{"id":724,"date":"2022-09-18T22:41:40","date_gmt":"2022-09-18T19:41:40","guid":{"rendered":"https:\/\/sector1gallery.com\/projects\/?page_id=724"},"modified":"2022-09-18T22:41:59","modified_gmt":"2022-09-18T19:41:59","slug":"skin-of-artist","status":"publish","type":"page","link":"https:\/\/sector1gallery.com\/projects\/ro\/skin-of-artist\/","title":{"rendered":"In the Skin of Artist"},"content":{"rendered":"

In the Skin of Artist<\/span><\/h1><\/div><\/div><\/div><\/div><\/div><\/div>

Dan Mih\u0103l\u021bianu<\/b><\/p><\/div><\/div><\/div><\/div><\/div><\/div>

Eveniment Facebook<\/span><\/a><\/p><\/div><\/div><\/div><\/div><\/div><\/div>

16 iunie - 30 iulie 2022<\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div>

In the Skin of an Artist<\/span><\/i> is an artistic project in progress that refers to the precariousness and privileges of the artist’s life, from difficulties and constraints, to accomplishments and successes, in an unpredictable world, marked by  political changes, social conflicts and pandemics, restrictions to express oneself, exhibit, work or travel. These are approached from a personal perspective, but at the same time through an overview of the formation path and artistic development in general. The research has two complementary components – exhibition and publication.<\/span><\/p>\n

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Expozi\u021bia este o sintez\u0103 a realiz\u0103rilor \u0219i experien\u021belor artistice din diverse etape de crea\u021bie din ultimii 40 de ani, de la via\u021ba \u00een socialism, la tranzi\u021bie, iar mai apoi, la confuzia prelungit\u0103, la confruntarea cu realit\u0103\u021bile sociale \u0219i condi\u021bia artistului \u00een context interna\u021bional.<\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Organizator<\/h4><\/div><\/div><\/div><\/div><\/div><\/div>

Galeria Sector 1<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Loca\u021bie<\/h4><\/div><\/div><\/div><\/div><\/div><\/div>

Baicule\u0219ti 29, Sector 1<\/span><\/p>\n

Bucure\u0219ti, 013193<\/span>
<\/span>(\u00een cadrul Combinatului Fondului Plastic)<\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

Installation Views<\/h3><\/div><\/div><\/div><\/div><\/div><\/div>
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Selec\u021bia include lucr\u0103ri din diferite perioade artistice, de la studii, la formare, afirmare, p\u00e2n\u0103 \u00een actualitate, precum \u0219i documente, materiale, ustensile \u0219i aparate ce fac parte din \u201eeconomia artistic\u0103.\u201d Acestea sunt puse \u00een raport cu rela\u021bia dinamic\u0103 stabilit\u0103 \u00eentre \u201ecorpul uman\u201d reprezent\u00e2nd contactul direct cu \u00eembr\u0103c\u0103minte, materiale, aparate \u0219i \u201ecorpul social\u201d reprezent\u00e2nd contactul direct cu realit\u0103\u021bile sociale, politice, economice, culturale \u0219i institu\u021bionale. Printre proiectele prezentate se num\u0103r\u0103 instala\u021biile <\/span>Titanic vals<\/span><\/i>1986 - prezent, <\/span>Last Days of Michael Jackson in Bucharest<\/span><\/i>, 1992 – 2018, <\/span>Pocket Revolution<\/span><\/i>, 1986 - prezent, <\/span>Plaques tournantes<\/span><\/i>, 2000 - prezent, <\/span>Totem<\/span><\/i>, 2000 - prezent, al\u0103turi de o selec\u021bie ampl\u0103 de desene, picturi, gravur\u0103, fotografie, obiect, sunet, film \u0219i video.<\/span><\/p>\n

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The publication, to appear in 2023, will include texts, images, documents, studies, social, political and cultural analyses related to the impact that art has on today’s society. <\/span><\/p>\n

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Titanic Waltz<\/span><\/i> 1996-prezent, face parte din <\/span>Canal Grande<\/span><\/i> series, a project started in 1984 as a sequential photographic experiment in the artist’s studio, in which a series of installations and actions that used objects, water and moving lights were captured by the camera. Later, the installation was exhibited in various local and international exhibitions. <\/span>Canal Grande<\/span><\/i> este un proiect despre pl\u0103cere \u0219i suferin\u021b\u0103 ca parte a existen\u021bei umane. Titlul se refer\u0103 simultan la Canal Grande din Vene\u021bia, ca simbol al pl\u0103cerii \u0219i loisir-ului, \u0219i la Canalul Dun\u0103re-Marea Neagr\u0103 (\u00eenceput ca lag\u0103r de munc\u0103 for\u021bat\u0103 \u00een 1948, supranumit Canalul Mor\u021bii, \u0219i finalizat \u00een 1984-1986, \u00een \u201eEpoca Ceau\u0219escu\u201d, drept \u201eApoteoza Socialismului\u201d \u00een Rom\u00e2nia), ca simbol al durerii \u0219i suferin\u021bei. Era un titlu menit s\u0103 evite cenzura din epoc\u0103, dar a fost imediat decodat. <\/span>Mirror Space <\/span><\/i>de la Institutul de Arhitectur\u0103 din Bucure\u0219ti, 1996, a fost \u00eenchis\u0103 dup\u0103 3 zile, iar catalogul interzis, <\/span>Canal Grande<\/span><\/i> fiind una dintre lucr\u0103rile \u201eproblematice.\u201d<\/span><\/p>\n

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Canal Grande: The Capital Pool and the Associated Public<\/span><\/i>instala\u021bia participativ\u0103 prezentat\u0103 \u00een cadrul Bienalei de Art\u0103 de la Vene\u021bia 2019, este un bazin format dintr-o folie de vinil negru \u0219i r\u0103\u0219ini sintetice ce delimiteaz\u0103 o oglind\u0103 de ap\u0103 de form\u0103 neregulat\u0103, func\u021bion\u00e2nd ca o \u201ef\u00e2nt\u00e2n\u0103 a dorin\u021belor.\u201d Publicul era invitat s\u0103 arunce bani iar ulterior s\u0103 propun\u0103 destina\u021bia capitalului acumulat \u00een cele \u0219ase luni de func\u021bionare al bienalei. Fondul Autonom constituit a fost alocat \u00een final unei asocia\u021bii alternative, <\/span>We Are Here Venice<\/span><\/i>, ce militeaz\u0103, printre altele, \u00eempotriva efectelor climatice, turismului de mas\u0103 \u0219i distrugerii patrimoniului cultural al Vene\u021biei.<\/span><\/p>\n

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Prima versiune a <\/span>Titanic Waltz<\/span><\/i>was installed during the Symposium of Installations and Performance, Sibiu 1996. The work refers, on the one hand, to the sinking of the Titanic ship, as a tragedy that marked the beginning of the 20th century, and on the other hand, to the economic and socio-political situation of the 90s and the dissolution of the “Multilaterally Developed Socialist Society” in Romania. The current version of the work includes, in addition to the water mirror, worn clothes and residues similar to those on the world’s seas and oceans. In addition to the initial meanings, new possible interpretations are added, referring to mass migration, the tragedies in the Mediterranean, the English Channel or other seas of the world, to humanitarian crises caused by social and military conflicts or precarious economic conditions, as well as ecological disasters.<\/span><\/p>\n

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Last Days of Michael Jackson in Bucharest<\/span><\/i>, 1992-2018, is an analysis of Romanian society and the impact of Michael Jackson’s concerts in Bucharest, in 1992 and 1996,  the appearance of the phenomenon “Jacksonmania” on the cultural and political scene and among the popular masses in Romania,combining the fascination for pop culture and the mirage of consumer society, shortly after the collapse of communism.<\/span><\/p>\n

Instala\u021bia juxtapune m\u0103\u0219ti Michael Jackson distribuite la concertele \u201eDangerous Tour\u201d, cu figuri extrase din ziarele vremii, reprezent\u00e2nd portrete ale epocii, ce includ un spectru larg, de la elita politic\u0103 - la cea intelectual\u0103, de la oameni ai muncii - la sportivi, \u0219i de la fe\u021be biserice\u0219ti - la copii ai str\u0103zii, persoane f\u0103r\u0103 ad\u0103post \u0219i alte categorii sociale, ce pentru un motiv sau altul au fost publicate \u00een epoc\u0103.<\/span><\/p>\n

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Lucrarea video La r\u00e9volution dans le boudoir<\/span><\/i>, 1999, reflect\u0103 impactul mi\u0219c\u0103rilor sociale asupra con\u0219tiin\u021bei individuale \u0219i colective, folosind revolu\u021bia rom\u00e2n\u0103 din 1989 ca model pentru alte evenimente similare ulterioare. Titlul face aluzie la Marchizul de Sade \u0219i a sa \u201eLa philosophie dans le boudoir\u201d, ca un moment de libertate ne\u00eengr\u0103dit\u0103 \u00een comportamentul \u0219i g\u00e2ndirea modern\u0103. Lucrarea combin\u0103 \u00eenregistr\u0103ri audio realizate de artist \u00een timpul evenimentelor din decembrie 1989 \u00een Bucure\u0219ti, cu imagini ale ritualurilor vie\u021bii cotidiene; prim planuri ale unui personaj ce \u00ee\u0219i face toaleta matinal\u0103 (b\u0103rbierit, piept\u0103nat, \u00eembr\u0103cat, etc), \u00een \u00eencercarea de a \u00een\u021belege ceea ce era de ne\u00een\u021beles \u00een logica evenimentelor \u00een desf\u0103\u0219urare. 1999, zece ani mai t\u00e2rziu, lucrurile par a se fi \u00eentors la normalitate, ora\u0219ul, oamenii, societatea, dar cheia a ceea ce s-a \u00eent\u00e2mplat \u00een acele zile lipse\u0219te \u00eenc\u0103. Ceea ce a r\u0103mas aminte\u0219te de o scen\u0103 de teatru absurd. Pista audio condenseaz\u0103 \u00een 22 de minute timpul desf\u0103\u0219urat \u00eentre fuga Ceau\u0219e\u0219tilor \u0219i executarea cuplului preziden\u021bial. 22 de minute este de asemenea \u0219i timpul real necesar pentru cineva de a se preg\u0103ti pentru o nou\u0103 zi - \u201eZiua Revolu\u021biei.\u201d<\/span><\/p>\n

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Firewater<\/span><\/i>, 1996, este o proiec\u021bie video pe dou\u0103 canale, ce documenteaz\u0103 via\u021ba de zi cu zi din New York, \u00een perioada unei reziden\u021be de artist \u0219i preg\u0103tirea unei expozi\u021bii \u00eentr-o galerie din Manhattan. Lucr\u0103rile expuse sunt sticle cu alcool distilat de artist \u00een timpul expozi\u021biei. Distilatul are la baz\u0103 un fermentat din fructe \u0219i plante culese de artist \u00een Central Park, folosind ca recipiente sticle goale culese pe str\u0103zile din New York City. Etichetele sticlelor includ imagini de propaganda din timpul R\u0103zboiului Rece \u0219i imagini recente ale ora\u0219ului \u0219i a culturii americane.<\/span><\/p>\n

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Firewater<\/span><\/i> se refer\u0103 \u0219i la faptul c\u0103 Manhattan, ca \u0219i \u00eentregul teritoriu al Statelor Unite, au apar\u021binut la origine popula\u021biei autohtone, iar alcoolul, \u201eApa de Foc\u201d, a avut un rol deloc neglijabil \u00een cucerirea \u0219i supunerea lor. Efectele ulterioare ale consumului de alcool au condus la dec\u0103derea comunit\u0103\u021bilor nativilor americani \u0219i sunt \u00eenc\u0103 vizibile.<\/span><\/p>\n


Dan Mihaltianu<\/b> s-a n\u0103scut \u00een 1954 \u00een Bucure\u0219ti, Rom\u00e2nia. \u00cen prezent \u00ee\u015fi \u00eemparte activitatea \u00eentre Bucure\u0219ti, Berlin \u0219i Bergen. Este co-fondator, \u00een 1990, al grupului subREAL. A predat la Academia Na\u021bional\u0103 de Arte din Bergen, 2001-2007, la Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, 2008-2009 \u0219i la Academia Na\u021bional\u0103 de Art\u0103 din Oslo, 2018-2019. A participat \u00eentr-o serie de reziden\u021be artistice, printre care, Glasgow Sculpture Centre, 1990; K\u00fcnstlerhaus Bethanien, 1993-1994; Bahnw\u00e4rterhaus, Esslingen, 1995; Schloss Pl\u00fcschow, 1996; Arts Link, New York, 1996; KulturKontakt, Vienna, 1997; Barkenhoff, Worpswede, 1998-1999; K\u00fcnstlerhaus Eckernf\u00f6rde, 2001; Glenfiddich, Dufftown, 2002; URRA, Buenos Aires, 2013. A expus \u00een numeroase contexte \u0219i manifest\u0103ri interna\u021bionale, cum ar fi Concursul interna\u021bional de desen \"Joan Mir\u00f3\" Barcelona, \u200b\u200b1980, 1985; Impact Art Festival, Kyoto, 1986, 1997, 1988; European Print Triennial, Grado, 1987; Istanbul Biennale, 1992; Aperto, 48. Biennale Arte, Venetia, 1993; K\u00fcnstlerhaus Bethanien, Berlin, 1994; Art in General, New York, 1996; <\/span>Video Cult\/ures<\/span><\/i>, ZKM \/ Museum of Contemporary Art, Karlsruhe, 1999; CTRL [SPACE], ZKM \/ Museum of Contemporary Art, Karlsruhe, 2001; <\/span>Tracing Space<\/span><\/i>, Bergen Kunsthall, 2005; National Museum of Contemporary Art, Bucharest, 2005; New Video, New Europe, Renaissance Society, Chicago \/ Contemporary Art Museum, St. Louis \/ Tate Modern, London \/ Stedelijk Museum, Amsterdam \/ The Kitchen, New York, 2004 – 2006; <\/span>Social Cooking Romania<\/span><\/i>, NGBK, Berlin, 2007; 3. Prague Biennale, 2007; Kunsthall 3.14, Bergen, 2018; Haus der Kulturen der Welt, Berlin, 2010; <\/span>subREAL Retrospect<\/span><\/i>, National Museum of Contemporary Art, Bucharest \/ SALT Istanbul, 2012-2013; Tallinn Print Triennial, 2014; 1 Vienna Biennale, 2015; <\/span>A Matter of Contemplation and Discontent<\/span><\/i>, Vargas Museum, Manila, 2016; <\/span>Michael Jackson on the Wall<\/span><\/i>, National Portrait Gallery, London \/ Grand Palais, Paris \/ Bundeskunsthalle, Bonn \/ Espoo Museum of Modern Art, 2018-2020; <\/span>Unfinished conversations on the weight of absence<\/span><\/i>, Romanian Pavilion, 58. Biennale Arte, Venice, 2019.<\/span><\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>

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