte Plastice "N. Grigorescu" Bucure[ti Sculpture – The Institute of Fine Art, Nicolae Grigorescu, Bucharest

Expozi]ii personale Selected Solo Exhibitions

1997, 2001 Galeria Simeza 1997, 2001 Simeza Gallery, Bucharest
2004 Galeria „Artis" 2004 Artis Gallery, Bucharest

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1982 "Sec]iuni în atelier", Galeria Orizont, Bucure[ti 1982 “Sections of a studio”, Orizont Gallery, Bucharest
1983 "Locul - fapta [i metafora", Muzeul Satului, Bucure[ti 1983 “Place – Fact and Metaphor”, Village Museum, Bucharest
1999 "51 arti[ti contemporani", Galeriile Artexpo, Bucure[ti 1999 “51 Contemporary Artists”, Artexpo Gallery, Bucharest

Expozi]ii române[ti în str~in~tate - selec]ie Selected Romanian Exhibition in foreign countries

1985 Rotterdam, Olanda; Milano, Italia 1985 Rotterdam, Holland; Milan, Italy
1992 Sevilla, Spania 1992 Seville, Spain
1993 Muzeul Na]ional, Belgrad, Serbia 1993 The National Museum, Belgrade, Serbia
1996 "Desene de sculptori", Budapesta, Ungaria 1996 “Sculptors Drawings”, Budapest, Hungry
2004 Belgrad, Serbia; Sofia, Bulgaria 2004 Belgrade, Serbia; Sophia, Bulgaria;
Viena, Austria; Berlin, Germania; Vienna, Austria; Berlin, Germany;
Strassbourg, Fran]a; Strassbourg, France;

Concursuri interna]ionale - selec]ie Selected International Exhibition

1984 Concursul interna]ional de desen "Juan Miró", 1984 The “Juan Miró” International drawing competition
Barcelona, Spania Barcelona, Spain
1984 Concursul interna]ional de sculptur~ mic~ - bronz "Dantesca", 1984 The “Dantesca” International small bronze sculpture competition,
Ravenna, Italia Ravenna, Italy
1985, 1986 Concursul interna]ional de pictur~ [i desen 1985-1986 – The “Amici del Ponero” International painting competition,
"Amici del Ponero" – Milano, Italia Milan, Italy
1990 Bienala de sculptur~ mic~, Budapesta, Ungaria 1990 The Biennial for small sculpture, Budapest, Hungary

Simpozioane na]ionale - selec]ie: Selected National Sculpture Symposiums

1981 Hobi]a, Gorj 1981 Hobi]a, Gorj
1982 S~li[te, Sibiu 1982 S~li[te, Sibiu
1983 M~gura, Buz~u 1983 M~gura, Buz~u
1984 C~soaia, Arad 1984 C~soaia, Arad
1986, 1990, 1996 Oarba de Mure[ 1986, 1990, 1996 - Oarba, Mure[
1991 Centrul "George Apostu", Bac~u 1991 "George Apostu" Center, Bac~u
2005 Ipote[ti, Boto[ani 2005 Ipote[ti, Boto[ani
2006 Negre[ti, Oa[ 2006 Negre[ti - Oa[

Simpozioane interna]ionale - selec]ie Selected International Symposiums

1994 Bor, Yugoslavia 1994 Bor, Yugoslavia
2001 Trojan, Bulgaria; Uzice, Serbia 2001 Trojan, Bulgaria; Uzice, Serbia
2003 Trojan, Bulgaria 2003 Trojan, Bulgaria
2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania 2004 Trojan, Bulgaria; Gradac, Serbia; Carei, Romania
2005 "Constantin Brâncu[i", Tg. Jiu 2005 "Constantin Brâncu[i", Tg. Jiu

Monumente - selec]ie Public works – Monuments

„Eroul Necunoscut”, Alexandria “The Unknown Hero”, Alexandria, Romania
„Regele Ferdinand”, Alba Iulia “King Ferdinand”, Alba Iulia
“Dimitrie Cantemir”, One[ti, Bac~u “Dimitrie Cantemir”, One[ti, Bacau

Premii Awards and Honors

1985 Premiul Concursului pentru Desen [i Sculptur~ 1985 “Amici del Pomero” - Prize in the Competition for Graphics and
"Amici del Pomero", Milano, Italia Sculpture, Milan, Italy
1999 Premiul Uniunii Arti[tilor Plastici pentru Art~ Ambiental~ 1999 Award of the Artists Union for Environement Art (collective)
1999 Medalia de aur "Dantesca", Ravenna, Italia 1999 Gold medal “Dantesca”, Ravenna, Italy
2005 Premiul Uniunii Arti[tilor Plastici pentru Sculptur~ 2005 Award of the Artists Union for sculpture

Atelier: C~derea Bastiliei nr. 24, s 1, Bucure[ti, Romania Studio: 24, C~derea Bastiliei St., Bucharest 1, Romania
e-mail: vlad_ciobanu2003@yahoo.com e-mail: vlad_ciobanu2003@yahoo.com

27

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. În 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 câteva 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~. Neputând 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”
Artists’ studios in Bucharest
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 Copuzeanu’s 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. 2. 3.

Elena COPUZEANU

1, 2, 3, 4 Exerci]ii de supravie]uire /
1, 2, 3, 4 Execises in Survival
C~rbune compresat pe hârtie /
Charcoal on paper
200 x 250 cm
2006-2008

4.

Elena COPUZEANU

Exerci]ii de supravie]uire /
Execises in Survival
C~rbune compresat pe hârtie /
Charcoal on paper
200 x 250 cm
2006-2008

30
31
Elena COPUZEANU

Exerci]ii de supravie]uire / Execises in Survival

C~rbune compresat pe hârtie / Charcoal on paper
200 x 250 cm
2006-2008

32
 Artists’ studios in Bucharest

Elena COPUZEANU Elena COPUZEANU

N~scut~ la 13 Iulie 1969 \n Constan]a Born in Constan]a, Romania on July 13th, 1969

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1999 Pictura [i desen, Galeria Anixis, Baden, Elve]ia 1999 “Painting and Drawing”, Anixis Gallery, Baden, Switzerland
2000 Desen, Vox-Humana, Republica Ceh~ 2000 “Drawing”, Vox-Humana, the Czech Republic
2004 ”În jurul lui Velázquez”, Galeria ArtExpo Bucure[ti, România 2004 “Around Velázquez”, the Artexpo Gallery, Bucharest
2006 Genera]ia 1996, Palatul Mogo[oaia, România 2006 “Generation 1996”, Mogo[oaia Palace, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1995 “Sign-Drawing”, drawing, Studio 35, Bucharest
1995 ”Semn-Desen”, Desen, Atelier–35, Bucure[ti, România “Play and Painting”, performance, Bucharest
”Joc [i pictur~”, Performance, Bucure[ti, România 1997 “Forms of Prey”, drawing, the Romanian Literature Museum,
1997 ”Forme de prad~”, Desen, Muzeul Literaturii Române, Bucharest
Bucure[ti, Romania 1999 Drawing and painting, the Felchlin Art Gallery, Zurich,
1999 Desen [i pictur~, Galeria Art-Felchlin, Zürich, Elve]ia Switzerland
2000 Desen [i pictur~, Galeria Orizont, Bucuresti, România 2001 “Towards Black”, drawing, Dalles Hall, Bucharest
2001 ”Negru Profund”, Desen, Centrul Cultural Berlin, Germania “Profound Black”, drawing, The Cultural Center of Berlin,
2001 ”C~tre Negru”, Desen, Galeria Dalles, Bucure[ti, România Germany
2005 ”A desemna”, Desen, Palatul Mogo[oaia,România 2005 “To Designate”, drawing, Mogo[oaia Palace, Bucharest
2007 ”Chip filmat” desen [i video, Galeria Simeza, Bucure[ti, 2007 “Filmed Image”, drawing and video, the Simeza Gallery,
România Bucharest
”C~rbune sintetic”, Desen, Institutul Cultural Român, “Synthetic Charcoal”, drawing, the Romanian Cultural
Bucure[ti, România Institute, Bucharest

Premii : Awards and Honors

1995 Premiul Ziarului ZIUA pentru poster [i performance ”Omagiul 1995 Prize of the newspaper “Ziua” for poster and
lui Mandela” performance “Homage to Mandela”
1997 Premiul Uniunii Arti[tilor Plastici 1997 Prize of the Artists Union

Address: 63, Grigore Ionescu St., Bucharest 2, Romania

Adresa: Grigore Ionescu 63, Bl T 73, sc 2, ap 36, sector 2, Tel: 0040 21 2100099
Bucure[ti, Romania Mobile: 0040 723 132539
Tel: 0040 21 2100099 Email: ecopuzeanu@gmail.com
Mobil: 0040 723 132539
e-mail: ecopuzeanu@gmail.com

33

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 în 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~ în]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 îndr~zneal~.
Pierre Cornette de SAINT CYR
Artists’ studios in Bucharest
laura COVACI
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 pânz~ / Acrylic on canvas
2007

36
 Artists’ studios in Bucharest

Laura COVACI

Copil / Child
Acrilic pe pânz~ /
Acrylic on canvas
2007

Laura COVACI

Hikykomori - viziunea nr. 2 /

Hikykomori - vision nr. 2
Acrilic pe pânz~ /
Laura COVACI
Acrylic on canvas
2007
Hikykomori - viziunea nr. 1
(Sângele de plastic) /
Hikykomori - vision nr. 1
(Plastic blood)
Acrilic pe pânz~ /
Acrylic on canvas
2007
 Laura COVACI

Var~ / Summer
Acrilic pe pânz~ /
Acrylic on canvas
2007

38
 Artists’ studios in Bucharest

Laura COVACI Laura COVACI

N~scut~ pe 8 februarie 1964, în Bucure[ti Born on February 8, 1964, in Bucharest, Romania

Studii Education
1997 Absolvent~ a Academiei de Art~ „Nicolae Grigorescu”, 1997 Graduated from The Fine Arts Academy Nicolae Grigrescu,
Bucure[ti Bucharest, Romania

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1993 "De Markten", Bruxelles, Belgia 1993 "De Markten", Brussels, Belgium

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1991 Expozi]ia interna]ional~ "Erotika", Budapesta, Ungaria 1991 "Erotika", International Exhibition in Budapest, Hungary
1992 International Impact Art Festival, Kyoto, Japonia 1992 International Impact Art Festival, Kyoto, Japan
"Sexul lui Mozart", Galeria Etaj 3/4 de la Teatrul Na]ional, "Mozart’s sex", The National Theatre, Bucharest, Romania
Bucure[ti 1993 A.J.L. Galerie, Paris, France
1993 Galeria A.J.L., Paris, Fran]a Saga Grand Palais, Paris, France
Saga - Grand Palais, Paris, Fran]a Galerie Damien Bouquet, Paris, France
Galeria Damien Bouquet, Paris, Fran]a 1998-1999 Drawings exhibition, Saint Rémy de Provence
1998-1999 Expozi]ie de desen, Saint Rémy de Provence 2001 Trinity Gallery, Atlanta, USA
2001 Galeria Trinity, Atlanta, SUA
Works in private collections
Lucr~ri în colec]ii particulare 1998 The European Bank for Development
1998 Banca European~ de Dezvoltare D.H.L. Company
Compania D.H.L. Austrian Bank
Austrian Bank "Elle" Magazine, Los Angeles
"Elle" Magazine, Los Angeles 1999 "Vermont Company", Romania
1999 "Vermont Company", România 2000 Tiriac Bank
2000 Banca ¥iriac

Address: 19 Rue de l’Evangrile, 75018 Paris, France

Adresa: Str. Theodor Aman, nr. 9A, s. 1 Bucure[ti, România Tel: 01 40 34 74 53 / 06 12 67 51 85
Adres~ Paris: 19 Rue de l’Evangrile, 75018 Paris, Fran]a Address: 99A, Theodor Aman St, Bucharest 1, Romania
Tel: 01 40 34 74 53 / 06 12 67 51 85 e-mail: lauracovaci@hotmail.com
e-mail: lauracovaci@hotmail.com

Laura COVACI

Compozi]ie / Composition
Acrilic pe pânz~ / Acrylic on canvas
2007

39
 Artists’ studios in Bucharest

mircia DUMITRESCU

DECALOGUL PENTRU MIRCEA DECALOGUE TO MIRCEA

1. S~ nu-]i min]i ochii cu ochi. 1. Yon shall not lie to your eyes with eyes.

2. S~ nu-]i furi realul în real. 2. You shall not steal your real in the real.

3. S~ nu te în[eli pe tine însu]i ca [i cum ai fi altul. 3. You shall not deceive yourself as though you were another.

4. S~ nu vorbe[ti în numele nim~nuia, c~ci numele t~u al 4. You shall speak up on nobody's behalf as your name belongs
nim~nuia este. to nobody.

5. S~-]i faci chip cioplit. 5. Make your face in carvings.

6. S~-]i faci chip din linii. 6. Make your face in lines.

7. S~-]i faci chip din trilul ciocîrliei. 7. Make your face in the nightingale's song.

8. Dup~ ce le-ai f~cut toate acestea, încearc~ s~ le-mbr~]i[ezi 8. After you've made all these, try to embrace them all if you can.
dac~ po]i.
9. A face embracing another face is called a kiss.
9. Îmbr~]i[area chipului cu chip s~rut se nume[te.
10. Nothing but a face can embrace another face, as arms are
10. Numai chipul se îmbr~]i[eaz~ cu chipul, c~ci bra]ele sunt needed for laboring the earth.
f~cute pentru ararea câmpului.
Amen
Amin.
Nichita STÅNESCU
Nichita STÅNESCU English by Bucskó 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
42
Mircia DUMITRESCU

Damieni / Damiens
Acuarel~ pe hârtie /
Watercolour on paper

Mircia DUMITRESCU

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

În[urubare A / Unscrew A
litografie / lithograph

Mircia DUMITRESCU

Ziua [i noaptea / Day and night

litografie / lithograph

44
 Artists’ studios in Bucharest

Mircia DUMITRESCU Mircia DUMITRESCU

N~scut pe 3 iulie 1941 în satul C~scioarele, jud. Ilfov Born on July 3, 1941 in C~scioarele, Ilfov district

Studii Education
1959-1965 - Institutului de Arte Plastice „Nicolae Grigorescu“
1959-1965 - Fine Arts Institute “Nicolae Grigorescu”, Bucharest
1969 Membru Uniunii Arti[tilor Plastici din România
1993 Profesor universitar 1969 Member of the Romanian Artists’ Union
2006 Membru al Uniunii Gravorilor [i Litografilor Maghiari, 1993 Professor, Bucharest Art University
Budapesta, Ungaria 2006 Member of the Hungarian Engravers and Lithographers Union,
Budapest, Hungary

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1973 Galeria Simeza, Bucure[ti 1973 Simeza Gallery, Bucharest
1983 Dresda, Germania 1983 Dresden, Germany
1998 Galeria Glaskasten Intermedia, Leonberg, Germania 1998 Glaskasten Intermedia Gallery, Leonberg, Germany
1999 Galeria Madách
1999 Madách Gallery, Budapest, Hungary
2006 Galeria IX,
Galeria Vincze László, 2006 Vincze László Gallery,
Capela “Sf. Mihai”, Budapesta, Ungaria St. Michael’s Chapel, Budapest, Hungary
2008 Sala “Constantin Brâncu[i”, Bucure[ti 2008 “Constantin Brâncu[i” Hall, Bucharest

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1968 Cracovia, Polonia; 1968 Kracow, Poland
Frankfurt, Germania; Frankfurt, Germany
Floren]a, Italia; Firenze, Italy
1969 Helsinki, Finlanda; 1969 Helsinki, Finland
Praga, Rep. Ceh~
Prague, Czech Republic
1970 Regensburg, Düsseldorf, Stuttgart, Germania;
Torino, Roma, Italia; 1970 Regensburg, Düsseldorf, Stuttgart, Germany
Lodz, Cracovia, Polonia Torino, Rome, Italy
1972 Bruxelles, Belgia; Leipzig, Germania; Vene]ia, Italia 1972 Brussels, Belgium; Leipzig, Germany; Venice, Italy
1980, 1985 Tel Aviv / Israel 1980, 1985 Tel Aviv, Israel
1981 Baden-Baden, Germania 1981 Baden-Baden, Germany
1988 Stockholm, Suedia; Berlin, Germania 1988 Stockholm, Sweden; Berlin, Germany
1990 Paris, Fran]a 1990 Paris, France
2002 Stockholm, Suedia 2002 Stockholm, Sweden
2006 Bucure[ti; Budapesta, Ungaria 2007 Stuttgart, Germany; Vienna, Austria; Paris, France
2007 Stuttgart, Germania; Viena, Austria; Paris, Fran]a
2008 Bucharest, Romania; Paris, France
2008 Bucure[ti, Paris, Fran]a

Premii - selec]ie Awards and Honors

1969 Premiul pentru grafic~, Cracovia, Polonia 1969 Award for graphic art, Kracow, Poland
1970 Premiul I pentru ilustra]ie - volumul Ion Creang~, Leipzig, 1970, 1972 - I Prize for illustration, Leipzig, Germany
Germania 1975 Award of the Romanian Artists’ Union for graphics
1972 Premiul I pentru ilustra]ie - volumul Ovidiu, Tristele [i Ponticele, 2002 National Award for book creation
Leipzig, Germania National Award for the book “Ion Luca Caragiale, Theatre”,
1975 Premiul Uniunii Arti[tilor Plastici pentru grafic~, Bucure[ti bilingual edition, edited under the aegis of UNESCO
2002 Premiul na]ional pentru construc]ia c~r]ii, decernat de 2003 Order of Merit in the rank of Knight
Ministerul Culturii [i Cultelor
National Award for the rebirth of bibliophile books
2002 Premiul na]ional pentru carte - volumul Ion Luca Caragiale,
Teatru, edi]ie bilingv~, ap~rut~ sub egida UNESCO 2006 „Bogdan Petriceicu Ha[deu” Award, for the graphics and
2003 Ordinul pentru Merit în grad de Cavaler printing of the manuscripts of the poet Mihai Eminescu,
Premiul na]ional pentru rena[terea c~r]ii bibliofile, decernat de awarded by the Romanian Academy
Ministerul Culturii [i Cultelor
2006 Premiul „Bogdan Petriceicu Ha[deu”, pentru viziunea grafic~ [i
tipografic~ a volumelor Manuscrisele Mihai Eminescu, decernat
de Academia Român~

Address: 7, Dridu St., Bucharest 1, Romania

Adresa: Str. Dridu nr. 7, S.1, Bucure[ti, Romania
Mobil: 0040 722 926005 Mobile: 0040 722 926005

45

Într-o lume în care mai to]i încearc~ s~ fac~ altceva decât 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, în 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~, atât în
tridimensional cât [i în 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 încercare 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. În 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 în mi[care o lume halucinant~ de m~[ti.
...
ßi oricât 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 în 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 încremenit~ în
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~ împreun~ o imagine inepuizabil~ a unei lumi
în acela[i timp vii [i încremenite.
În afara oric~rei agresivit~]i [i total eliberat~ de obsesiile
traumatizante ale cotidianului, arta sa este puternic~ [i cople[itoare
prin ea îns~[i; prin consecven]a gândirii, 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 ßUßARÅ
Artists’ studios in Bucharest
daniela FÅINIß
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 character’s 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 ßUßARÅ
47
 Daniela FÅINIß

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

Daniela FÅINIß

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

48
Daniela FÅINIß

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

Daniela FÅINIß

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

49
 Daniela FÅINIß

P~durea de por]elan /
The porcelain forest
Por]elan [i o]el / Porcelain and steel
2005-2007

50
 Artists’ studios in Bucharest

Daniela FÅINIß Daniela FÅINIß

N~scut~ 3 Octombrie 1961, România
Born October 3, 1961, Romania
Member of the Union of Romanian Artists
Membru al Uniunii Arti[tilor Plastici din România

Studii Education
1981-1985 Academia de Art~ “Nicolae Grigorescu”, Bucure[ti 1981-1985 Academy of Fine Arts “Nicolae Grigorescu”, Bucharest

Selected Solo Exhibitions

Expozi]ii personale-selec]ie 2004 Lapidarium – Cultural Center “Palatele Brancovenesti”
2004 Lapidarium – Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia, Romania
Mogo[oaia, România 2003 Accademia di Romania, Roma, Italy
2003 Accademia di Romania, Roma, Italia 2002 Allianz-Tiriac Gallery , Bucharest, Romania
2002 Galeria Allianz-¥iriac, Bucure[ti, România
2001 Sanshokan Museum, Hida Furukawa, Japan
2000 Romanian Cultural Center, Paris, France
2001 Muzeul Sanshokan, Hida Furukawa, Japonia 1999 Brukental Palace Museum, Sibiu, Romania
2000 Centrul Cultural Paris, Fran]a European Council, Strasburg, France
1999 Muzeul Brukenthal Sibiu, Romania 1998 National Theatre’s “Round Hall Gallery”, Bucharest, Romania
1999 Consiliul Europei, Strasburg, Fran]a 1996 “ Foundation Gerhart- Hauptman” Gallery, Dusseldorf,
Germany
1998 Galeria Sala Rond~ Teatrul Na]ional, Bucure[ti, România 1992 “Simeza” Gallery, Bucharest, Romania
1996 Galeria “Funda]ia Gerhart - Hauptman”, Dusseldorf, Germania 1992 “La Source” Gallery, Brussels, Belgium
1992 Galeria “Simeza”, Bucure[ti, România
1992 Galeria “La Source”, Brüxelles, Belgia
Works in Museum and Collection

Hetjens Museum, Deutsches Keramik Museum, Dusseldorf,

Lucr~ri în muzee [i colec]ii - selec]ie Germany
Hetjens Museum, Deutsches Keramik Museum, Düsseldorf, “The Clay Studio Collection“, Philadelphia, United States of
Germania America
National Museum Cotroceni, Bucharest, Romania
“ The Clay Studio Collection “, Philadelphia, United States of B.C.I.C Bank, Craiova, Romania
America Société Générale Sécurités, Bucharest, Romania
Muzeul Na]ional Cotroceni, Bucure[ti, România ING BANK N.V. Bucharest, Romania
B.C.I.C. Bank, Craiova, România Ogiso School, Tajimi, Japonia
Société Générale Sécurités, Bucure[ti, România
“ Kano “ High School, Gifu-shi, Japonia
Foundation “Support Organization for Overseas Ceramist “,
ING. Bank N.V., Bucure[ti, România Tajimi, Japonia
Funda]ia “Support Organization for Overseas Ceramist“,
Tajimi, Japonia
Ogiso School, Tajimi, Japonia Awards and Honors
2004 “Cultural Merit” order in the rank of Commander Arts of Fire
“Kano“ High School, Gifu-shi, Japonia 2002 “Honorable Mention“, Mino, Japan
1998 “Honorable Mention“, Mino, Japan
1998 The Great Award of the International Biennale “The Fire Arts“,
Premii [i distinc]ii Bucharest, Romania
2004 “ Meritul cultural “ în gradul de Comandor
1997 1st Prize – International Biennale of Artistic Ceramics, Aveiro,
Portugal
2002,1998, 1992 “Honourable Mention “, Mino, Japonia 1992 “Union of Fine Artist’s Award for Decorative Arts“, Romania
1998 Marele Premiu al Bienalei Interna]ionale “Artele Focului“ 1992 “Honorable Mention “, Mino, Japan
Bucure[ti, România 1990 “Targa d’Oro“ (Golden Medal) XXXI Concorso, Internazionale
1997 Premiul I – Bienala Interna]ional~ de Ceramic~ Artistic~, Della Ceramica D’arte Gualdo Tadino, Perugia, Italia
1990 “Youth award – Decorative Art”, Romania
Aveiro, Portugalia 1989 “Targa d’Oro“ (Golden Medal) XXX Concorso Internazionale
1992 “Premiul Uniunii Arti[tilor Plastici pentru Art~ Decorativ~“, Della Ceramica D’arte Gualdo Tadino, Perugia, Italy
România
1990 “Premiul pentru Tineret – Art~ Decorativ~”, România
1990, 1989 “Targa d’Oro“ (Medalia de Aur) XXXI Concorso
Internazionale Della Ceramica D’arte Gualdo Tadino, Perugia, Address: 5, Veronica Micle St., Cernica, Ilfov county
Italia Mobile: 0040 723 235370
e-mail: danielafainis @ yahoo.com

Adresa: Comuna Cernica, Ilfov,

Str. Veronica Micle nr. 5
Mobil: 0040 723 235370
e-mail: danielafainis @ yahoo.com

51

Muzeul personal constituie axul unui demers ce se construie[te din
episoade efemere (inaugurat în expozi]ia de la Simeza în 1990) ca o
declarat~ coborâre din estetic în derizoriul cotidian, mai mult chiar,
ca o op]iune ostentativ~ pentru derizoriu [i inestetic (inestetizabil,
antimit), adi]ioneaz~ urmele precare ale asum~rii, ipostazierii în
diversele posturi ale unui destin istoric autohton, ale unei rela]ii
ironice cu arta [i cu metodologiile ei, mitizante [i demitizante în
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~, comprimând
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, într-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, practicându-l.
În ultim~ instan]~, T. G. este un artist care opteaz~ pentru estetica
dominant~ a momentului, contradictoria, conflictuala, estetic~ a
postmodernismului, distan]ându-se ironic de ea. Atent cu tot acest
“aparat critic” de actualitate, se situeaz~ în ea, ca singura
perspectiv~ ce activeaz~ [i justific~ dimensiunea trecutului ca flux
cultural, denun]ându-i actualit~]ii, germenele deja sesizabil, active,
al propriei deveniri spre trecut.
Alexandra TITU
“Românii sunt navigatori sedentari” (T. G.), 1999
Artists’ studios in Bucharest
theodor GRAUR
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 society’s
equation. Its freedom is that of becoming an exchange currency,
in an immediately convertible system of values. Once these
instances of the decadence of freedom’s 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
“Romanians are sedentary Navigators” (T. G.), 1999
53
 Theodor GRAUR

Camera 2 / Room nr. 2

Instala]ie / Installation

54
Theodor Graur

Balkania 2
Instala]ie / Installation

Theodor Graur

Balkania 1
Instala]ie / Installation
Theodor Graur Theodor Graur Theodor Graur

(sus / up) Persona 7 Transit 2

La nave 1 Instala]ie / Installation Instala]ie / Installation
Instala]ie / Installation

56
 Artists’ studios in Bucharest

Theodor GRAUR Theodor GRAUR

N~scut în1953, Pog~ceaua, jude]ul Mure[, România Born in Pog~ceaua Mure[, Romania in 1953

Studii: Education
1978 Institul de arte plastice, Bucure[ti 1978 The Fine Arts Institute, Bucharest

Expozi]ii personale - selec]ie: Selected Solo Exhibitions

2002 “Walk”, (fotografie), Galeria nou~, Bucure[ti. 2002 “Walk” (photographs), New Gallery, Bucharest
2004 “T. G. – Lucr~ri din anii 80 & 90 din colec]ia autorului”, 2004 “T.G.- Works from the 80’s and 90’s from the author’s
HT003 Gallery, Bucure[ti. collection”, HT003 Gallery, Bucharest
2005 “Camera uitat~” (instala]ie), HT003 Gallery, Bucure[ti, 2005 “Forgotten Room”, (installation), HT003 Gallery, Bucharest
2006 “Made in East Europe” (instala]ie), galeria Fabs, Var[ovia. 2006 “Made in East Europe” (installation), Fabs Gallery, Warsaw
2006 “Persona” (instalatie), Galeria Noua, Bucure[ti, 2006. “Persona” (installation), New Gallery, Bucharest

Expozi]ii collective - selec]ie: Selected Group Exhibitions

1994 Particip~ la Bienala de la Sao Paulo, în cadrul proiectul 1994 Participant with the Sao Paulo Biennial, in the “Meta” project
“Meta”, de C~lin Dan of C~lin Dan
1995 Participare, cu E. B., la cea de a 4-a Bienal~ Interna]ional~ de la 1995 Participant in E.B., the fourth international Biennial of Istanbul
Istanbul 1997 “La Nave Romania” (installation), the forty-seventh
1997 „La Nave Romania” (instala]ie), a 47-a Bienal~ de la Vene]ia Biennial of Venice
2000 “Transitionland”, Muzeul Na]ional de Arta, Bucure[ti. 2001 Participant in Alexandru Patatics’ project “Context”, at
2001 Participare în cadrul proiectului „Context”, de Alexandru the Venice Biennial
Patatics, la Bienala de la Vene]ia 2002 “In Search of Balkania”, Neue Gallery, (curators: Roger
2002 “In Search of Balkania”, Neue Galerie, Graz Connover, Eda Cufer, Peter Weibel).
(curatori Roger Connover, Eda Cufer, Peter Weibel). 2003 “Blood & Honey – The Future is in the Balkans, Sammlung
2003 “Blood & Honey – The Future is in the Balkans”, Sammlung Essl, Vienna, (curator: Harald Szeemann)
Essl, Vienna, (curator: Harald Szeemann). “Towers of Babel”, art action, The State Museum,
“Towers of Babel”, art action, The State Museum, Meinz, Meinz, (Curator, Gunter Minal
(curator: Gunter Minas). 2004 “Shake the Limits”, Bucharest, (curator: Maria Rus Bojan)
2004 “Shake the Limits”, Bucure[ti (curator: Maria Rus Bojan). “Opening MNAC”, Bucharest, (curator: Ruxandra Balaci)
“Opening MNAC”, Bucure[ti (curator: Ruxandra Balaci).
Works in collections
Lucr~ri în colec]ii: MNAC, Bucharest; Ludwig Museum, Budapest; Essl
MNAC, Bucure[ti; Collection, Vienna; Nächst St. Stephan, Vienna; K+K Hotel
Muzeul Ludwig, Budapesta; Elisabeta, Bucharest; private collections
Colectia Essl, Viena;
Galerie Nächst St. Stephan, Viena; Awards and Honors
K + K Hotel Elisabeta, Bucure[ti; 2000, 2006 Romanian Artists Union award
colec]ii private.

Premii:
2000, 2006 Premiul Uniunii Arti[tilor Plastici

57
58

Pentru Ion Grigorescu ruina, atât în privin]a con]inutului cât [i a
apari]iei ei, este în concordan]~ cu crezul lui artistic: «Sunt
împotriva impunerii unui stil, de aceea nu am fost niciodat~ un
pictor complet. Nu îmi place s~ îmi privesc lucr~rile în atelier,
pentru a nu m~ sim]i îndatorat lor». Lucr~rile lui pot lua forma
unor fragmente în curs de dezintegrare, se pot constitui ca
interven]ii discrete, utilizând resturi provenite din mediul cotidian
sau reziduri ale caselor demolate. Atunci când descoper~
întâmpl~tor în 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~ în 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 încearc~ s~ unifice arta [i via]a,
exprimându-[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 în
acela[i timp artist [i non-artist [i pentru care «totul era art~ [i
fiecare aspect al vie]ii putea fi abordat în mod creativ, cu
inventivitate [i cu un sim] al ritualului». Exemplare pentru aceast~
atitudine sunt numeroase fotografii care îl prezint~ pe Ion
Grigorescu angajat în 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 î[i exprim~ astfel neîncrederea în privin]a mijloacelor [i
a misiunii artei, neîncredere care p~trunde în miezul concep]iei
sale despre art~, amenin]ând s~ anihileze formele ei de
manifestare. Dup~ cum spunea Peter Bürger, într-un context în
care identifica modalit~]i ale reîntoarcerii avangardei în arta
contempoaran~: «Când 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».
Într-adev~r, «patosul dispari]iei» pare s~ caracterizeze exemplar
arta [i personalitatea lui Ion Grigorescu.
Magda RADU
Artists’ studios in Bucharest
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 Bürger 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
59
 Ion GRIGORESCU

Hermes Buddha
Ghips / Plaster
1982

60
 Ion GRIGORESCU

Strangularea Postelnicului Cantacuzino /

The strangling of Seneschal Cantacuzino
Instala]ie / Installation
1992

Ion GRIGORESCU

Sf. Gheorghe / Saint George

Tehnic~ mixt~ pe hârtie /
Mixed media on paper
1987

Ion GRIGORESCU

Tenta]ii / Temptations
Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas
1987

61
Ion GRIGORESCU

Dialog postmortem cu C. /
Postmortem dialogue with mister C.
Tehnic~ mixt~ / Mixed media
2007

Ion GRIGORESCU

O singur~ camer~ / Only one room

Fotografie / Photography
1980

Ion GRIGORESCU
Reportaj din Gorj /
Reportage from Gorj
Tehnic~ mixt~ / Mixed media
1982
 Artists’ studios in Bucharest

Ion GRIGORESCU Ion GRIGORESCU

N~scut pe 15 martie 1945 în Bucure[ti Born in Bucharest on the 15th of March, 1945

Studii Education
1969 Institutul de Arte Plastice „N. Grigorescu”- Bucure[ti 1969 Graduated from the Art Institute Nicolae Grigorescu,
Bucharest
Expozi]ii - selec]ie
1981 Sao Paulo Biennale, curator Radu Procopovici Selected Solo Exhibitions
1990 Third’s Eye Gallery Glasgow, Points East, Sco]ia, curator 1981 The Sao Paulo Biennial, curator Radu Procopovici
Andrew Nairne 1990 Third’s Eye Gallery, Glasgow, Points East, Scotland, curator
1991 Wanderlieder, Stedelijk Museum Amsterdam, Olanda, curator Andrew Nairne
Wim Beeren 1991 Wanderlieder, Stedelijk Museum Amsterdam Olanda, curator
1997 Bienala de la Vene]ia, curator Coriolan Babe]i Wim Beeren
1998 Muzeul Na]ional de Art~, Sala Kretzulescu, Bucure[ti 1997 Venice Biennial, curator Coriolan Babe]i
(expozi]ie personal~?), curator Ruxandra Balaci 1998 The National Art Museum, Kretzulescu Hall, Bucharest
1999 Una Bisanzio Latina, Biserica S.Maria del’Popolo, Roma, Italia, (personal exhibition), curator Ruxandra Balaci
curator Sorin Dumitrescu 1999 Una Bisanzio Latina, Saint Mary’s Church del’ Popolo, Rome,
2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac Italy, curator Sorin Dumitrescu
Festival de performan]~, Mücsarnok, Budapesta, Ungaria, 2000 Collection, Ljublijana, Slovenia, curator Zdenka Badovinac
curator Beke Laszlo Performance Festival, Mücsarnok, Budapesta, Hungary, curator
2001 Double Life, Generali Foundation Viena, Austria, curator Beke Laszlo
Sabine Breitwieser 2001 Double Life, Generali Foundation Vienna, Austria, curator
Remedy for Melancholy, Edwik Kunsthalle Stockholm, Sabine Breitwieser
Suedia, curator Anders Kreuger Remedy for Melancholy, Edwik Kunsthalle Stockholm, Sweden,
2002 Auf der Suche nach Balkanien, Graz neue Gallerie, curator Anders Kreuger
curatori: P.Weibel, R. Connover 2002 Auf der Suche nach Balkanien, Graz neue Gallerie, curators:
2004 Arta Balcanic~, Salonic, Grecia, curator Ruxandra Balaci P.Weibel, R. Connover
Formate Bukarest, Kunsthalle Wien, curator ßtefan Tiron 2004 Balkan Art, Thessalonica, Greece, curator Ruxandra Balaci
2005 Lisabona, Funda]ia Gulbenkian, Paradoxes, Embodying Formate Bukarest, Kunsthalle Wien, curator ßtefan Tiron
the City, curator Nuno Faria 2005 Lisbon, Gulbenkian Foundation, Paradoxes, Embodying the
2006 Kontakte, colec]ia Erstebank, MUMOK Viena, Austria, City, curator Nuno Faria
curator Walter Seidl 2006 Kontakte, collection Erstebank, MUMOK Vienna, Austria,
Juc~rii, Protokol, Cluj, cu Mircea Cantor curator Walter Seidl
2007 Documenta 12, Kassel, Germania, curatori: Cosmin Costina[, Toy, Protokol, Cluj, with Mircea Cantor
Georg Schollhammer 2007 Documenta 12, Kassel, Germany, curators: Cosmin Costina[,
Exit, memory, desire, October, galeria ARTRA, Milano, Georg Schollhammer
Italia, curator Marco Scotini Exit, memory, desire, October, Gallery ARTRA, Milan, Italy,
2008 Galeria Jean-Gabriel Mitterand, Paris, Fran]a curator Marco Scotini
(expozi]ie personal~) 2008 Gallery Jean-Gabriel Mitterand, Paris, France
Galeria Enseigne des Oudin, Paris, Fran]a (expozi]ie personal~) (personal exhibition)
Gallery Enseigne des Oudin, Paris, France (personal exhibition)
Premii - selec]ie
1972 Premiul Tineretului, UAPR Awards and Honors
1978, 1989 Premiul criticilor de art~ 1972 Youth Award, Romanian Union of Artists
1998 Premiul pentru restaurare de pictur~ bisericeasc~ 1987, 1989 Award of the art critics
Premiul revistei „Cuvântul” 1998 Award for the restoration of church painting
Award from the magazine “Cuvântul” (The Word)

Address: 23, Pitar Mo[ St., Bucharest 1, Romania

Adresa: Str. Pitar Mo[, nr. 23, sector 1, Bucure[ti Phone: 0040 21 6100842
Tel: 0040 21 6100842 email: grigorescu@pcnet.ro
e-mail: grigorescu@pcnet.ro

63

viorel GRIMALSCHI
Viorel Grimalschi îmi apare drept un gânditor „silit” s~ se
exprime, prin fatalitatea voca]iei, în limbajul picturii - o pictur~
vizionar~, imaginând 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 în acela[i timp str~vechi,
îmbinând dincolo de timp [i spa]iu, în c~utarea esen]ei sacrului,
identit~]ile mo[tenite de la egipteni pân~ la cre[tinism. Coeren]a
discursului vizual ne poart~ cu gândul la sistem.
...
În senina deta[are a privirii [i în]elegerii lui se insinueaz~ teribila
singur~tate a omului, închis în propriul înveli[ vremelnic [i în
propria lui idee despre instan]a care creeaz~ [i distruge, face [i
desface, adâncind într-un mereu care seam~n~ atât de mult cu
ve[nicia, misterul fiin]ei [i al destinului ei în lume.
Pictura lui Viorel Grimalschi, auster~ pân~ la ascez~, uneori nu
antreneaz~, ca sugestie, sensul unei active [i istorice finalit~]i
umane, ci m~re]ia înfrico[at~ a petrecerii condi]iei umane într-un
timp vast, f~r~ început [i sfâr[it, indiferent la în~l]~ri [i coborâri, la
învieri [i treceri în neant. Privirea care na[te imaginea picturii
invoc~ privirea Sfinxului, îmb~tat~ de propria lui nemi[care [i
t~cere, dominând timpul prin atâta efemer~ moarte, a[teptând 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 întrez~ri hotarele.
Cornel Radu CONSTANTINESCU
22 iunie 1990, Contemporanul
Artists’ studios in Bucharest
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 painting’s 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
Contemporary, the 22nd of June, 1990
65
 Viorel GRIMALSCHI

Curtea / Courtyard
Ulei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

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

Curte la Livezi /
Courtyard at Livezi
Ulei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

Bolta de vi]~ / Vineyard

Ulei pe pânz~ / Oil on canvas
67
 Viorel GRIMALSCHI

Flori / Flowers
Ulei pe pânz~ / Oil on canvas

Viorel GRIMALSCHI

P~r / Peartree
Ulei pe pânz~ / Oil on canvas

68
 Artists’ studios in Bucharest

Viorel GRIMALSCHI Viorel GRIMALSCHI

N~scut în 1947 la Podoleni, jud. Neam], România Born in Podoleni, Neam] County, Romania, in 1947

Studii Education
1971 Institutul "N. Grigorescu", Bucure[ti, sec]ia pictur~ 1971 Graduated Nicolae Grigorescu Institute, with a degree in
monumental~ monumental painting

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1974 Galeria Orizont, Atelier 35, Bucure[ti 1974 Gallery Orizont, Studio 35, Bucharest
(cu sculptorul Adrian Popovici) (with sculptor Adrian Popovici)
1990 Galeria Simeza, Bucure[ti 1990 Gallery Simeza, Bucharest
2001 Prim~ria sectorului 3, Bucure[ti 2001 City Hall of sector 3, Bucharest
2002 Centrul cultural Mogo[oaia 2002 Cultural Center of Mogo[oaia

Particip~ri la expozi]ii tematice - selec]ie Participation in thematic exhibitions (selection)

1999 "Sacrul în art~", Galeria Parlamentului, Bucure[ti 1999 “The Sacred in Art”, Parliament Gallery, Bucharest
"Timpul în artele spa]iului", Salonul de art~, Bucure[ti “Time in the Arts of Space”, Art Salon, Bucharest
2001 "Arta sacr~ - Restaurare [i crea]ie", Galeria Apollo, Bucure[ti 2001 “Sacred Art – Restoration and Creation”, Apollo Gallery,
2004 "Vizitându-l pe Velázquez", Galeria Artexpo, Bucure[ti Bucharest
2004 “Visiting Velázquez”, Artexpo Gallery, Bucharest
Expozi]ii de grup în str~in~tate - selec]ie
1979 "Festivalul interna]ional de pictur~", Cagnes-Sur-Mer, Fran]a Selected Group Exhibitions
1986 "Arta româneasc~", The Hall Galleries, Londra, Glasgow, Marea 1979 “International Painting Festival", Cagnes-Sur-Mer, France
Britanie 1986 “Romanian Art”, the Hall Galleries, London, Glasgow,
1994 "Zilele culturii române[ti în Anglia", Londra, Marea Britanie Great Britain
2005 "Arta româneasc~ religioas~", Belgrad, Serbia 1994 “The Romanian Culture Days in England”, London,
2006 "Art~ [i spiritualitate româneasc~", Kiev [i St. Petersburg, Rusia Great Britain
"Arta româneasc~", Academia di Romania, Italia, Roma 2005 “Romanian Religious Art”, Belgrade, Serbia
2006 “Romanian Art and Spirituality”, Kiev and St.Petersburg, Russia
Premii “Romanian Art”, Romanian Academy, Italy, Rome
1979 "La Mention speciale du jury", Cagnes-sur-Mer, Fran]a
1989 Premiul U.A.P. pentru Art~ monumental~ Awards and Honors
1999 Premiul "P~mântul [i arta", Salonul de art~, Bucure[ti 1979 “Special Mention”, Cagnes-Sur-Mer, France
2000 Premiul U.A.P. pentru Restaurare 1989 The Union of Artists award for monumental art
2005 Premiul U.A.P. pentru Restaurare pictur~ mural~ 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
Adresa: Str. Vechii Bucure[ti Noi, nr. 62A, s 1, Bucure[ti, Romania Painting
Mobil: 0040 726 200773

Address: 62A, Vechii Bucure[ti Noi St., Bucharest 1, Romania

Mobile: 0040 726 200773

69

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
române[ti care s-a rostit în covor [i în ]es~turi, în costum [i-n
icoane pe sticl~, în toate obiectele ie[ite dintr-un artizanat
]~r~nesc care, f~r~ îndoial~, e unul din cele mai minunate din
Europa. Aceast~ culoare vibrant~, Iacob a pus-o în 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. Îns~ arce, triunghiuri,
linii drepte sau frânte 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, într-atât pulsa]ia tabloului se
vrea liber dezm~rginit~. Iar timpul, la rândul lui, i se a[terne
pictorului în chip imperturbabil. S~-l urm~m f~r~ exces livresc [i
f~r~ grimas~, pa[ii lui îmi pare c~ traduc în]elepciunea unui acord
fundamental, între vocea insului creator [i întinderile nem~surate
ale lumii.
L'Arche, 28 XI 1968
Dan HÅULICÅ
Pre[edinte de Onoare
al Asocia]iei Interna]ionale a Criticilor de Art~
Artists’ studios in Bucharest
gheorghe IACOB
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 Europe’s 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.
L’Arche, the 28th of November, 1968
Dan HÅULICÅ
Honorary President of the
International Association of Art Critics
 Gheorghe IACOB

F~r~ titlu / Without title

Ulei pe pânz~ / Oil on canvas
1986

Gheorghe IACOB

P~pu[arul / Pupeteer
Ulei pe pânz~ / Oil on canvas
1988
72
Artists’ studios in Bucharest

Gheorghe IACOB

Suprapunere / Overlapping
Ulei pe pânz~ / Oil on canvas
1974

73
Gheorghe IACOB

Devenire / Becoming
Ulei pe pânz~ / Oil on canvas
1988

Gheorghe IACOB
Seninul din semne /
The limpidity of sings
Ulei pe pânz~ / Oil on canvas
(nedatat)

Gheorghe IACOB

Vestigii galbene / Yellow traces

Ulei pe pânz~ / Oil on canvas
1980
 Artists’ studios in Bucharest

Gheorghe IACOB Gheorghe IACOB

N~scut la 5 septembrie 1925 în comuna Scutelnici, jud. Buz~u Born in Scutelnici village, Buzau County, on September 5th 1925

Studii Education
1946 -1953 Institutul de Arte Plastice „N. Grigorescu” 1946-1953 Art Institute “Nicolae Grigorescu“

Expozi]ii personale - selec]ie Selected Solo Exhibitions

2008 “Revela]iile unei sinteze” în 3 expozi]ii, Sala Dalles, Palatul 2008 “Revelations of a Synthesis” in three exhibitions,
Mogo[oaia, Galeria Dialog a Prim~riei Sectorului 2 Dalles Hall, Mogo[oaia Palace, the Dialogue Gallery of sector 2
City Hall; Bucharest
Expozi]ii de grup în ]ar~ - selec]ie
1967 Expozi]ia prilejuit~ de Colocviul Interna]ional "Brâncu[i" Selected National Group Exhibitions
1967 Expozi]ia Ora[ului Bucure[ti 1967 Exhibition on the occasion of The International Symposium
1972-73 Expozi]ia „25 de ani de Art~ româneasc~", la Muzeul “Brâncu[i”
Na]ional de Art~ 1967 Exhibition of the City of Bucharest
1974 Expozi]ia"Art~ [i energie", Galeria Nou~ 1972-73 Exhibition “25 Years of Romanian Art”, at the National
1975 Expozi]ia "Arta [i ora[ul", Galeria Nou~ Art Museum
1975 Expozi]ia „Arti[tii plastici [i omul", Galeria Nou~ 1974 Exhibition “Art and Energy”, New Gallery
1978 Expozi]ia Colectiv~; / „Studiul“, Galeria Bastion, Timi[oara 1975 Exhibition “Art and the City”, New Gallery
1984 Expozi]ia de Art~ Plastic~ Româneasc~ - U.N.E.S.C.O., 1975 Exhibition “Fine Arts and Man”, New Gallery
Paris, Fran]a 1978 Collective Exhibition, “The Study”, Bastion Gallery,
1996 Expozi]ia Filialei U.A.P., Bucure[ti Timi[oara
1984 Exhibition of Graphic Romanian Art U.N.E.S.C.O. Paris, France
Expozi]ii de grup în str~in~tate - selec]ie 1996 Exhibition of the Union of Artists, Bucharest
1966 Plovdiv, Bulgaria
1967 Expozi]ia Interna]ional~ de Sculptur~, Parcul Middelheim, Selected Group Exhibitions
Anvers, Belgia 1966 Plovdiv, Bulgaria
1968 „Six jeunes peintres Roumains”, Galeria Lambert, Paris, Fran]a 1967 The International Art Exhibition, Middelheim Park,
1969 „8 arti[ti români”, Mesdag, Haga, Olanda Anvers, Belgium
1970 Expozi]ie de Art~ Româneasc~, Torino, Italia 1968 “Six Young Romanian Painters”, Lambert Gallery, Paris, France
1974 Expozi]ia de Pictur~ Româneasc~, Damasc, Siria; Teheran, Iran 1969 “Eight Romanian Artists”, Mesdag, Hague, Holland
1984 Expozi]ia Româneasc~ de Art~ Contemporan~, Mannheim, 1970 Romanian Art Exhibition, Turin, Italy
Germania 1974 Exhibition of Romanian Painting, Damascus, Syria, Tehran, Iran
Expozi]ie de pictur~, Muzeul Na]ional de Art~ Contemporan~, 1984 Contemporary Romanian Art, Mannheim, Germany
Atena, Grecia Painting Exhibition, National Museum of Contemporary
1990 Expozi]ie Municipal~, Lyon, Fran]a Art, Athens, Greece
1990 City Exhibition, Lyon, France
Premii, decora]ii - selec]ie
1958 Premiul Uniunii Arti[tilor Plastici din România, pentru Pictur~ Awards and Honors
1971, 1978 Premiul pentru Art~ Monumental~ a U.A.P., Bucure[ti 1958 Award of the Romanian of the Artists Union for painting
2004 „Meritul Cultural” în gradul de Comandor 1971, 1978 Award for Monumental Art of the Artists Union, Bucharest
2004 “Cultural Merit” order in the rank of Commander

75
76

constantin LUCACI
SCULPTÂND LUMINA
Este tulbur~tor când vezi prima dat~ sculpturile în o]el inoxidabil
(crom, nichel [i molibden) ale lui Constantin Lucaci. O lumin~
metalic~, metafizic~, lunar~, care-]i gole[te spiritul, punând în
mi[care imaginarul. Lumina din zori: curat~, vibrant~, abia
n~scut~. Asemenea celei ce trebuie s~ se fi ivit, într-o sublim~
extensie în indefinibil, la originile cosmosului. Un cosmos în
dilatare, f~r~ frontiere, plutind în 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 întuneric". A creat lumina, f~când ca întunericul s~ capete
form~, culoare [i mi[care.
Informul [i-a început, astfel, uimitoarea istorie a formelor infinite,
a c~ror crea]ie continu~. Culorile, izvorâte din mirajul luminii, au
pornit s~ se multiplice în vibra]ii f~r~ de limite. Mi[carea, precum
apele v~lurite ale m~rii, a îndrumat Geneza infinitului, necuprins~
de gândul sau de cuvântul omului. Via]a a izbucnit [i s-a
descoperit înotând liber~ în apa luminoas~. Lumina a început s~
sculpteze istoria.
Sculptura lui Lucaci s-a n~scut, înc~ de la început, 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, crescând într-o [lefuire figurativ~, sculptat~ doar de
lumin~. Lumina care creeaz~ forma, dinamizeaz~ spa]iul,
însufle]e[te emo]ia, sugereaz~ [i trimite spre infinit. Infinitul vie]ii
ce nu îng~duie crea]iei odihn~.
Pietro AMATO
2005
Artists’ studios in Bucharest
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
77
 Constantin LUCACI

Spa]iu [i lumin~ /
Space and Light
O]el inox / Stainless steel
80 x 60 x 28 cm
2005

Constantin LUCACI

Spa]iu [i lumin~ /
Space and Light
O]el inox / Stainless steel
80 x 65 x 45 cm
2003

78
Constantin LUCACI

Spa]iu [i lumin~ / Space and Light

Inox / Stainless steel
1986

79
 Constantin LUCACI

Spa]iu [i lumin~ /
Space and Light
O]el inox / Stainless steel
1989

Constantin LUCACI

Spa]iu [i lumin~ /
Space and Light
O]el inox / Stainless steel
1988

80
 Artists’ studios in Bucharest

Constantin LUCACI Constantin LUCACI

N~scut pe 7 iulie 1923, în localitatea Boc[a (Banat) Born on July 7, 1923 in Boc[a (Banat), Romania

Studii Education
1945 Frecventeaz~ Academia Liber~ de Art~ „Guguianu", Bucure[ti 1945 Attended the courses of the "Guguianu" Free Academy
1953 Licen]iat al Institutului de Arte Plastice „Nicolae Grigorescu”, of Arts in Bucharest, Romania
Bucure[ti 1953 Graduated from the "Nicolae Grigorescu" Fine Arts Institute
1963 Academia de Belle Arti „Pietro Vannucci” de la Perugia, Italia 1963 Attended courses at the Fine Arts Academy "Pietro Vannucci",
Din 1988 Membru în juriul interna]ional la „Bienala Dantesca”, Perugia, Italy
Ravenna, Italia Since 1988 Member of the international jury of the Biennale of
Din 1993 Profesor la catedra de sculptur~ a Academiei de Belle Arte din Art dedicated to Dante, Ravenna, Italy
Cluj-Napoca Since 1993 Professor at the Fine Arts Academy, Sculpture
Department, Cluj, Romania
Expozi]ii personale - selec]ie
1974 „Spa]iu [i Lumin~", Sala Dalles, Bucure[ti Selected Solo Exhibitions
1976 Bienala de la Vene]ia, Italia 1974 “Space and Light”, Dalles Hall, Bucharest, Romania
1982 Expozi]ie la Palazzo dei Diamanti, sala „Benvenuto Tissi", 1976 Biennale in Venice, Italy
Ferrara, Italia 1982 Exhibition at Pallazzo dei Diamanti, Benvenuto Tissi Hall, Ferrara
1983 Galeria Editalia, Roma, Italia 1983 Editalia Gallery, Roma, Italy
1986 Muzeul Palatului Pálffy, Viena, Austria 1986 Pálffy Palace, Vienna, Austria
1992-1993 Galeria Kara, Geneva, Elve]ia 1992-1993 Kara Gallery, Geneva, Switzerland

Particip~ri expozi]ii interna]ionale - selec]ie Selected Participations in International Exhibitions

1954 Bienala de la Vene]ia, Italia 1954 Biennale di Venezia, Italy
1967 Parcul de sculptur~, Middelheim, Anvers, Belgia 1967 Middelheim Sculpture Park, Antwerp, Belgium
1975 “Plastik und Blumen”, Berlin, Germania 1975 "Plastik und Bulmen", Berlin, Germany

Lucr~rile artistului se afl~ în principalele muzee din ]ar~ [i în colec]ii de Works of Constantin Lucaci are to be found in the main museums in
stat [i private la: Romania and in many state and private art collections abroad:
Vene]ia, Roma, Milano, Ferrera, Italia; Antwerp, Belgium; Copenhagen, Denmark; Venice, Rome,
Anvers, Belgia; Milan, Ferrara, Italy
Copenhaga, Danemarca
Awards and Honors
Premii - selec]ie 1982 "Knight of the Italian Republic" Order of Merit
1982 Ordinul „Cavaler al Meritului Republicii Italiene" 1984 Herder Prize of the University of Vienna, Austria
1984 Premiul „Herder", Universitatea din Viena, Austria 1999 Gold Medal at the International Biennale of Art dedicated to
1999 Medalia de aur a Bienalei Interna]ionale Dantesca, Ravenna, Dante, Ravenna, Italy
Italia 2001 Award of the Romanian Cultural Foundation
2001 Premiul Funda]iei Culturale Române

Address: 3-7, Theodor Iliescu Av., Bucharest 1, Romania

Adresa: Str. Av. Theodor Iliescu, nr. 3-7, sector 1, Bucure[ti, Romania Phone / Fax: 0040 21 2311494
Tel / Fax: 0040 21 2311494 Phone studio: 0040 21 2304820
Tel. atelier: 0040 21 2304820 www.geocities.com/lucaci_constantin
www.geocities.com/lucaci_constantin

81

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 întâmpl~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, îndep~rtat, al acestei
evolu]ii, care avanseaz~, mereu, spre Europa sudului. Mijloacele
se simplific~, se sacrific~ aproape, pentru a se ajunge - c~tre
sfâr[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~ în lumin~. Soarele alb apare abia
perceptibil - ca un efect de timbru sec - pe o întindere alb~.
Pictura se desf~[oar~ la limita vizibilului. Într-un spa]iu care î[i
pierde spa]ialitatea. Tradi]ia bizantin~ ne-a obi[nuit, de altfel, s~
socotim auriul, atât de abundent în pictura Sultanei Maitec, ca pe
o pojghi]~ vizibil~ a nev~zutului, ca pe un ve[mânt al spa]iului
f~r~ de spa]iu. ßi totu[i, nu de aurul Bizan]ului e vorba aici: nu de
Balcani, ci de Mediterana. Nu fundalul aurit al icoanei e analogia
corect~ în statuile chrysoelephantine din Athena clasic~. E, cu alte
cuvinte, un aur p~gân, cosmogonic, un fel de substan]~
primordial~. Într-o Pomon~ din 1983, el transpare, de altfel, ca un
substrat necesar, sub ro[ul surd al câtorva mere. Iar când se
întâmpl~ invers, când ro[ul iese deasupra aurului, din el s-ar
spune, aurul înc~ î[i p~streaz~ func]ia lui de "obâr[ie", de temei
atotn~sc~tor. Ro[ul, cu implica]ia lui caloric~, e, de altfel, tot un
semn al sudului: în China veche, sudul avea drept corespondent
simbolic o pas~re ro[ie. Cât despre verde, prezent [i el masiv în
expozi]ia Sultanei Maitec, el nu e, în fond, decât un galben
r~corit de albastru, un auriu devenit materie, cum [i lujerul verde
al plantei e lumin~ solar~, devenit~ materie.
Andrei PLEßU
“Spre Sud”, Sultana Maitec (catalog), 1988
Artists’ studios in Bucharest
sultana MAITEC
Sultana Maitec’s 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 60’s – 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 Maitec’s 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 PLEßU
“Towards the South”, Sultana Maitec (catalog), 1988
 Sultana MAITEC

Pomona
Ulei pe pânz~, foi]~ de aur /
Oil on canvas, gold leaf

Sultana MAITEC

Soare negru / Black sun

Ulei pe pânz~, foi]~ de aur /
Oil on canvas, gold leaf
2001

84
 Artists’ studios in Bucharest

Sultana MAITEC

Pomona
Ulei pe pânz~, foi]~ de aur /
Oil on canvas, gold leaf
2001

Sultana MAITEC

Soare / Sun
Ulei pe pânz~, foi]~ de aur /
Oil on canvas, gold leaf
2002

85
 Sultana MAITEC

Menina
Ulei pe pânz~ / Oil on canvas
2005

Sultana MAITEC

Marea neagr~ / Black Sea

Ulei pe pânz~ / Oil on canvas
2001

86
 Artists’ studios in Bucharest

Sultana MAITEC Sultana MAITEC

N~scut~ la Livezi, Grecia Born in Livezi, Greece

Studii Education
1955 Academia de Arte, Bucure[ti 1955 The Art Academy of Bucharest
Debut expozi]ional, membr~ a Uniunii Arti[tilor Plastici Bucure[ti. Debut, as member of the Artists Union of Bucharest

Expozi]ii personale – selec]ie Selected Solo Exhibitions

1967 Expozi]ie personal~, Sala Dalles, Bucure[ti 1967 Personal Exhibition, Dalles Hall, Bucharest
1968 Expozi]ie personal~, Sala Dalles, Bucure[ti 1968 Personal Exhibition, Dalles Hall, Bucharest
1992 Galeria "Art of the Century", Paris 1992 “Art of the Century” Gallery, Paris
1993 Centrul Cultural Român, Paris 1993 Romanian Cultural Center, Paris
2000 Muzeul ¥~rii Cri[urilor 2000 The Museum of the Cri[ County
2001 Muzeul Na]ional de Art~ al României 2001 National Art Museum of Romania

Particip~ri la expozi]ii române[ti peste hotare - selec]ie Selected Romanian Exhibitions Abroad
1969 Torino, Italia; Tel Aviv, Israel 1969 Torino, Italy;Tel Aviv, Israel
1971 Düsseldorf, Germania 1971 Düsseldorf, Germany
1979 Accademia di Romania, Roma, Italia 1979 Romanian Academy, Rome, Italy
1984 Pinacoteca Na]ional~, Atena, Grecia 1984 The National Gallery of Painting, Athens, Greece
1986 The Mall Galleries, Londra, Anglia 1986 The Mall Galleries, London, England
1987 Glasgow, Anglia 1987 Glasgow, England

Expozi]ii interna]ionale - selec]ie Selected International Exhibitions

1968 Expozi]ia “Femei pictori”, Edinburgh, Sco]ia 1968 “Women Painters” exhibition, Edinburgh, Scotland
1983, 1985 - “Art contre / against apartheid”, Foundation Nationale des 1983, 1985 “Art against Apartheid”, National Foundation for the
Arts Plastiques, Paris, Fran]a; Lund, Fine Arts, Paris, France; Lund, Sweden;
Suedia; Madrid, Barcelona, Spania Madrid, Barcelona, Spain
1991 "Pentaconale Ptus", Demarco Gallery, Edinburgh, Sco]ia 1991 “Pentaconale Ptus”, Demarco Gallery, Edinburgh, Scotland
1992 "Cité Internationale des Arts", Paris, Fran]a 1992 "Cité Internationale des Arts", Paris, France
1993 "Hommage à M. Eliade et E. Cioran", Paris, Fran]a 1993 “Homage to Mircea Eliade and Cioran”, Paris, France
1994, 1995 - "Janne Castel", Paris, Fran]a 1994, 1995 “Janne Castel”, Paris, France
1998 Mücsarnok, Budapesta, Ungaria 1998 Mücsarnok, Budapest, Hungary
2002 Palatul Parlamentului European, Bruxelles, Belgia 2002 The European Palace of Parliament, Brussels, Belgium

Premii, ordine - selec]ie Awards and Honors

1975 Ordinul Meritul Cultural 1975 Order for Cultural Merit
1989 Premiui Academiei Române, Bucure[ti 1989 Award of the Romanian Academy, Bucharest

Adresa: Str. Emanoil Porumbaru nr. 14, S 1, Bucure[ti, România Address: 14, Emanoil Porumbaru St., Bucharest 1, Romania

87

gheorghe MARCU
Gheorghe Marcu este în acela[i timp artist [i poet, formele [i
cuvintele se întâlnesc câteodat~ în operele sale. Metafora este
profund integrat~ în 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 în universul lucr~rilor lui Gheorghe
Marcu. Ironia se constituie la rându-i în component~ a exprim~rii
artistului. Figurativul [i abstractul „m~r[~luiesc" împreun~.
La începuturile sale, autorul practica o sculptur~ „arhitectural-
arhaizant~". Cu trecerea anilor, s-a dovedit conving~tor [i ca
modelator de mici efigii, [i atunci când î[i „coloreaz~"
personajele în „nuan]e" fantastice, sau când î[i construie[te
discursul artistic cu ajutorul ready-made-urilor modificate.
Câinele cu dou~ capete, realizat în teracot~ („Crepuscul", 1998),
este rezultatul unei tulbur~toare experien]e onirice. Crepusculul
se instituie în semnul for]elor contrare care se lupt~ în noi; ele ne
devoreaz~, dar în acela[i timp pot s~ reprezinte vitalitatea sau
chiar îndoiala în calitatea ei de condi]ie profund~ a existen]ei...
Dac~ aceast~ creatur~ fantastic~ nu mai este liber~ (ci prizonier~
în coloana de c~r~mid~), nici noi nu mai suntem liberi.
Adrian GU¥Å
Artists’ studios in Bucharest
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 Marcu’s works. Irony is,
in its turn, a component of the artist’s 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¥Å
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

Tronul 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
 Artists’ studios in Bucharest

Gheorghe MARCU Gheorghe MARCU

N~scut pe 6 februarie 1952 în comuna Pietro[ani, jud. Arge[ Born in Pietrosani village, Arges County, on February 6, 1952

Studii Education
1981 Absolvent al Institutului de Arte Plastice "Nicolae Grigorescu", 1981 Graduated the Fine Arts Institute “Nicolae Grigorescu”,
Bucure[ti Bucharest
Membru al Uniunii Arti[tilor Plastici din România Member of the Romanian Artist’s Union
Lector la Universitatea Na]ional~ de Arte, Bucure[ti Lecturer at the National University of Arts, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1998 „St~pânul câinilor s~i”, Galeria Simeza, Bucure[ti 1998 “Lord of His Dogs”, Simeza Gallery, Bucharest

Expozi]ii interna]ionale - selec]ie Selected International Exhibitions

1985 "Experimental Art", Budapesta, Ungaria 1985 “Experimental Art”, Budapest, Hungary
"Day Art", Budapesta, Ungaria “Day Art, Budapest, Hungary
1986, 1987, 1988 "Impact Art Festival", Kyoto, Japonia 1986, 1987, 1988 “Impact Art Festival”, Kyoto, Japan
1992 Bienala "Desene de sculptor", Budapesta, Ungaria 1992 Biennial “Drawings of Sculptors”, Budapest, Hungary
1995 Galeria De Gele Rijder, Arnhem, Olanda (grup) 1995 De Gele Rijder Gallery, Arnhem, Holland (group exhibition)
2001 Bienala interna]ional~ de desen "Josep Amat", Spania 2001 International Drawing Biennial “Joseph Amat”, Spain
2007 Sculptura contemporan~ româneasc~, 2007 Contemporary Romanian Sculpture, Museum Ianchelevici,
Muzeul Ianchelevici, La Louvière, Belgia La Louvière, Belgium

Selected Sculpture Symposiums

Simpozioane de sculptur~ - selec]ie 1983 M~gura, Buz~u (stone)
1983 M~gura, Buz~u (piatr~) 1985, 1987 Oarba de Mure[, Mure[ (stone)
1985,1987 Oarba de Mure[, Mure[ (piatr~) 1991, 1995 Gala]i (metal)
1991, 1995 Gala]i (metal) 1992 “Earth-Sign-Earth”, Gustrow, Germany
1992 Simpozionul "P~mânt-semn-p~mânt", Gustrow, Germania 2000 The Florean Museum Foundation, Baia Mare
2000 Funda]ia Muzeul Florean, Baia Mare 2006 Sculpture in Metal, Triade Garden, Timi[oara
2006 Simpozionul de sculptur~ în metal, Gr~dina Triade, Timi[oara 2007, 2008 Sângeorz B~i
2007, 2008 Sângeorz B~i
Awards and Honors
1988 Youth Award, Cluj-Napoca
Premii 1998 Award of the Mayor of Bucharest, City Salon
1988 Premiul tineretului, Cluj-Napoca
1998 Premiul Primarului capitalei, Salonul Municipal, Bucure[ti

Studio: 2, Olimpului St., Bucharest 4, Romania

Address: 99, G-ral Berthelot St., Bucharest 1, Romania
Adresa: Str. G-ral Berthelot 99, corp B, apart. 2, s 1, Tel: 0040 21 3164600
Bucure[ti, Romania Mobile: 0040 720 095742
Atelier: Str. Olimpului 2, s 4, Bucure[ti, Romania
Tel: 0040 21 3164600
Mobil: 0040 720 095742

93

viorel MÅRGINEAN
„Culoare în mi[care, pas~re zburând~, sânge al privirii, negru
de p~mânt.
Ah, voi ochi, risipi]i pretutindeni în p~mântul în care suntem, în
p~mântul în care sunt.
Splendoare a vederii din afar~ – vol d’oiseau – cum ar spune alt~
dat~ Baudelaire, el însu[i îndr~gostit de pictorii lui.
Ce vis [i cât~ 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
îns~[i zborul, ah, dac~ pietrele ar avea pleoape [i ar clipi din ele!
Vede]i ce ar vedea! Gândi]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 îl
iubim, de aceea îl stim~m.
Iat~-ne, într-un fel, pe to]i privind, de acolo, din tandra lui
alc~tuire de culori!
Realul se scurge fin în vis, iar paradisul se scurge în p~mânt. Acest
om este tot numai gând. Acest om este tot numai gând!
Cântecul lui e în zbor, culorile lui curg aidoma trecerii timpului
prin irisul nostru.
M~rginean! N-o fi având el vreun bunic vultur de a prins în creier
atâta zbor!
Înf~ptuirea e grea, e delicat~, materialul zborului e dur, pana e
trec~toare, soarele etern…“
Nichita STÅNESCU
„Culorile zborului“
Artists’ studios in Bucharest
“Colors in motion, flying bird, the look is blood, earth’s 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 d’oiseau – 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 STÅNESCU
“The Color of Flight”
95
 Viorel MÅRGINEAN

Coco[i pe fond ro[u /

Roosters on a red field
Ulei pe pânz~ / Oil on canvas
2003

Viorel MÅRGINEAN

Pas~rea [i mediul /
The Bird and the environment
Ulei pe pânz~ / Oil on canvas
1988

96
Artists’ studios in Bucharest

Viorel MÅRGINEAN

Zbor / Flight
Ulei pe pânz~ /
Oil on canvas
1969

97
 Viorel MÅRGINEAN

Soare ascuns / Hidden sun

Ulei pe pânz~ / Oil on canvas
1992

Viorel MÅRGINEAN

Peisaj ritmat /
Rhythmic landscape
Ulei pe pânz~ / Oil on canvas
2003

Viorel MÅRGINEAN

Petale pe trotuar /
Petals on the pavement
Ulei pe pânz~ / Oil on canvas
1988

98
 Artists’ studios in Bucharest

Viorel MÅRGINEAN Viorel MÅRGINEAN

N~scut pe 12 decembrie 1933 în comuna Cenade, jude]ul Alba. Born on December 12, 1933 in Cenade, district Alba.

Studii Education
1953-1959 Institutul de Arte Plastice „Nicolae Grigorescu“, Bucure[ti, 1953-1959 Fine Arts Institute “Nicolae Grigorescu”, Bucharest,
clasa profesor Ioan Maric. the class of professor Ioan Maric.
1958 Debuteaz~ la Expozi]ia interregional de pictur~, sculptur~ 1958 Debut at the Interregional Painting, Sculpture and Graphics
[i grafic~, Bucure[ti, sub pseudonimul Gheorghe Sandu. Exhibition, Bucharest, under the pseudonym Gheorghe Sandu.
1981 Membru al Academiei Europene de ßtiin]e, Arte [i Litere, Paris 1981 Member of the European Academy of Sciences, Arts and
1999 Membru al Academiei Interna]ionale de Art~ Modern~, Roma Letters, Paris, France
2006 Membru de onoare al Academiei Române 1999 Member of the International Academy of Modern Art,
Rome, Italy
Expozi]ii personale 2006 Honorary Member of the Romanian Academy
1970 Sala Dalles, Bucure[ti
Galeria Hartmann, New York, SUA Selected Solo Exhibitions
1974 Galeria „Lübke“, Hamburg, Germania 1970 Dalles Hall, Bucharest
1979 Galeria Bausback, Mannheim, Germania Hartmann Gallery, New York, USA
1980 Palatul Palffy, Viena, Austria 1974 „Lübke“ Gallery, Hamburg, Germany
1983 Expozi]ia retrospectiv~ de la Sala Dalles, Bucure[ti 1979 Bausback Gallery, Mannheim, Germany
1988 Galeria Kutscha, Salzburg, Austria 1980 Palffy Palace, Vienna, Austria
1992 Palatul UNESCO, Paris, Fran]a 1983 Retrospective exhibition at the Dalles Hall, Bucharest
1993 Accademia di Romania, Roma, Italia 1988 Kutscha Gallery, Salzburg, Austria
Institutul Cultural Român, Viena, Austria 1992 UNESCO Palace, Paris, France
1995 Muzeul Brukenthal, Sibiu 1993 Accademia di Romania, Rome, Italy
1996 Muzeul de Art~, Craiova Romanian Cultural Institute, Vienna, Austria
Institutul Cultural Român, Madrid, Spania 1995 Brukenthal Museum, Sibiu
2003 Muzeul Na]ional de Art~ al României 1996 Museum of Art, Craiova
2006 Parlamentul European - Bruxelles, Belgia Romanian Cultural Institute, Madrid, Spain
2003 Romanian National Museum of Art
Premii 2006 European Parliament - Brussels, Belgium
1981 Marele Premiu Interna]ional „Trionfo ‘81“ acordat de
Sindicatul Liber Italian al Arti[tilor Profesioni[ti, Roma Awards and Honors
Premiul „Omagiu lui Picasso“ acordat de Centrul Cultural 1981 Great Award „Trionfo ‘81“, Rome
„Caravaggio“, Roma The „Homage to Picasso“ Award, Rome
1984 Marele Premiu al Uniunii Arti[tilor Plastici 1984 Great Award of the Romanian Artists’ Union
1995 Diploma "Ad Honores" a Academiei Europene a Artelor. 1995 Diploma "Ad Honores" of the European Arts Academy.
2003 Ordinul Na]ional „Serviciul Credincios“ în Grad de Cavaler 2003 National order "Faithful Service" in the rank of Knight
2004 Premiul "Ion Andreescu", acordat de Academia Român~ 2004 The "Ion Andreescu" Award, Romanian Academy
2005 Ordinul "Steaua solidarit~]ii” «Commendatore II Classe»" 2005 The "Star of Solidarity” order «Commendatore II Classe»",
acordat de Pre[edintele Italiei awarded by the President of Italy

Adresa: Str. Aviator S~n~tescu nr. 46, ap. 1, S 1, Bucure[ti, România Address: 46, Aviator S~n~tescu St., Bucharest 1, Romania

99

Anca Mure[an pare o „divizionist~” atâta vreme cât este
raportat~ la Seurat. Lucr~rile ei degaj~ aceea[i senza]ie de
înst~pânire total~, unde nimic nu este l~sat la întâmplare. Totul
este ordonat cu grij~, conform opticii personale, for]ând tonurile
divizate s~ se aglutineze într-o luminozitate ireal~. Time-off
pentru o clip~ de frumuse]e pur~, de pace [i lini[te. Momentul
astral când arta transcende cotidianul. Privirea ei sfâ[ie impetuos
v~lul, focalizând 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, alungând esen]a în desfigurativ. Subiectele se
descompun în 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 îns~ c~ tensiunea
conexiunilor dintre aceste celule nu se simte la fiecare tablou! Din
contr~. ßtim c~ fiecare structur~ con]ine în sine cupluri de for]e
ce pot oricând 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 blând~, izvorât~ din mul]umirea artistului care
a îmblânzit esen]a.
Sebastian AMZA
Anca Mure[an, expozi]ia “Atribute fictive”, 2008
Anca MUREßAN
În~untru / Innermost
Acrilic pe pânz~ / Acrylic on canvas
2007
Artists’ studios in Bucharest
anca MUREßAN
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 Muresan’s
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 shouldn’t 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
101
Anca MUREßAN

Cap / Head
Ulei pe pânz~ / Oil on canvas
1999

Anca MUREßAN

Serie f~r~ titlu / Untitled series

Acrilic pe pânz~ / Acrylic on canvas
2007
102
 Artists’ studios in Bucharest

Anca MUREßAN

Cuplu / Pair
Acrilic pe pânz~ / Acrylic on canvas
2000

Anca MUREßAN

(stânga / left)
Parc / Park
Acrilic pe pânz~ / Acrylic on canvas
2000

(dreapta / right)
Diagonala / The Diagonal
Ulei pe pânz~ / Oil on canvas
2008
 Anca MUREßAN

Elisa
Acrilic pe pânz~ / Acrylic on canvas
2008

104
 Artists’ studios in Bucharest

Anca MUREßAN Anca MUREßAN

N~scut~ în 1965 în Bucure[ti Born 1965, Bucharest.

Studii Education
1990 Academia de Art~ din Bucure[ti 1990 MA in Painting, Bucharest Art Academy
1998 Meisterschuelerin, Profesor Konrad Klapheck, Kunstakademie 1998 MA Studies with Professor Konrad Klapheck
Düsseldorf 2000 Akademiebrief, Kunstakademie Düsseldorf
2000 Akademiebrief, Kunstakademie Düsseldorf
Selected Solo Exhibitions
Expozi]ii personale - selec]ie 1991 Studio 35 Gallery, Bucharest
1991 Atelier 35, Bucure[ti 1997 ArTei Gallery, Bucharest
1997 Galeria ArTei, Bucure[ti 2001 Manfred Zischke Gallery, Düsseldorf
2001 Galeria Manfred Zischke, Düsseldorf 2005 „Fell ein!“, Alte Post, Düsseldorf
2005 „Fell ein!”, Alte Post, Düsseldorf 2006 „Even“, Mogo[oaia Palace, Bucharest
2006 „Neted”, Palatul Mogo[oaia, Bucure[ti 2008 „Fictive Atributes”, Curtea Veche Gallery, Bucharest
2008 „Atribute fictive”, galeria Curtea Veche, Bucure[ti
Selected Group Exhibitions
Expozi]ii de grup - selec]ie 1996 „Fracture fermée“, French Institute, Bucharest
1996 „Fracture fermée”, Institutul francez, Bucure[ti „Vertrauen ins Bild“, Goethe Institut, Bucharest
Vertrauen ins Bild, Institutul Goethe, Bucure[ti 1997 „Ad hoc“, Ludwig Museum, Budapest
1997 „Ad hoc”, Muzeul Ludwig, Budapesta 1999 Bruno Goller Museum, Gummersbach
1999 Muzeul Bruno Goller, Gummersbach 2000 „Ilse Frankenthal“ Prize, Brunssum
2000 Premiul „Ilse Frankenthal”, Brunssum 2002 „Octopus“, Ulrike Rathert Gallery, Minden
2002 „Octopus”, Galeria Ulrike Rathert, Minden 2005 „Storage”, The National Museum of Contemporary Art,
2005 „Depozit”, Muzeul Na]ional de Art~ Contemporan~, Bucharest
Bucure[ti 2008 40 Jahre Kunstverein Gelsenkirchen
2008 40 Jahre Kunstverein Gelsenkirchen
Awards and Honors
Premii - selec]ie 1992 The Painting Prize of the Union of the Romanian Artists
1992 Premiul pentru pictur~, UAP 1996 Karl-Schwesig-Preis, Gelsenkirchen Museum
1996 Premiul Karl-Schwesig, Muzeul din Gelsenkirchen
Works in public collections
Lucr~ri în colec]ii publice The National Museum of Contemporary Art, Bucharest,
Muzeul Na]ional de Art~ Contemporan~, Bucure[ti Gelsenkirchen Museum,
Muzeul din Gelsenkirchen PriceWaterhouseCoopers, Düsseldorf
PriceWaterhouseCoopers, Düsseldorf PSD Bank, Düsseldorf
PSD Bank
Public commission
Luc~ri monumentale 2000 The Kult Building, Düsseldorf
2000 Cl~direa Kult, Düsseldorf

Studio: 13 ßelari St., Bucharest 6, Romania

Atelier: Str. ßelari nr.13, S 6, Bucure[ti, România Mobile: 0040 749 396230
Mobil: 0040 749 396230

105

Arta Lilei Passima este profund autoreferen]ial~ (deocamdat~).
Lucrurile st~teau a[a înc~ 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, tân~ra artist~ continu~
s~-[i pun~ crea]ia în slujba autodescoperirii, autodefinirii. Acum,
îns~, nu mai asist~m la un simplu discurs autobiografic. Autoarea ne
pune la dispozi]ie repere care îi amprenteaz~ senza]iile, sentimentele
[i gândurile, conexiunile familiale, ambian]a intim~, dar ne [i invit~
ca, intrând în 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 într-un loc al comunic~rii (ceea ce nu îi dizolv~
particularit~]ile). Astfel, prin extrapolare, universul Lilei Passima
devine unul generic în care ar putea s~ se reg~seasc~ multe altele,
pentru a se împlini miza umaniz~rii realului.
Lila Passima nu este adepta operei finite în atelier [i expuse ca atare.
ßi-a mutat, pentru aceast~ expozi]e, „bazarul” atelierului în sala
Eforie (...) Configura]ia ultimului act – „Începe timpul” – a depins de
întreaga evolu]ie de pân~ la el [i a însemnat reg~sirea resorturilor
celor mai intime, înc~ o dat~ impregnate de leg~turile familiale, într-
o stare de relativ~, m~car, împ~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, între ele [i cel literar, ci [i prin jonc]iunea
artei cu ini]iativa sociologic~ (vezi [i vânzarea 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, intrând în expozi]ie,
erau îndemna]i de comunicabilitatea autoarei s~ î[i manifeste
propriile impulsuri creatoare.
Bazarul Estic, prin pluralitatea func]iilor [i deschiderilor sale, i-a
permis Lilei Passima libera mi[care între 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~ având îns~ contribu]ia lor întru conturarea unui
univers personal subtil [i bogat nuan]at.
Adrian GU¥Å
First Bazar [i Timpii s~i
Artists’ studios in Bucharest
lila PASSIMA
Lila Passima’s 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 (Kabakov’s
term), at the C~minul Artei Gallery (ground floor). After three years,
the young artist continued to use her creations in the service of self-
discovery, 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¥Å
Her First Bazaar and Times
107
 Lila PASSIMA

East-Bazar
Instala]ie / Installation
2001

Lila PASSIMA

De 13 ori Eu, spa]iu personal - portrete /

13 times Me, personal space - portraits
Instala]ie / Installation
1996

108
 Lila PASSIMA

Val / Wave
East Bazar
(detalii / details)
Instala]ie / Installation
Lila PASSIMA

East Bazar
Instala]ie / Installation
Work in progress
2000

Lila PASSIMA

E timpul verzei /
It’s cabbage’s time
Instala]ie / Installation
1999
 Artists’ studios in Bucharest

Lila PASSIMA Lila PASSIMA

N~scut~ pe 19 iulie 1967 în Bucure[ti Born in Bucharest, on the 19th of July, 1967

Studii Education
1996 Academia de Arte, Bucure[ti 1996 The Art Academy, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

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 “Închipuiri subterane” / “Blocul de sub noi” – interven]ii
artistice în spatiu public / instala]ii,
proiecte interdisciplinare realizate la metrou
2004 “Desene mici [i mijlocii”, libr~ria C~rture[ti
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

Expozi]ii na]ionale [i de grup - selec]ie National Group Exhibitions Abroad

1994 “Installation - the most spoken language”, Galeria UNA, 1994 “Installation – the most spoken language”, Gallery UNA,
Bucure[ti Bucharest
1995 “Textil Art”, Muzeul Na]ional de Art~, Bucure[ti 1995 “Textile Art”, The National Art Museum, Bucharest
2001 “Periferic 1’’, Bienala de Art~ Contemporan~, Ia[i 2001 “Peripheric 1”, The Biennial of Contemporary Art, Ia[i
2003 “P~durea din frumoasa adormit~”, Galeria C~minul Artei, 2003 “The Forest from the Sleeping Beauty”, C~minul Art Gallery,
Bucure[ti Bucharest
2004 “Lucruri mici [i mijlocii”, Galeria Jean [i Sabina Negulescu, 2004 “Small and Average Size Things”, Jean and Sabina Negulescu
Bucure[ti Gallery, Bucharest

Expozi]ii Interna]ionale - selec]ie Selected International Exhibitions

1994 Bienala Interna]ional~ de miniatur~ textil~, a X-a edi]ie, 1994 The Tenth International Biennial of Miniature Textiles,
Szombathely, Ungaria Szombathely, Hungary
1996 “It’s about time”, Wentz Gallery, Portland / Oregon, USA 1996 “It’s About Time”, Wentz Gallery, Portland, Oregon, USA
1996, 1998 “Fibre Art on the outside”, Muzeul Norton Priory, Cheshire, 1996, 1998 “Fibre Art on the Outside”, the Norton Priory Museum,
Anglia Cheshire, England
1999 Arti[ti Contemporani Români, Muzeul Ianchelevici, 2002 “Motherland / Fatherland”, Moscow International Forum of Art
La Louvière, Belgia Initiatives
2002 “Motherland / Fatherland”, Moscow International Forum of Art 2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento,
Initiatives Florida
2008 Traces: Contemporary Romanian Art, Pont Aven, Sacramento,
Florida Works in Public Collections
The National Contemporary Museum of Art, Bucharest
Lucr~ri în colec]ii publice Contemporary Art Gallery, Szombathely, Hungary
Muzeul Na]ional de Art~ Contemporan~, România Norton Priory Museum, Cheshire / Bebington Civic Center
Galeria de Art~ Contemporan~, Szombathely, Ungaria Library, England
Norton Priory Museum, Cheshire / Bebington Civic Centre
Library, Anglia Works in Private Collections
Romania, Canada, Great Britain
Lucr~ri în colec]ii private
Romania, Canada, Marea Britanie

Studio: 21, D. Cantemir Blvd., Bucharest 4, Romania

Atelier: Bd. D. Cantemir, nr. 21, bl. 4, sc. C, ap. 67, s 4, Phone: 0040 21 3304283
Bucure[ti, Romania Mobile: 0040 743 752260
Tel: 0040 21 3304283 email: lilapassima@yahoo.com
Mobil: 0040 743 752260
e-mail: lilapassima@yahoo.com

111

romelo PERVOLOVICI
Crea]ia lui Romelo Pervolovici se situeaz~ undeva la întâlnirea
dintre dimensiuni. E [i multi-dimensional~, e [i hiperdimensional~.
Prolifereaz~ f~r~ s~ intre în disolu]ie, pentru c~ nu î[i
abandoneaz~ niciodat~ punctul de origine. Se sparge în
fragmente, în decupaje [i r~mâne, în acela[i timp, totalizant~.
Porne[te de la materii [i materiale, p~trunde abil în structuri
noetice, de cunoa[tere [i în]elegere obiectiv~ a proceselor de
crea]ie, c~rora le testeaz~ validitatea pentru a ajunge în ultim~
instan]~ la un exerci]iu hermeneutic... Nelini[te[te pentru c~
atinge frontierele [i limitele atât ale experien]ei sensibile, cât [i pe
cele, mai riscante, ale fenomenului fizic [i ale experimentului
[tiin]ific.
E dificil s~ îl plasezi într-o formul~ de unitate stilistic~ în istoria
sculpturii contemporane române[ti. A fost, rând pe rând, neo-
expresionist, experimentator, „intermedial”, factor subversiv,
mitograf [i c~ut~tor de arhetipuri. Postmodern, în mod necesar.
Odat~ cu formarea grupului 2 META (proiect conceput împreun~
cu Maria Manolescu) se întoarce, în aceea[i încercare de testare a
limitelor, spre zona conceptual~ [i spre investiga]ia de tip
sociologic. Refuz~ imaginea sculpturii ca simplu obiect material în
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 în sculpturile lui
Pervolovici, pentru c~ îns~[i aceast~ interdependent~ d~ coeren]~
propunerilor sale estetice. Îmi place s~ cred c~ artistul face parte
din categoria celor care „cerceteaz~”; adic~ face parte din rândul
„c~ut~torilor”, al „exploratorilor”. Modific~rile care apar sau
muta]iile pe care obiectul sau imaginea le sufer~ în proiectele lui
nu înseamn~ alterare a conceptului, ci un nou stadiu al cercet~rii,
etap~ a experimentului. ßi odat~ experimentul construit,
exploratorul-c~ut~tor p~trunde într-una dintre bre[ele sale, îi
plaseaz~ strategic o cantitate suficient~ de explozibil [i îl
detoneaz~ pentru a-i descoperi noile resurse, noile poten]ialit~]i.
Mica GHERGHESCU
Artists’ studios in Bucharest
Romelo Pervolovici’s 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
Pervolovici’s 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
113
 Romelo PERVOLOVICI

Euro meduze / Euro Jelly Fishes

Instala]ie / Installation
Romelo PERVOLOVICI

Meduze / Jelly Fishes

Instala]ie / Installation

114
Romelo PERVOLOVICI

Meduza / Jelly Fish

Instala]ie / Installation

Romelo PERVOLOVICI

Meduza / Jelly Fish

Instala]ie / Installation

115
 Romelo PERVOLOVICI

Osiris
Lemn pictat / Painted wood

Romelo PERVOLOVICI

3R
Instala]ie / Installation

116
 Artists’ studios in Bucharest

Romelo PERVOLOVICI Romelo PERVOLOVICI

N~scut pe 5 noiembrie 1956 în Zorleni - Vaslui, România. Born in Zorleni, Vaslui, Romania on the 5th of November, 1956

Membrul al Uniunii Arti[tilor Plastici Education

1982 Graduated from the “Nicolae Grigorescu” Institute of
Studii Fine Arts, Departament of sculpture
1982 Absolvent al Institutului de Arte Plastice
„N. Grigorescu”, Facultatea de Arte Plastice, sec]ia Sculptur~. Selected Solo Exhibitions
1985 Gallery Orizont; Studio 35, Bucharest
Expozi]ii personale - selec]ie 1988 The Village Museum, Bucharest
1985 Galeria Orizont; Atelier 35, Bucure[ti 1990 Kiklos art Gallery, Paphos, Cyprus
1988 Muzeul Satului, Bucure[ti 1996 The Art Gallery of the National Theatre, Bucharest
1990 Galeria de art~ Kiklos, Paphos, Cipru 2002-2003 Audi Art Gallery, Bucharest
1996 Galeria de art~ a Teatrului Na]ional, Bucure[ti 2006 The Contemporary Art Gallery, Sibiu
2002-2003 Audi Art Gallery, Bucure[ti
2006 Galeria de Art~ Contemporan~, Sibiu Selected Group Exhibitions
1993 Pro Art Gallery, Hallein, Austria
Expozi]ii de grup - selec]ie 2007 Ambient Urban, Sibiu
1993 Galeria Pro Arte, Hallein, Austria Breakfast not Included, Gallery 2 META, Bucharest
2007 Ambient Urban, Sibiu Process, Space Art Festival, 2007, Balcic, Bulgaria
Breakfast is not included, Galeria 2META, Bucure[ti
Process, Space Art Festival, Balcic, Bulgaria Selected Sculpture Symposiums
1982 M~gura, Buz~u
Simpozioane de sculptur~ - selec]ie 1983 Piatra-Neam]
1982 M~gura, Buz~u 1985, 1995 Babadag, Tulcea
1983 Piatra-Neam] 1987 Sighetul Marma]iei
1985, 1995 Babadag, Tulcea 1988, 1982 Scânteia, Ia[i
1987 Sighetul Marma]iei 1990 Modena, Italy
1988, 1982 Scânteia, Ia[i Prilep, Yugoslavia
1990 Modena, Italia 1991 Adnet, Austria
Prilep, Iugoslavia 1993 Mallot, Israel
1991 Adnet, Austria Malta, Austria
1993 Mallot
Israel
Malta
Austria Address: 39, Silvestru St., Bucharest 2, Romania

Adresa: Str. Silvestru nr. 39, S 2, Bucure[ti, România

Romelo PERVOLOVICI

Babadag
Piatr~ / Stone

marilena PREDA SÂNC
Am avut [ansa s~ observ evolu]ia artistic~ a Marilenei Preda Sânc
de la începuturile ei în 1980, care au coincis cu debutul întregii
noastre genera]ii, cunoscute în cultura român~ ca faimoasa
genera]ie optzecist~. De la bun început, Marilena Preda Sânc a
reu[it s~ se individualizeze între colegi prin voin]a ei puternic~ de
a evolua [i prin perseveren]a de a construi un destin artistic
coerent [i independent.
În opinia mea, Preda Sânc a fost un artist reprezentativ pentru
direc]ia neo-expresionist~ care a l~sat o urm~ profund~ în pictura
româneasc~ tân~r~ a ultimei decade. În acest sens, Preda Sânc 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 Sânc poate fi considerat~ una
din primele femei artiste românce care au avut curajul s~
construiasc~ un întreg univers pictural din explorarea îndr~znea]~
a condi]iei ei biologice, sociale [i spirituale. Astfel, picturile ei tari
[i uneori aspre din 1989, întinse pe pânze 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 înalte
calit~]i estetice.
De la sfâr[itul anilor ’80 pân~ ast~zi, Marilena Preda Sânc a fost
atras~ din ce în 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. În aceste
domenii, care s-au dezvoltat abia recent în România, Preda Sânc e
de asemenea considerat~ un artist remarcabil, datorit~ calit~]ii
experimentelor [i a cantit~]ii lucr~rilor ei. În virtutea acestora, cred
c~ Marilena Preda Sânc [i-a asigurat o pozi]ie solid~, respectat~,
dar [i foarte personalizat~, în cercetarea vizual~ contemporan~
din România [i din Europa de Est.
Magda CÂRNECI
Artists’ studios in Bucharest
I have had the chance to observe Marilena Preda Sânc’s artistic
evolution since its beginning in 1980, which coincided with the
start of our entire generation known in the Romanian culture as
the famous Eighty’s 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 Sânc 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 Sânc 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 Sânc 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
Sânc 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 Sânc 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 Sânc 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 CÂRNECI
119
 Marilena PREDA-SÂNC

Peisaj urban / Urbanscape

Acrilic pe pânz~ / Acrylic on canvas
2007

Marilena PREDA-SÂNC

Peisaj urban / Urbanscape

Acrilic pe pânz~ / Acrylic on canvas
2007

120
 Artists’ studios in Bucharest

Marilena PREDA-SÂNC

Bodyscape
Acrilic pe pânz~ / Acrylic on
canvas
1985

Marilena PREDA-SÂNC

Bodyscape
Acrilic pe pânz~ / Acrylic on
canvas
1985

121
Marilena PREDA-SÂNC

Body urbanscape
Acrilic pe pânz~ / Acrylic on canvas
1988

Marilena PREDA-SÂNC

Peisaj urban / Urbanscape

Acrilic pe pânz~ / Acrylic on canvas
2008
 Artists’ studios in Bucharest

Marilena PREDA-SÂNC Marilena PREDA-SÂNC

N~scut~ în 1955 la Bucure[ti Born on 1955 in Bucharest

Studii Education
1979 Institutul de Arte Plastice “N. Grigorescu” 1979 Graduated the University of Art, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1997 Prezentare de filme video, Kultur Kontakt, Viena 1997 Presentation of video movies, Kultur Kontakt, Vienna, Austria
2007 „Înl~untrul Viului”, Studio D.V.O., Bruxelles, Belgia 2007 „Inside the Living”, Studio D.V.O., Brussels, Belgium
2008 „Construciones-Espacios”, Galeria Anagma Copenhaguen, 2008 „Construciones-Espacios”, Anagma Copenhaguen Gallery,
Valencia. Valencia, Spain.

Expozi]ii de grup - selec]ie Selected Group Exhibitions

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 Miró, 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 Nach’80”, 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 Cârneci
2007 „Affinita – Diversita”, Palazzo Albrizzi Venezia, Forum
Austriaco di Cultura, Milano
2008 Bienala Interna]ional~ de Art~, Beijing
Lucr~ri în colec]ii
Muzeul Na]ional de Art~ Contemporan~, Bucure[ti (MNAC)
Kunsthale Nürnberg, 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
1981 „The Juan Miró 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 Miró 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 Nach’80”, video theater installation, Ludwig
Museum, Aachen, Germany, curator Ruxandra Balaci
1999 „Artistes de Bucarest à La Louvière”, “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 Cârneci
2007 „Affinità – Diversità”, 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

Address: 36, M~gura Odobe[ti St., Bucharest 1, Romania

Adresa: Str. M~gura Odobe[ti 36, s 1, Bucure[ti, România Phone: 0040 21 2201446, 0040 21 3134262
Tel: 0040 21 2201446, 0040 21 3134262 Mobile: 0040 723 512971
Mobil: 0040 723 512971 e-mail: mpsanc@valhalla.racai.ro
e-mail: mpsanc@valhalla.racai.ro http://marilenapredasanc.blogspot.com/
http://marilenapredasanc.blogspot.com/

123

florica PREVENDA
Siluete cu un “desen” sintetic, uneori statice alteori dinamice,
singulare ori dublate, interferente, cuprind fragmente de chipuri,
ochi, mâini – adesea elemente de autoportret – mai clar adunate
structural ori plutind liber. Eului îi r~spunde sugestia cuplului.
Rafinatele jocuri volumetrice practicate în alte etape sunt înlocuite
de stratificarea transparen]elor – a[a se na[te efectul de
palimpsest, poate una din cele mai evocatoare traduceri vizuale
(în cazul de fa]~) a ceea ce numim memorie... Câteodat~ siluetele
sunt integral ori par]ial invadate de ritmate colaje-relief în hârtie
tratat~, f~când leg~tura cu anterioare procedee de lucru, dar apar
[i situa]ii plastice, cuceritoare la rândul lor, când vorbim mai
degrab~ de relief în adâncime (en creux) – ca [i când corpul
ecor[at d~ la iveal~, de aceast~ dat~, “sistemul amintirilor”. Un
spirit ludic pare s~ dicteze când [i când pozi]ia elementelor
faciale, într-o “ordine” suprarealist~, în lucr~ri de mai mici
dimensiuni definite de detalii m~rite. Albul [i negrul, griurile
derivate, au prioritate, c~ci în 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.
Pânze 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~ în
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¥Å
Artists’ studios in Bucharest
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 relief-
collages 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 écorché 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 artist’s 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¥Å
125
Florica PREVENDA Florica PREVENDA

Umbre ale prezentului / Umbre ale prezentului /

Shadows of the present time Shadows of the present time
Tehnic~ mixt~ pe pânz~ / Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas Mixed media on canvas
2008 2004

126
Artists’ studios in Bucharest

Florica PREVENDA

Net People
Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas
2001

127
Florica PREVENDA

Timpul reg~sit /
Recovered time
Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas
300 x 150 cm
2008

128
 Artists’ studios in Bucharest

Florica PREVENDA Florica PREVENDA

N~scut~ pe 5 aprilie 1959 în Dor M~runt (C~l~ra[i), România Born on the 5 April 1959 in Dor M~runt (C~l~ra[i), Romania

Studii Education
1984 Absolv~ Academia de Arte, Ia[i 1984 Graduates the Academy of Art Iassy
1993-1997 Profesor asociat la Universitatea Na]ional~ de Arte Bucure[ti 1993-1997 Visiting professor at the University of Arts, Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1996 Comisia European~ (Rotonde), Bruxelles 1996 European Commission (Rotonde), Brussels
1999, 2001, 2004 Arthus Gallery, Bruxelles 1999, 2001, 2004 Arthus Gallery, Brussels
2000 Galerie Lamber, Valkenswaard, Olanda 2000 Galerie Lamber, Valkenswaard, Holland
2002 FNV Kiem, Amsterdam 2002 FNV Kiem, Amsterdam
2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Olanda 2002, 2004 Galerie Het Dijkstoelhuis, Wageningen, Holland
2007 M.I.A. “One Woman Show”, Milano, Italia 2007 M.I.A. “One Woman Show”, Milano, Italy
2008 Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia, România 2008 The Cultural Center Brâncoveanu Palace, Mogo[oaia, Romania

Expozi]ii colective - selec]ie Selected Group Exhibitions

1992 „Artist of Europe”, Efehaus Gallery, Wernigerode, Germania 1992 “Artist of Europe” Efehaus Gallery, Wernigerode, Germany
1994, 1997 “Romanian Contemporary Art“, Agial Gallery, Beirut 1994, 1997 “Romanian Contemporary Art“, Agial Gallery, Beirut
1995 „Rives 95. Exposition Peintures Sculptures”, C.N.B.D.I., 1995 “Rives 95. Exposition Peintures Sculptures” C.N.B.D.I.,
Angoulême, Fran]a Angoulême, France
„24 Peintres et Sculpteurs Contemporains. Itinéraires au delà des « 24 Peintres et Sculpteurs Contemporains. Itinéraires au delà
voyages”, Maureen O’Hare Wolson Gallery, Grenoble, France des voyages » Maureen O’Hare Wolson Gallery, Grenoble,
1999 Galeria Marga Kramer, Ilsselstein, Olanda France
„Artistes de Bucarest“, Mussee Ianchelevici, La Louvière, Belgia 1999 Marga Kramer Gallery, Ilsselstein, Holland
2000 „Frozen Moments”, Galerie Lamber, Valkenswaard, Olanda „Artistes de Bucarest“, Mussee Ianchelevici, La Louvière,
2001 Heinolan Taidemuseum, Finlanda Belgium
2002 Galerie Het Dijkstoelhuis, Wageningen, Olanda 2000 “Frozen Moments”, Galerie Lamber, Valkenswaard, Holland
2003 Galerie Kralingen, Rotterdam, Olanda 2001 Heinolan Taidemuseum, Finland
2007 WTC Art Gallery, Rotterdam, Olanda 2002 Galerie Het Dijkstoelhuis, Wageningen, Holland
2003 Galerie Kralingen, Rotterdam, Holland
Premii - selec]ie 2007 WTC Art Gallery, Rotterdam, Holland
2005 Ordinul „Meritul Cultural” România
1995 Premiul Municipiului Bucure[ti acordat tinerilor arti[ti Awards and Honors
1989, 1990 Premiul pentru Pictur~ la Expozi]ia Tinerilor Arti[ti, Artexpo, 2005 “Cultural Merit“ Romania
Bucure[ti 1995 Bucharest City prize for young artists
1989,1990 Prize for Painting at the Youth Exhibition, Artexpo,
Bucharest
Adresa: Str.Biserica Amzei, 7-9, s 1, Bucure[ti, România
Tel. / Fax: 0040 21 3189592
Tel.: 0040 21 3204845 Address: 7-9, Biserica Amzei St., Bucharest 1, Romania
Mobil: 0040 748 081471 Tel./Fax: 004 021 3189592
e-mail: prevendaf@yahoo.com; info@floricaprevenda.com Tel: 004 021 3204845
Mobile: 0040 748 081471
e-mail: prevendaf@yahoo.com; info@floricaprevenda.com

129

gheorghe RASOVSZKY
CÅLÅTORIE SPRE BURICUL LUI RASOVSZKY
Resorturile [i imagistica citadin~ hr~nesc de mult crea]ia acestui
autor (ceea ce nu înseamn~ închiderea altor orizonturi, [i poate
vom fi martorii, într-un viitor nu prea îndep~rtat, spiritualiz~rii
unor altfel de locuri). Scenografia ca ocupa]ie remunerat~, lucrul
în televiziune au accentuat propensiunea c~tre coexisten]a
limbajelor, c~tre imaginea-fragment asociat~ muzicii (de la febra
punk încoace) [i textului, ducând la structuri dense [i ritmuri
alerte proprii, s~ spunem, videoclipului. ßuvoiul acesta de
informa]ie artistic~ se deplaseaz~ într-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 în alert~, Rasovszky nu las~ totul în seama hazardului;
strategia fragmentului este prin urmare una asumat~, veghea
ironic~ se implic~ în comentariul parodic al automatismelor de
expresie vizual~ [i textual~, procentajul de întâmplare d~
prospe]ime, dar este supus unei rela]ii dinamice cu mecanismele
de control. Artistul cultiv~ ambiguitatea, vrea în primul rând s~
creeze o atmosfer~, nu descrie ci sugereaz~. Î[i ofer~ universul
unei lecturi alerte [i combinate, dar nu îl 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 îndep~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 îl face pe spectator mai sensibil [i mai puternic în
acela[i timp. (...) Revenim astfel [i la în]eleptul Duchamp [i la
efortul de [tergere a grani]elor dintre art~ [i via]~.
Adrian GU¥Å,
Observator Cultural, nr. 18, 27 iunie 2000
Artists’ studios in Bucharest
A JOURNEY TOWARDS RASOVSZKY’S 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 sur-
realist 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
artist’s 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¥Å,
Observator Cultural, nr. 18, (The Cultural Observer), 27th of June 2000
131
 Gheorghe RASOVSZKY

Big Foot
Acril pe pânz~ / Acryl on canvas
2005

132
 Artists’ studios in Bucharest

Gheorghe RASOVSZKY Gheorghe RASOVSZKY

Mail check New metal

Acril pe pânz~ / Acryl on canvas Acril pe pânz~ / Acryl on canvas
2001 2002

Gheorghe RASOVSZKY

The Smiths
Acril pe pânz~ / Acryl on canvas
2001
 Gheorghe RASOVSZKY

Little god
Acril pe pânz~ / Acryl on canvas
2001

Gheorghe RASOVSZKY

Performance
Acril pe pânz~ / Acryl on canvas
2000

134
 Artists’ studios in Bucharest

Gheorghe RASOVSZKY Gheorghe RASOVSZKY

N~scut pe 4 septembrie 1952 în Suceava Born in Suceava on the 4th of September, 1952

Studii Education
1977 Absolvent al Institutului de Art~ “N. Grigorescu” Bucure[ti, 1977 Graduated the National University Arts of Bucharest,
sec]ia Scenografie departament in stage design

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1985 „Figuri antropomorfe” picturi, desene, Galeria Galateea, 1985 “Anthropomorphic Figures” paintings, drawings, Galateea
Bucure[ti Gallery, Bucharest
1988 „Design nonscenografic”, asamblaje împreun~ cu Carmen 1988 “Non Scenic Design” stage design projects, assemblages
Rasovszky, Galeria C~minul Artei, Bucure[ti together with Carmen Rasovszky, the C~minul artei Gallery,
1990 „Figuri înconjur~toare” picturi, desene, obiecte, fotografii, Bucharest
Galeria C~minul Artei, Bucure[ti 1990 “Surrounding Figures” paintings, drawings, objects,
1992 „Orele de aur”, Galeria C~minul Artei, Bucure[ti photographs, C~minul artei Gallery, Bucharest
1994 „Conversa]ia”, Galeria GAD, Bucure[ti, curator Ruxandra Balaci 1992 “Hours of Gold” paintings, drawings, photo assemblages,
1995 „Conversa]ia II”, împreun~ cu Iulian Mereu]~, Fran]a, Galeria C~minul artei Gallery, Bucharest
GAD, Bucure[ti 1994 “Conversation” photographs, assemblages, GAD Gallery,
„Casa câinelui” instala]ie, Media CULPA, Centrul SOROS Bucharest, Curator Ruxandra Balaci
pentru Art~ Contemporan~, Bucure[ti, curator Irina Cios 1995 “Conversation II” installation, photographs, together
1996 “Studiu despre efemer [i perisabil” picturi, asamblaje, with Iulian Mereu]~, France, GAD Gallery, Bucharest
fotografii, Centrul SOROS pentru Art~ Contemporan~, “The Dog’s House” installation, Media CULPA, SOROS
Bucure[ti, curator Adrian Gu]~ Center for Contemporary Art, Bucharest, curator
1998 „Regnul fanatic” picturi, asamblaje, fotografii, Galeria Irina Cios
Simeza Bucure[ti, Bienala de la Vene]ia, Casa Român~, 1996 “Study on the ephemeral and perishable” paintings,
curator: Adrian Gu]~ assemblages photographs, SOROS Center for
2000 „Buricul” instala]ie multimedia / fotografii [i asamblaje, Contemporary Art, Bucharest, curator Adrian Gu]~
„Restitutio In Integrum” proiec]ie multimedia, 1998 “Fanatic Reign” paintings, assemblages, photographs,
TRANSITIONLAND, Muzeul Na]ional de Art~ al Simeza Gallery Bucharest, Biennial at Venice, Romanian
României, curator Ruxandra Balaci House, curator, Adrian Gu]~
2001 „Terra Nova” proiec]ii multimedia, a 49-a Bienal~ de la 2000 “The Belly Button” multimedia installation / photographs and
Vene]ia, pavilionul României, curator Ruxandra Balaci assemblages, National Art Museum of Romania, curator
2004 „Maybe next time” fotografii [i proiec]ii multimedia, Galeria Ruxandra Balaci
Nou~, Bucure[ti “Restitutio In Integrum” multimedia project, TRANSITIONLAND,
„Pluralul singular” picturi [i fotografii reg~site, HT003 Gallery, The National Art Museum of Romania, curator, Ruxandra Balaci
Bucure[ti 2001 “Terra Nova” multimedia project, the 49th Biennial in Venice,
2005 “Micul Univers” (Scum Evil Ruin) fotoinstala]ie, the Romanian pavilion, curator Ruxandra Balaci
împreun~ cu Carmen Rasovszky, Galeria 2004 “Maybe Next Time” photographs and multimedia projects,
C~minul Artei, Bucure[ti New Gallery, Bucharest
„Good times bad times” fotografii, desene asamblaje inedite 2005 “The Small Universe” (Scum Evil Ruin) photo-installation,
(1980-2004) împreun~ cu Teodor Graur, HT003 Gallery, together with Carmen Rasovszky, C~minul Artei Gallery,
Bucure[ti Bucharest
“Good Times Bad Times” photographs, drawings assemblages
Premii (1980-2004) together with Teodor Graur, HT003 Gallery,
1997 Premiul pentru Scenografie / UAP România Bucharest
2000 Premiul pentru Foto / Video / Performance / UAP România
2005 Premiul pentru Instala]ie [i Ambient / UAP România Awards and Honors
1997 Award for stage design / Union of Artists Romania
2000 Award for Photo / Video / Performance / Union of Artists,
Romania
Tel: 0040 21 3238326 2005 Award for Installation and Ambiance/Union of Artists, Romania
Mobil: 0040 722 669945
email: g_rasovszky@yahoo.com

Phone: 0040 21 3238326

Mobile: 0040 722 669945
email: g_rasovszky@yahoo.com

135

doina SIMIONESCU
CIOCOLATÅ NEAGRÅ, EMPORIO ARMANI ßI THE HOT 80’S
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~, hârtie 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. În 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 în toat~ elegan]a lui. Doina Simionescu cunoa[te
principiile abstracte ale luxului. Un lux t~cut, care î]i inspir~
încredere. Doina Simionescu practic~ în 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
Artists’ studios in Bucharest
BLACK CHOCOLATE, EMPORIO ARMANI AND THE HOT 80’S
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
137
 Doina SIMIONESCU

Compozi]ie / Composition
Cerneluri colorate pe hârtie /
Coloured ink on paper
1998

Doina SIMIONESCU

Compozi]ie / Composition
Cerneluri colorate pe hârtie /
Coloured ink on paper
1998

138
Artists’ studios in Bucharest

Doina SIMIONESCU

Compozi]ie / Composition
Cerneluri colorate pe hârtie (detaliu) /
Coloured ink on paper
(detail)
2000

139
 Doina SIMIONESCU

F~r~ titlu / Without title

Cerneluri colorate pe hârtie /
Coloured ink on paper
2003

Doina SIMIONESCU

Souvenir d’amour
Cerneluri colorate pe hârtie /
Coloured ink on paper
2003

Doina SIMIONESCU

F~r~ titlu / Without title

Cerneluri colorate pe hârtie /
Coloured ink on paper
2006

140
 Artists’ studios in Bucharest

Doina SIMIONESCU Doina SIMIONESCU

N~scut~ pe 28 februarie 1947 în Snagov, Bucure[ti Born on February 28, 1947 in Snagov, Bucharest

Studii Education
1972 Institutul de Arte Frumoase “Nicolae Grigorescu”, Bucure[ti 1972 "Nicolae Grigorescu" Institute of Fine Arts, Bucharest
1977 Membru al Uniunii Arti[tilor Plastici din România
Selected Solo Exhibitions
Expozi]ii personale – selec]ie 1981 Romanian Academy, Rome, Italy
1981 “Accademia di Romania“, Roma, Italia Palazzo Orsini, Monterotonto, Rome, Italy
“Pallazo Orsini”, Monterotonto, Roma, Italia 1982 Palazzo Comunale, Assisi; Viarreggio, Italy
1982 “Palazzo Comunale”, Assisi, Viarreggio, Italia 1985 Palazzo Comunale, Sulmona, Italy
1985 “Palazzo Comunale” Sulmona, Italia 1989 Simeza Gallery, Bucharest
1989 “Galeria Simeza” Bucure[ti
Selected Group Exhibitions
Expozi]ii de grup - selec]ie 1979 Drawing “Joan Miró”, Orizont Gallery Bucharest
1979 Desen “Joan Miró”, Galeria Orizont Bucure[ti 1992 “Book object“, Art Collection Museum, Bucharest
1992 “Carte obiect“, Muzeul Colec]iilor de Art~, Bucure[ti “The Sex of Mozart“, ArtExpo Gallery, Bucharest
“Sexul lui Mozart“, ArtExpo Galeria 3/4, Bucure[ti 1994 “Hommage au Rococo“, ArtExpo Gallery, Bucharest
1994 “Hommage au Rococo“, ArtExpo Galeria 3/4, Bucure[ti 1997 “Experiment“, ArtExpo Gallery, Bucharest
1997 “Experiment“, ArtExpo, Galeria 3/4, Bucure[ti 2001 “In full dress“, Brukental Museum, Sibiu
2001 “In full dress“, Muzeul Brukental Sibiu
Selected International Exhibitions
Expozi]ii interna]ionale - selec]ie 1980 Drawing “Joan Miro”, Gulbenkian Foundation, Lisbon, Portugal
1980 Desen “Joan Miró”, Funda]ia Gulbenkian, Lisabona, Portugalia 1981 “Veinte Anos de Sensibilidad“ Contemporary Art Museum
1981 “Veinte Anos de Sensibilidad“ Muzeul Spaniol de Art~ Madrid, Spain
Contemporan~, Madrid, Spania 1983 “The corner Art Association“, Charlottenborg Gallery,
1983 “The corner Art Association“, Galeria Charlottenborg, Copenhagen, Denmark
Copenhaga, Danemarca 1984 6th European Gravure Biennial, Mulhouse, France
1984 A 6-a Bienal~ de Gravur~ european~, Mulhouse, Fran]a 1985 International Engraving Exhibition, Kanagawa, Yokohama,
1985 Expozi]ia Interna]ional~ de Gravur~, Kanagawa, Yokohama, Japan
Japonia 1988 Group exhibition, “The Artist Point” Gallery, Stockholm,
1988 Expozi]ie de grup, Galeria “The Artist Point“, Stockholm, Sweden
Suedia 1989 “Abstractions et autres bonnes figures“, FRAC, Colmar, France
1989 “Abstractions et autres bonnes figures“, FRAC – Colmar International Engraving Festival – 2nd edition, Menton, France
Festivalul Interna]ional de Gravur~ – edi]ia a 2-a, Menton 1990 “Drawing“, Gulbenkian Foundation, Lisbon, Portugal
1990 “Desen“, Funda]ia Gulbenkian, Lisabona, Portugalia 1993 S.A.G.A, Grand Palais, Paris, France
1993 S.A.G.A, Grand Palais, Paris, Fran]a “Book - obiect“, Cultural Center Zonmehof Amersfoort,
“Carte obiect“, Centrul Cultural Zonmehof Amersfoort, Olanda Holland
1995 “Carte obiect“, Galeria Spoorweg, Amhem, Olanda 1995 “Book - object“, Spoorweg Gallery, Amhem, Holland

1978, 1979, 1981, 1983, 1986 Concursul de desen “Juan Miró”, 1978, 1979, 1981, 1983, 1986 – Contest of drawing “Juan Miró”,
Barcelona, Spania; Barcelona, Spain;

Premii - selec]ie Awards and Honors

1979 Prima Men]iune, Concursul “Juan Miró“, Barcelona, Spania 1979 First Mention in the “Juan Miró“ Contest in Barcelona, Spain
1981 Premiul Trionfo, Roma, Italia 1981 The Trionfo Award, Rome, Italy
Premiul Funda]iei “Juan Miró“, Barcelona, Spania The “Juan Miró“ Foundation Award, Barcelona, Spain

Lucr~ri în colec]ii publice Works in Public Collections

MNAC Romania, Albertina Museum, Viena, Austria; MNAC Romania; Albertina Museum, Vienna, Austria; Museum
Museu de Arte Sao Paulo, Brazilia; FRAC Alsace, Fran]a; de Arte Sao Paulo, Brasilia; FRAC Alsace, France;
Galeria Charlottenborg, Copenhaga, Danemarca; Funda]ia Charlottenborg Gallery, Copenhagen, Denmark; “Juan Miró”
“Juan Miró” Barcelona, Spania; Foundation in Barcelona, Spain;

Lucr~ri în colec]ii particulare Works in Private Collections

Germania, Italia, Spania, Belgia, Fran]a, Austria, Rusia, Suedia, Germany, Italy, Spain, Belgium, France, Austria, Russia,
Elve]ia, S.U.A. Sweden, Switzerland, USA.

Tel. atelier: 0040 21 3140279 Phone: 0040 21 3140279

Mobil: 0040 744 160080 Mobile: 0040 744 160080

141

ana-maria SMIGHELSCHI
IMAGINI STRÂNSE DIN VALURILE MÅRII
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 atât mai surprinz~toare.
Pentru iubitorii de art~ este o pierdere.
Crea]ia ei cucere[te printr-o rar~ îmbinare 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 în
lucrurile mici: o felie de pâine, 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 în 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 în acelaº timp.
O energie debordant~, o fine]e a raporturilor cu lumea, un umor
inteligent caracterizeaz~ personajul [i crea]ia lui. Pentru c~ Ana-
Maria Smigelschi este un personaj în via]a particular~, a[a cum
este o autentic~ personalitate în domeniul artelor vizuale.
Victoria ANGHELESCU
Artists’ studios in Bucharest
IMAGES GATHERED FROM THE WAVES OF THE SEA
A reputed graphic artist, an author of children’s books, Ana-
Maria 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
143
Ana-Maria SMIGHELSCHI

Vama Veche
Acuarel~ pe hârtie / Watercolor on paper

Ana-Maria SMIGHELSCHI

Scoici / Shells
Acuarel~ pe hârtie / Watercolor on paper
1989
Ana-Maria SMIGHELSCHI

Studiu 3 / Study 3
Acuarel~ pe hârtie / Watercolor on paper

Ana-Maria SMIGHELSCHI

Mania persecu]iei /
The persecution mania
Acuarel~ pe hârtie / 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
 Artists’ studios in Bucharest

Ana-Maria SMIGHELSCHI Ana-Maria SMIGHELSCHI

N~scut~ pe 30 mai 1938 în Bucure[ti Born in Bucharest on the 30th of May, 1938

Studii Education
1961 Institutul de Arte Plastice „Nicolae Grigorescu”, Bucure[ti, la 1961 Nicolae Grigorescu Institute of Fine Art, Bucharest, studies in
sec]ia Grafic~ cu profesorii: Ion Iuca, Iosif Molnar, Nicolae graphic arts with professors Ion Luca, Iosif Molnar and Nicolae
Kazar. Kazar

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1980 Galeria Orizont, Bucure[ti 1980 Orizont Gallery, Bucharest
1981 Accademia di Romania, Roma 1981 The Romanian Academy, Rome
Palazzo Comunale, Monte Rotondo, Italia Palazzo Comunale, Monte Rotondo, Italy
1982 Assisi, Italia 1982 Assisi, Italy
2007 Galeria Veroniki, Bucure[ti 2007 Veroniki Gallery, Bucharest

Premii, ordine - selec]ie Awards and Honors

1966 Men]iune de onoare la Prima Bienal~ de Afi[, Var[ovia 1966 Honorable Mention at the First Poster Biennial, Warsaw
1967 Premiul Uniunii Arti[tilor Plastici pentru Grafic~ 1967 Award of the Artists’ Union
1968 Ordinul „Meritul Cultural” cl II 1968 Cultural Merit Order, class II
1981 Grande Premio Internazionale „Trionfo 81” Italia 1981 International Grand Prize Trionfo 81, Italy
1987 Premiul „La Minerva D’Oro” Italia 1987 The “La Minerva D’Oro” Award, Italy
2000 Ordinul „Pentru Merit” în grad de ofi]er 2000 The Order for Merit in the rank of officer

Adresa: Str. Av. Petre Cre]u 6, Bucure[ti Address: 6, Av. Petre Cre]u St., Bucharest 6, Romania

147

Deloc prins în 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 în al~turarea nudului
palpitând de via]~ al tinerei femei imaginat~ în reverie, ecvestra
roman~ este integrat~ cavalcadei trupurilor c~zute în ultimul
r~zboi.(...) Minotaurul cretan se mistific~ în antropomorfie
actual~. Tonul grav al con]inutului este absorbit în jocul senin al
formelor, libere de corsetul prescrip]iilor. Istoria, simbolurile [i
prezentul se apropie [i convie]uiesc în 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~ în
dialogul semantic [i c~utarea expresivit~]ii ansamblului.
Dispunerea scenografic~ a personajelor se înscrie în câmpul
compozi]ional deschis, f~r~ limita cadrului. Perspectivele moderne
convie]uiesc cu rigorile perspectivei clasice europene [i orientale.
În 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~ în 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 în
revista Contemporanul Ideea European~, nr.4, aprilie 2007
Artists’ studios in Bucharest
ion STENDL
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 ensemble’s
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 Stendl’s 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 pânz~ /
Mixed media on canvas

Ion STENDL

Cal troian 2 / Trojan Horse nr. 2

Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas

150
 Ion STENDL

Cal troian 3 / Trojan Horse nr.3

Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas

Ion STENDL

Cal troian 4 / Trojan Horse nr.4

Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas

151
 Ion STENDL

Sinopia
Tehnic~ mixt~ pe pânz~ / Mixed media on canvas

Ion STENDL

Sinopia 2
Tehnic~ mixt~ pe pânz~ /
Mixed media on canvas

152
 Artists’ studios in Bucharest

Ioan STENDL Ioan STENDL

N~scut 18 februarie 1939, Re[i]a, jud. Cara[ – Severin 1939 Born in Resi]a, Caras-Severin County on the 18th of February

Studii Education
1963 Absolvent al lnstitutului de Arte Plastice „Nicolae Grigorescu” din 1963 Graduate of the Institute of Fine Arts, “Nicolae Grigorescu”
Bucure[ti Bucharest

1971-1972 burs~ DAAD la Academia de Stat din Düesseldorf 1971-1972 DAAD scholarship of the State Academy of Düsseldorf, with
Din 1993 anual, profesor invitat la Academia Interna]ional~ de var~ la professor Rolf Sackenheim
Beratzhausen, Bavaria Since 1993, guest professor to the annual International
Summer Academy at Beratzhausen, Bavaria
Expozi]ii personale - selec]ie
1971, 1973 Galeria Apollo, Bucure[ti Selected Solo Exhibitions
1983 Muzeul de Art~ al României, Bucure[ti 1971, 1973 Apollo Gallery, Bucharest
1995 Galeria Aspekte, Waibstadt, Germania 1983 The Art Museum of Romania, Bucharest
1996 Sala Rond~ a Teatrului Na]ional, Bucure[ti 1995 Aspekte Gallery, Waibstadt, Germany
1996, 2004 Galeria Kunstkontor Westnerwacht, Regensburg, Germania 1996 Round Hall, National Theater of Bucharest
1998 Grafik-Museum Stiftung Schreiner, Bad Steben, Germania 1996, 2004 Kunstkontor Westnerwacht Gallery, Regensburg, Germany
1998 Grafik Museum Stifiung Schreiner, Bad Steben, Germany
Expozi]ii de grup - selec]ie
1976 „9 arti[ti români” - Expozi]ie de tapiserie, Paris, Fran]a Selected Group Exhibitions
1991 Expozi]ie de pictur~ [i desen, Wageningen, Olanda 1976 “Nine Romanian Artists” Tapestry Exhibition, Paris,France
1994, 1995 "Zehentstadel”, Beratzhausen, Germania 1991 Exhibition of Painting and drawing, Wageningen, Holland
1994 „Stationen”, Bucure[ti - Bonn 1994, 1995 “Zehentstadel”, Beratzhausen, Germany
1997, 1999 Gallerie im Altstadthof, Nüernberg, Germania 1994 “Stationen”, Bucharest, Bonn
1998 „Arta româneasc~ azi”, Muzeul Cobra, Amstelveen, Olanda 1997, 1999 Gallery Im Altstadthof, Nuernberg, Germany
1998 “Romanian Art Today”, Cobra Museum, Amstelveen, Holland
Expozi]ii interna]ionale - selec]ie
1967,1975,1977,1979,1981 Bienala de grafic~, Ljubliana, Slovenia Selected International Exhibition
1968, 1972, 1978 „Xylon”, Geneva, Elve]ia 1967, 1975, 1977, 1979, 1981 – Biennial of Graphic Art, Ljubliana, Slovenia
1969 Bienala de tineret, Paris, France 1968, 1972, 1978 “Xylon”, Geneva, Sweden
1969-1975, 1977-1981 Concursul de desen „Joan Miró”, Barcelona, 1969 The Youth Biennial, Paris, France
Spania 1969-1975, 1977-1981 – Drawing Contest, “Joan Miró”, Barcelona, Spain
1970, 1977 Bienala de grafic~ „Europahaus”, Viena, Austria 1970, 1977 – Graphic Biennnial, “Europahaus”, Vienna, Austria
1972 Bienala de Art~, Vene]ia, Italia 1972 Art Biennial, Venice, Italy
1979 Mail Art - Book Projekt, Viena, Austria 1979 Mail Art – Book Project, Vienna, Austria
1980 Intergraphik, Berlin, Germania 1980 Intergraphik, Berlin, Germany
International Impact Art Festival, Kyoto, Japonia International Impact Art Festival, Kyoto, Japan
1981 Bienala de grafic~ european~, Baden-Baden, Germania 1981 European Graphic Biennial, Baden-Baden, Germany
1982 Expozi]ie Interna]ional~ de desen, Bilbao, Spania 1982 International Drawing Exhibition, Bilbao, Spain

Premii, distinc]ii - selec]ie Awards and Honors

1969 Premiu al Bienalei de tineret, Paris, Fran]a 1969 Award at the Youth Biennial, Paris, France
1974 Men]iunea a 3-a la concursul „Joan Miró”, Barcelona, Spania 1970 Medal from the 3rd Biennial of Krakow, Poland
1984 Premiul „lon Andreescu” al Academiei Române, Bucure[ti 1974 Third Mention at the contest “Joan Miro”, Barcelona, Spain
1995 Premiul special al Uniunii Arti[tilor Plastici din România 1984 The “Ioan Andreescu” Award of the Romanian Academy,
2000 Ordinul Na]ional „Serviciul Credincios” în gradul de Ofi]er Bucharest
Ordinul „Meritul pentru Înv~]~mânt” în gradul de Ofi]er 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

153

MICROCOSM
Când Ioana ßetran rotunje[te cu spatula dentar~ una dintre cele
trei articula]ii ale celor [ase picioru[e din por]elan alb, îmi pot
imagina starea de concentrare fericit~ [i acuitatea vis~toare a
celebrei Maria Sibylla Merian, gravorul-entomolog cu voalet~ [i
dantele str~vezii, pierdut în jungla amazonian~. Artist~ apar]inând
barocului german, Maria Sibylla a zugr~vit [tiin]ific, în 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]~ în sensul
caleidoscopicei aventuri din viul insectifirm. Cu „bagheta alb~” de
caolin, Ioana ßetran e o zân~-savant care încremene[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 – înfiorate popoare de gâze. Artist~ de o exigen]~,
discre]ie [i pasiune care evoc~ naturalistul autentic, Ioana ßetran
oferea, în marile etal~ri ale artelor decorative din anii '70–'80, tipsii
cu ierburi [i frunze mineralizate în alb sideral. Printre ele, treptat, au
început 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: în 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 gândite, încât, în pofida
vitrifierii, s~ evoce, s~ exalte colc~itoarea densitate a regnului liliput.
Ioana ßetran are o continuitate remarcabil~ de atelier [i solu]ii
tehnologice care ]in de [iretlicurile [arpantelor, de îmbin~rile de
atelaje ori de chirurgia reparatorie: dup~ o prim~ asamblare de
carcase, arhitecturizeaz~ întregul diafan motoriu al insectei [i
recoace lipiturile de pe articula]iile fine. Aliat~ cu focul, artista
înal]~ 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
Artists’ studios in Bucharest
ioana ßETRAN
MICROCOSM
When Ioana ßetran 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 ßetran 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 bird-
like 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 ßetran 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-and-
aluminium 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 ßetran 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 ßETRAN

Gândac cu cioc /
Beetle with beak
Por]elan / Porcelain

Ioana ßETRAN

(dreapta / right)
Gâze 2 / Insects 2
Por]elan / Porcelain

Ioana ßETRAN

Plaur 1 / Turf 1
Por]elan / Porcelain

Ioana ßETRAN

(dreapta / right)
Mare 2 / Seaside nr. 2
Por]elan / Porcelain

156
Artists’ studios in Bucharest

157
 Ioana ßETRAN

2 bicorni / Double
horned beetles
Por]elan / Porcelain

Ioana ßETRAN

R~da[c~ / Stag beetle

Por]elan / Porcelain

Ioana ßETRAN

Plaur 2 / Turf 2
Por]elan / Porcelain
 Artists’ studios in Bucharest

Ioana ßETRAN Ioana ßETRAN

N~scut~ la 1 ianuarie 1936 în Bucure[ti Born on the 1st of January 1936 in Bucharest, Romania

Studii Studies
1959 Absolvent~ a Institutului de Arte Frumoase “Nicolae Graduated the Nicolae Grigorescu Fine Arts Institute in Bucharest (1959)
Grigorescu”, Bucure[ti Member of the International Academy of Ceramics, Geneva, Switzerland
Din 1978 Membru al Academiei Interna]ionale de Ceramic~, Geneva, (since 1978)
Elve]ia
Awards and Honors
Premii - selec]ie 1974 Prize for Decorative Arts granted by the Romanian Fine
1974 Premiul pentru art~ decorativ~ acordat de Uniunea Artists Union
Arti[tilor Plastici din România 1978 Acquisition Prize granted at the Erfurt quadriennial Exhibition
1978 Premiu acordat de Expozi]ia cvadrienal~ de la Erfurt, Acquisition Prize granted by the International Academy
Germania of Ceramics (Geneva)
Premiu acordat de Academia Interna]ional~ de Ceramic~ Prize granted by the Ariana Museum, Geneva
(Geneva) la Expozi]ia Bienal~ de la Vallauris, Fran]a 1984 Mention of Honour granted at the Zagreb Triennial Exhibition
Premiu acordat de Ariana Museum, Geneva 1989 Mention of Honour granted at the Mino Competition of
1984 Men]iune de onoare acordat~ la Expozi]ia trienal~ de la Ceramics
Zagreb, Croa]ia
1989 Men]iune de onoare acordat~ la Concursul de ceramic~ National Order "For Merit" (in the rank of officer )
Mino, Japonia

Distinc]ii
Meritul Cultural cu grad de ofi]er Address: 42 A, Mare[al Al. Averescu Boulevard, Bucharest 1, Romania

Adresa: Bld. Mare[al Al. Averescu nr. 42 A, S 1, Bucure[ti, România

159
160

simona TÅNÅSESCU
Simona T~n~sescu este o optezicist~ de tranzi]ie. De[i a intrat în
mi[carea artistic~ pe la începutul anilor 90, ea leag~ într-un fel,
spiritualismul genera]iei 70 de autoreflexibilitatea genera]iei 80 [i
de ie[irea în contingent [i în 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~ îndemânare 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~mântul 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~[urându-se pe mai multe planuri, care implic~ deopotriv~
tehnicile tradi]ionale [i procedeele alternative, ea intr~ mai curând
în tipul de comportament al artistului care-[i dubleaz~ gestul
crea]iei cu încercarea de a interveni direct în psihologia [i în
comportamentul receptorului.
Pavel ßUßARÅ
Artists’ studios in Bucharest
Simona T~n~sescu is a member of 80’s generation. Though she
entered the artistic movement at the beginning of the 90’s, she is
tied in a way to the spiritualism of the 70’s generation, and the
self-reflexivity of the 80’s and to the opening towards the
contingent and social of the 90’s. 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 ßUßARÅ
Simona TÅNÅSESCU Simona TÅNÅSESCU

Ad~post / Shelter 2 Media

Gresie / Sandstone Gresie / Sandstone
1997 1998

Simona TÅNÅSESCU

Carte / Book
Bronz / Bronze
2005

162
 Artists’ studios in Bucharest

Simona TÅNÅSESCU

Ho]ul de mere / Apple’s thief

Bronz / Bronze
2002

Simona TÅNÅSESCU

Autoportret în oglind~ / Self-portrait

in the mirror
Bronz / Bronze
2004
 Simona TÅNÅSESCU

Clopot / Bell
Tehnic~ mixt~, hârtie pânzat~ /
Mixed media, paper on canvas
1995

164
 Artists’ studios in Bucharest

Simona TÅNÅSESCU Simona TÅNÅSESCU

N~scut~ pe 20 ianuarie 1959 în Bucure[ti Born in Bucharest on the 20th of January, 1959

Studii Education
1979–1983 Institutul de Art~ Plastic~ “N.Grigorescu”, Bucure[ti 1979-1983 “Nicolae Grigorescu” Fine Arts Institute, Bucharest
2002 Burs~ Management Cultural, Ministerul Culturii [i 2002 Cultural Management Scholarship, the Ministry of Culture and
Comunica]iilor din Fran]a Communication, France

Premii Awards and Honors

1996 Men]iune de Onoare Aveiro, Portugalia 1996 Mention of Honor at Aveiro, Portugal
1995 Premiul UAP pentru tineret 1995 The Union of Artists Award for Youth
1998 Premiul UAP “Ambient" 1998 The Union of Artists “Environement” Award
2004 Premiul III, proiect monumental; Ministerul Culturii [i Cultelor 2002 Scholarship from the Ministry of Culture, France
Ordinul „Meritul Cultural în grad de Cavaler” 2004 Third Prize for monumental project; Ministry of Culture and Cults
Order of “Cultural Merit in the rank of Knight”
Lucr~ri în colec]ii particulare
Mont Dauphin, L’Escarenne, Nice, Fran]a Works in Private Collections
Arandjelovac, Galeria “Golden Eye” Novy Sad, Serbia Mont Dauphin, L’Escarenne, Nice, France
Freiburg, Germania Arandjelovac Gallary, “Golden Eye”, Novy Sad, Serbia
Los Angeles, SUA Freiburg, Germany
Los Angeles, USA

Adresa: Biserica Amzei nr. 5, s 1, 010391 Bucure[ti, România Address: 5, Biserica Amzei St., Bucharest 1, Romania
Mobil: 0040 724 209050 Mobile: 0040 724 209050

165

Pictura lui Mircea Toh~tan se na[te din “exerci]iul privirii” - am
folosit timpul prezent pentru a sublinia o constant~ în crea]ia sa.
Artistul s-a confruntat mereu cu “motive” dintre cele mai dificile,
aidoma realit~]ii apropiate.
Interiorul, Autoportretul, Curtea... iar acum câ]iva ani, vederile
v~zute de la fereastra atelierului. Pentru acest autor apar]inând
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.
În anii '80, “ecor[area” banalului cotidian, în reprezentare
neoexpresionist~, era o manifestare a “noii sensibilit~]i”. Când
Toh~tan a trecut la o rea[ezare a valorilor în urma contactului cu
muzeele [i galeriile Occidentului, când s-au potolit “furtunile”
începuturilor (artistul a intrat într-un proces de reevaluare a
picturii în fundamentele ei tradi]ionale. Chiar dac~ în datele
modernit~]ile clasice – [i cu un fel de “ascez~” a privirii întoars~
insistent asupra naturii – fie ea [i în 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, înghi]irile erei
informa]ionale. Drumul spre firesc, îns~, cu întoarcerea la
inocen]~; luciditatea distribuie înc~ o dat~ accentele! - s-o
indentific~m, acum, drept luciditate postmodern~.
Artistul se întoarce f~r~ nostalgie, ci printr-o op]iune cump~nit~,
în func]ie de armonizarea dintre numita “ascez~” a privirii [i un
cod artistic redescoperit prin revizitarea [i avatarurile sale,
prelucrând atât modele franceze cât [i pe cele române[ti.
“Asceza” privirii s-ar traduce prin “ascu]irea” ei – o tensiune
subtil~ se instaleaz~, credem, între 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¥Å
Artists’ studios in Bucharest
mircea TOHÅTAN
Mircea Tohtan’s 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~tan’s
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! – let’s
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¥Å
167
Mircea TOHÅTAN

Curte dup~ s~rb~tori /

Courtyard after the Holidays
Ulei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Vedere / View
Ulei pe pânz~ / Oil on canvas
2004
Mircea TOHÅTAN

Curte / Courtyard
Ulei pe pânz~ / Oil on canvas
1993

169
 Mircea TOHÅTAN

Studiu de nud / Nude - study

Ulei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Studiu de nud / Nude - study

Ulei pe pânz~ / Oil on canvas

Mircea TOHÅTAN

Un om - un pom /
A man - a tree
Ulei pe pânz~ / Oil on canvas
1993
170
 Artists’ studios in Bucharest

Mircea TOHÅTAN Mircea TOHÅTAN

N~scut la 5 august 1957 la Media[, România Born on August 5, 1957 in Romania

Studii Education
Absolvent al Institutului de Arte Plastice “N. Grigorescu”, Academy of Fine Arts “Nicolae Grigorescu”, Bucharest, class of
clasa prof. Octav Grigorescu. professor Octav Grigorescu.
Între 1995 [i 1999 a fost membru al grupului Prolog. Member the Prolog Group between 1995-1999.

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1987 Atelier 35, Bucure[ti 1987 Studio 35, Bucharest
1996 Hanul cu Tei, Bucure[ti1997, 2003 Galeria Simeza 1996 Hanul cu Tei, Bucharest
1997, 2003 Galeria Simeza 1997, 2003 Simeza Gallery, Bucharest

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1987 Alternative, galeria Orizont, Bucure[ti 1987 Alternative, Orizont Gallery, Bucharest
1988 Galeria Simeza 1988 Simeza Gallery, Bucharest
1990 Filocalia, Galeria Artexpo, Bucure[ti 1990 Filocalia, Artexpo Gallery, Bucharest
1991 “Arta contestatar~ în Europa de Est”, 1991 “Art of Dissent in Eastern Europe”, Art Collection Museum
Muzeul Colec]iilor de Art~ “Le pied” Médiathèque Gallery, Die, France
“Le pied” galeria Médiathèque, Die, Fran]a 1992 “Expectation and outburst” Szombathelly Museum of Art
1992 “A[teptare [i Izbucnire” Muzeul de Art~ din Szombathelly, Hungary
Ungaria Museum of Art, Arad
Muzeul de Art~ Arad 1993 Espace Prevert, Savigny-le-Temple, France
1993 Espace Prevert, Savigny-le-Temple, Fran]a Orient-Occident, Museum of Art, Timi[oara
Muzeul Colec]iilor 1994 “The topic: An Essay in Contemporative Art, National Museum
Orient-Occident, Muzeul de Art~ Timi[oara of Art, Bucharest
1994 “Tema-Eseu de art~ comparat~”, Muzeul Na]ional al României Catacomba Gallery, Bucharest
Galeria Catacomba 1995 Filocalia, Cluj
1995 Filocalia, Cluj “Prolog”, Limassol, Cyprus
“Prolog”, Limassol, Cipru 1996 “Faces of Painters”, Floor 3/4 Gallery of National Theatre,
1996 “Chipuri de pictori”, Galeria Etaj 3/4 Bucharest
“Versions of Transfiguration”, Muzeul Mücsarnok, Budapesta “Versions of Transfiguration”, Mücsarnok Museum, Budapest
“Studiu nud”, Galeria Etaj 3/4 “Rudenie [i Patrimoniu”, “Nude Studies”, Floor 3/4 Gallery of National Theatre,
2001 Colec]ia Casei Regale a României, Muzeul Literaturii Române Bucharest
2001 Collection of the Romanian Royal House, the Museum of
Romanian Literature, Bucharest
Lucr~ri în colec]ii
România, Elve]ia, Statele Unite ale Americii, Portugalia,
Marea Britanie, Italia, Fran]a. Works in Collections
Romania, Switzerland, UK, Italy, USA, Portugal, Germany,
France.

Mobil: 0040 730 457123

e-mail: mircea.tohatan@gmail.com
Mobile: 0040 730 457123
e-mail: mircea.tohatan@gmail.com

171

Neoexpresionismul abstract al lui Vasile Tolan nu este oglinda
transfigur~rii unor angoase ascunse, a unor tr~iri violente. Se [tie,
românul, prin structur~, are darul de a îmblânzi 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 î[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~. Vârtejul de
linii, de energii ale gestului plastic începe 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 într-o propunere
cu adieri neodada.
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~pânite 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, pân~ la urm~,
pentru o evolu]ie s~n~toas~, aproape inevitabil~. Încep s~ se
schimbe propor]iile, s~ se echilibreze, între zonele fr~mântate,
preponderente la început, [i cele care insinueaz~ un început de
rigoare [i ordine. În „haosul” general î[i face apari]ia geometria,
ideea de „for]~ a centrului vizual” în 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 închise cu sticl~ [i acoperite
cu lac str~lucitor, vorbesc despre o invazie a formelor de serie,
despre un contingent uniformizator care ascunde, îns~, o poezie
simpl~, surprinz~toare, aflat~ dincolo de normele îndeob[te
cunoscute ale artisticului, deloc str~in~ de kitsch-ul populist.
Lumea aceasta poate fi recuperat~, repus~ în noi termeni,
într-un regim de resemnare estetic~. Este o lume dat~, c~reia
artistul nu-i poate face concuren]~. O poate cita, o poate ironiza,
îi poate releva grotescul, diversitatea, absurdul, str~lucirea
efemera, misterul [i cam atât. Suficient îns~ pentru zdruncinarea
stereotipiilor perceptive ale privitorului. Pe lâng~ acest spa]iu al
obiectelor gata fabricate, Vasile Tolan ini]iaz~ îns~ [i propriile sale
procese de fabrica]ie, în urma c~rora cap~t~ form~ compozi]ii
delicate, fragile, luminoase, rezultate din colarea unor buc~]i de
hârtie de diferite culori, calit~]i [i texturi. (...)
Gheorghe CRÅCIUN
Observator Cultural, nr. 108, 19 martie 2002
Artists’ studios in Bucharest
vasile TOLAN
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
Looking from a bird’s eye view at the graphic approach of Vasile
Tolan’s, 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 artist’s, 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 viewer’s 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 CRÅCIUN
The Cultural Observer, nr. 108, March 19, 2002
173
Vasile TOLAN

F~r~ titlu / Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2005

174
Vasile TOLAN

F~r~ titlu / Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2008

Vasile TOLAN

F~r~ titlu / Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2005

Vasile TOLAN

F~r~ titlu/Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2007
Vasile TOLAN

F~r~ titlu / Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2007

Vasile TOLAN

F~r~ titlu / Without title

Tehnic~ mixt~ pe pânz~ / Mixed
media on canvas
2007
 Artists’ studios in Bucharest

Vasile TOLAN Vasile TOLAN

N~scut pe 10 martie 1953 în Buru, jud. Cluj, România Born in Buru, Cluj County, Romania on the 10th of March, 1953

Studii Education
1972-1975 Institutul de Arte Plastice "Ion Andreescu" Cluj-Napoca 1972-1975 Ion Andreescu Fine Arts Institute, Cluj-Napoca
1997-1999 Universitatea de Art~, Bucure[ti 1997-1999 Art University Bucharest
Din 2001 profesor asociat la Universitatea de Art~ Bucure[ti From 2001 Visiting professor at the Art University of Bucharest

Expozi]ii personale - selec]ie Selected Solo Exhibitions

1975 Galeria Institutului de Medicin~ [i Farmacie, Cluj-Napoca 1975 Gallery of the Medical and Pharmaceutical Institute,
1987 Galeria Academiei Române, Roma, Italia Cluj-Napoca
1995 Galeriile "Atelier", BesanΔon, Fran]a 1987 Gallery of the Romanian Academy, Rome, Italy
1996 Galeria "T & T", Nüremberg, Behringersdorf, Germania 1995 “Studio”, Besancon, France
2001 Centrul Cultural Francez, Cluj-Napoca 1996 “T & T” Gallery, Nuremberg, Behringersdorf, Germany
2003 Centrul Cultural German, Cluj-Napoca 2001 French Cultural Center, Cluj-Napoca
2003 German Cultural Center, Cluj-Napoca
Expozi]ii de grup - selec]ie
1983 "Romanian Art Exhibition", Detroit, Columbus, Youngstone, Selected Group Exhibitions
Washington, New York, USA 1983 “Romanian Art Exhibition”, Detroit, Columbus, Youngstown,
1983, 1986 Expozi]ia Interna]ional~ de Desen "Joan Miró", Barcelona, Washington, New York, USA
Spania 1983, 1986 International Exhibition of Watercolor“Joan Miró”, Barcelona,
1985 Expozi]ia Interna]ional~ de Acuarel~, "Arcobalena" Gallery, Roma, Spain
Italia 1985 International Exhibition of Wathercolor, “Arcobalena” Gallery,
1987, 1989 "Musée de petit format", Couvin, Belgia Rome, Italy
1989 Festivalul Interna]ional de Grafic~ a ¥~rilor Europei de Est, Menton, 1987, 1989 “Musée de petit format” Couvin, Belgium
Fran]a 1989 International Graphic Festival of Eastern Europe, Menton, France
1993 Al Galerie Gerlinde Walz, Stuttgart, Germania 1993 Al Galerie Gerlinde Walz, Stuttgart, Germany
1994 Trienala din Osaka, Japonia 1994 The Triennial at Osaka, Japan
1999 "Tinsel and paper" - Action space, Los Angeles, USA 1999 “Tinsel and paper” Action space, Los Angeles, USA
Expozi]ie de grup, arti[ti romani - International Center of Group Exhibition, Romanian artists, International Exhibition
Exhibitions, Shanghai, China Center, Shanghai, China
2007-2008 East West Artists (expozi]ia simpozionului), Stuttgart, Germania 2007-2008, East West Artists (exhibitions of the symposium), Stuttgart,
Germany
Premii
1983 Premiul pentru pictur~ al UAR filiala Cluj Awards and Honors
1988 Premiul pentru tineret al UAR 1983 Award for Painting from Romanian Artists Union, Cluj affiliation
2001 Premiul na]ional pentru pictur~ al UAP 1988 Award for Youth from Romanian Artists Union
2004 Meritul Cultural in grad de Ofi]er 2001 National Award for painting from Romanian Artists Union
2007 Premiul Ministerului Culturii (cu grupul 8Art+) 2004 Cultural Merit in the rank of officer
2007 Award from the Ministry of Culture (with the group 8Art+)
Lucr~ri în colec]ii
Colec]ia B.W.A. – Sandomierz, Polonia Works in Collections
Galeria "Arcobalena", Italia Collection B.W.A. Sandomierz, Poland
"Al Galerie Gerlinde Walz", "Al Edition", "Adriana Schmidt" “Acrobalena” Gallery, Italy
Gallery, "Kunsthaus Schaller KG", “Al Galerie Gerlinde Walz”, “Al Edition”, “Adriana
"La Corde", "Eterso" Gallery, Paris; "Le Tondo" Gallery, Schmidt” Gallery, “Kunsthaus Schaller KG”,
Strasbourg, Fran]a “La Corde”,“Eterso” Gallery, Paris;
"Gabriele Huehnergarth", Merzig, Germania “Le Tondo” Gallery, Strasburg, France,
"Im Altstadthof", Nürenberg, "T & T" Gallery, Nürenberg, “Gabriele Huehnergarth”, Merzig, Germany
Behringersdorf, Germania “Im Altstadthof”, Nuremburg, “T&T” Gallery,
Nüremberg – Behringersdorf, Germany

177

Iuliana Vîlsan apar]ine în mod natural modernit~]ii conceput~ azi
ca permanent refuz al limitelor [i cult al comunic~rii între arte.
Separa]ia e acum arhaic~ [i c~utarea autonomiei vetust~. Totul
dialogheaz~, se altoiesc corpuri str~ine, se îngem~neaz~ practici
vecine. Teatrul, pictura, sculptura, instala]ia video.... Nimic nu e
pur, totul e în mi[care, instabil [i impermanent. Iuliana Vîlsan
navigheaz~ cu gra]ie între aceste teritorii nedefinite unde balizele
au disp~rut. C~rei arte îi apar]ine? Ce caut~? Unde? Ea e un
electron liber ce nu se teme de r~t~cire.
Când se deseneaz~ o linie nesigur~, când pe un fond albastru
apare o broderie de alt~ dat~, pecete de vis, grafitti lirice. Ca
desenele lui Miro la care m~ gândesc acum ie[ind de la vernisajul
expozi]iei sale. Iuliana Vîlsan 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 în timp [i ai c~ror membrii se lumineaz~ reciproc. La
Iuliana Vîlsan, ca [i la Mirò, minimalismul nu e sistematic, auster
[i teoretic, ci ludic. Jocul, mereu jocul... ea [tie s~ se joace în via]~
ca [i în art~. Pe un fond îns~ de exigen]~ pe care pudic îl
ascunde.
La Iuliana Vîlsan, în tot ce face, dincolo de dispozi]ia artistului,
recunoa[tem etica artizanului, gustul pentru adev~rul produs din
implicarea pân~ la cap~t, tacit [i modest, în fiecare act, în fiecare
culoare [i gest. Iuliana Vîlsan este un amestec de u[urin]~ în
concentrare: [i astfel din nou se apropie de Mirò. Ca el, lucrând,
ea ne încurajeaz~ [i se încurajeaz~. 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 împ~rt~[i o experien]~ comun~. Arta, o clip~, reu[e[te.
George BANU
Artists’ studios in Bucharest
iuliana VÎLSAN
Iuliana Vîlsan 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 Vîlsan 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 Miró, who I think of now, having
just left from the varnish of her exhibition. Iuliana Vîlsan 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
Vîlsan as with Miró, 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 Vîlsan is a mixture of ease in concentration: and
therefore again she comes close to Miró. 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
179
 Iuliana VÎLSAN

Portret, costum /
Portrait, costume
Acrilic pe pânz~ / Acrylic
on canvas
2003

Iuliana VÎLSAN

Costume / Costumes
Acrilic pe pânz~ / Acrylic
on canvas
2006
180
 Artists’ studios in Bucharest

Iuliana VÎLSAN

Costum / Costume
Acrilic pe pânz~ / Acrylic
on canvas
2005

181
 Iuliana VÎLSAN

Rochie cu juc~rie /
Dress with Toys
Acrilic pe pânz~ / Acrylic
on canvas
2006

Iuliana VÎLSAN Iuliana VÎLSAN

Costume / Costumes Rochie cu [unc~ /

Acrilic pe pânz~ / Acrylic on canvas Dress with Ham
103 x 200 cm Acrilic pe pânz~ / Acrylic on canvas
2004-2005 2006

182
 Artists’ studios in Bucharest

Iuliana VÎLSAN Iuliana VÎLSAN

N~scut~ în 1971 la Constan]a Born in 1971 at Constan]a

Studii Education
1995 Licen]iat~ a facult~]ii de litere a Universit~]ii Bucure[ti, 1995 Graduated from the University of Bucharest, Departament of
sec]ia clasic~ classical studies
2000 Universitatea de Art~, Bucure[ti 2000 The Art University of Bucharest
2006 Centrul de instruire avansat~ în patrimoniul cultural de 2006 The Center for Advanced Instruction in the Cultural Patrimony
la Volterra, Italia; coordoneaz~ proiectul Callas \n România at Volterra; coordinates Project Callas in Romania, and is the
[i este director al Le Monde Diplomatique director of Le Monde Diplomatique

A relizat costume, decoruri sau pictur~ pentru spectacole precum: She created costumes, stage designs and paintings for shows such as:
1998 Genosse Frankenstein, unser Geliebter Fuhrer, creat 1998 Genosse Frankenstein, unser Geliebter Führer, made for
pentru Weimar, capitala cultural~ a Europei Weimar, cultural capital of Europe
1999 Ioana d'Arc. Pagini de dosar, coproduc]ie Smart [i 1999 Joan of Arc, Giurgiu State Theatre and The National
Teatrul Na]ional Bucure[ti Theatre, Bucharest
2003 Reise ins Gluck, Teatrul de stat Oradea 2003 Reise ins Gluck, State Theatre, Oradea
2007 Kultur Fabrik, Esch sur Alzette creat pentru Luxembourg, 2007 Kultur Fabrik, Esch sur Alzette made for Luxemburg,
capitala cultural~ European~ European cultural capital
2006 În cadrul Anului Francofoniei a coordonat împreun~ cu Jan de 2006 During the Francophone year, together with Jan de Maere
Maere proiectul: Voyages Transylvaniens, Muzeul Brukenthal, coordinated the project “Voyages Transylvaniens, Brükenthal
Sibiu Museum, Sibiu

Expozi]ii personale – selec]ie Selected Solo Exhibitions

1999 “Alb / Negru”, Institutul Cultural Român, Bucure[ti 1999 “Black / White”, The Romanian Cultural Institute, Bucharest
2000 „Inter Animales” în cadrul proiectului „Animalul”, Muzeul 2000 “Inter Animales” in the “The Animal” project, Romanian
Literaturii Române, Bucure[ti Literature Museum, Bucharest
2002 „Casa piticului Pedro”, „M~garul de aur”, Galeria de INTERESE, 2002 “The Dwarf Pedro’s House”, “Donkey of Gold”, Gallery de
Bucure[ti Interese, Bucharest
2004 „Ne suntem necesari unii altora”, Galeria Posibil~, Bucure[ti 2004 “We are Necessary to Each Other”, Gallery Possible, Bucharest
2005 „Costum”, Galeria Posibil~, Bucure[ti 2005 “Costume”, Gallery Possible, Bucharest

Expozi]ii de grup - selec]ie Selected Group Exhibitions

1997, 1998 Student Fest, Timi[oara 1997, 1998 Student Fest, Timi[oara
1998 Accente, Timi[oara 1998 Accents, Gallery Dominus, Timi[oara
1999 Bella Center, Copenhaga 1999 Bella Center, Copenhagen
2003 Palais de Tokyo, Paris 2003 Palais de Tokyo

Premii – selec]ie Awards and Honors

1998 Premiul Dominus pentru pictur~ 1998 Dominus award for painting
2005 Premiul pentru cele mai bune costume la Pecsi Orszagos 2005 Award for the best costumes at Pecsi Orszagos Szinhaz
Szinhaz Talalkozo (POSZT) Talalkozo (POSZT)
2006 Premiul pentru cele mai bune decoruri [i costume Hataron Tuli 2006 Award for the best stage design and costumes at Hataron Tuli
Magyar Szinhazak Talalkozoja-Kisvarda Magyar Szinhazak Takalkozoja-Kisvarda

Lucr~rile ei se afl~ în colec]ii private în Danemarca, Germania, Fran]a, Her works are in private collections in Denmark, Germany, France, Italy,
Italia, Suedia [i România. Sweden and Romania

Address: 45, Lasc~r Catargiu Blvd., Bucharest 1, Romania

Adresa: Bd. Lasc~r Catargiu nr. 45, apt.11, s 1, Bucure[ti, Romania Mobile: 0040 744 985220
Mobil: 0040 744 985220 e-mail: iulinavi@gmail.com
e-mail: iulinavi@gmail.com

183