Artists: Apor Nimbert Ambrus / Rudolf Bone / Norbert Costin / Teodor Graur/ Roxana Ionescu / Adi Matei / Alex Mirutziu/ Vlad Nancă / Mihai Olos / Alexandra Pirici / Bogdan Rața / Cristian Răduță / Mircea Spătaru / Patricia Teodorescu / Napoleon Tiron / Casandra Vidrighin
Curated by: Liviana Dan
Location: Sector 1 Gallery
Style goes beyond the calm and tranquility of tradition, especially today when the term ‘sculpture’ defines so many different things.
There are two theoretical approaches that might ease the tension and extravagance of contemporary sculpture.
An open, straightforward, simple, linear sculpture turns into a systematic theory evaluated according to aesthetic criteria. The path belongs to Herbert Reed, Clement Greenberg, Krauss moment and Richard Serra’s entourage. Serra comes with a creative ambition – practice before theory, but not against it.
Or a sculpture of empathic interplay between content and context. In the logic of possibilities and social implications / Joseph Beuys / of relational aesthetics / Nicholas Bourriaud / or of relational antagonism / Clair Bishop.
From ‘expanded field’ to ‘exploded field’ from ‘monumental’ to ‘momentary’. Both approaches try to redefine ‘sculpture’ a term that seems a bit old-fashioned, even a bit obscure.
Regardless of the theoretical approach, the meaning of sculpture seems to be the representation of volume and weight with a drawing determined structure. A structure compelling an encounter between material and thought. The usual art materials – stone, wood, metal – are replaced by more ephemeral materials – plastic, glass, paper, – or materials produced by machines – textile textures, wires. Established practices like chiseling and modeling are left behind to make way for a constructed or assembled form.
The transient quality of the materials and the subversiveness of the deconstruction lead to installations, design and architecture. Sculpture as an installation has an immediate, dramatic impact. The pedestal is either completely integrated, absorbed or abandoned. Photography, collage, film, light are no longer just echoes of post-production.
It conveys the ephemeral and the fragility of life, but also the truth.
Our life and the planet’s life are fragile, uncertain.
Sculpture uses the flexibility of pop-baroque aesthetic as a metaphorical garden of society, as a domestic experience. Sculpture becomes part of our daily lives, getting to our house, our balcony. We reinvest in object saving the everydayness, the ecology, the nature, the world.