[Nettime-ro] Rodica Grosu @ Institut Francais & Vector Studio: 11.06.2014, 6 pm

[Catalin Gheorghe <citizen_ka@yahoo.com>]

for English version please scroll down

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24/24
instalaÅie expoziÅionalÄ de Rodica Grosu


 curator: CÄtÄlin Gheorghe


Galeria Benjamin Fondane
 (Institutul Francez IaÈi, B-dul Carol I, nr. 26)

 Perioada expunerii: 11 iunie â10 iulie 2014
 Deschiderea: 11 iunie2014, ora 6 pm

 Proiect aplicat Ãn cadrul programului Carte Blanche aux Jeunes CrÃateurs, susÅinut financiar Èi logistic de Institutul Francez din IaÅi Ãn parteneriat cu Vector Studio (UAGE).

Argument:
24/24propune
un studiu vizual, respectiv o cercetare conceptualÄ Èi performativÄ
asupra semioticii spaÈiului urban, asupra instabilitÄÈii
percepÈiei, asupra funcÈiilor miÈcÄrii, asupra calitÄÈilor
luminii, asupra variaÈiilor temporalitÄÈii, asupra efectuluide arhivare, asupra transferului imaginii Ãntre medii, asupra muncii
artistului, asupra condiÈiei picturii contemporane, nu doar Ãn
raport cu documentarea fotograficÄ.  
SituatÄ
Ãntr-o piaÈÄ publicÄ, Rodica Grosu analizeazÄ observaÈional,
oarecum ca Èi cum ar asista la o autopsie, distribuirea spaÈialÄ a
clÄdirilor, modificarea punctelor de vedere, atmosfera conjuncturalÄ
a intersectÄrii sensurilor privirii, geometriei locurilor Èi axelor
timpului. Interesul ei critic este deconspirat pe mÄsurÄ ce te
implici Ãn logica secretului lucrÄrilor. Se considerÄ cÄ actul
critic trebuie sÄ fie direct, la obiect; Ãn anumite momente ale
artei, ÃnsÄ, mesajul critic poate fi obliterat Èi doar sugerat publicului, pentru a-l implica activ.
Rodica
Grosu ÃnÈelege pictura ca o formÄ de artÄ figurativÄ de tip
site-specific precum Èi ca o modalitate specialÄ de arhivare,
insistÃnd, ÃnsÄ, Èi pe calitatea pictÄrii ca act performativ. Ãn
pofida prejudecÄÈilor, co-generate de hegemonia mediului picturii
Ãn expoziÈiile tÃrgurilor de artÄ Èi pe piaÈa cinicÄ de artÄ,
prejudecÄÈi potrivit cÄrora pictura ar trebui sÄ rÄmÃnÄ
istorie Èi sÄ Ãnceteze la un moment dat sÄ se auto-reproducÄ, cu
toate acestea sunt puÈini cei ce ÃnÈeleg pictura ca muncÄ ori ca
manifest conceptual ori ca politizare criticÄ a experienÈei
estetice. Prin situarea picturii Èi acÈiunea pictÄrii, Rodica
Grosu regÃndeÈte statutul pictorului nu atÃt Ãn relaÈie cu
detractorii picturii ca mediu de re-poziÈionare Ãn arta
contemporanÄ, indiferent de paternalismul pieÈii de artÄ, ci Ãn
relaÈie cu mediul de lucru, re-gÃndit inter-medial, Èi cu mediul
social, ÃnÈeles din perspectiva propriei producÈii a urbanitÄÈii
Èi a expunerii trecÄtorilor la meditaÈia asupra inevitabilitÄÈii
scÄderii timpului.  
S-a
evitat conceperea oricÄrui dispozitiv adiÈional de vizualizare,
dacÄ ar fi sÄ se facÄ referinÈÄ la transformarea condiÈiilor de
producere a expoziÈiilor pentru a surprinde publicul prin specularea
realistÄ a posibilitÄÈii modificÄrii experienÈei estetice.  
ExpoziÈia
este gÃnditÄ Ãntr-o structurÄ minimalistÄ, sugerÃnd simularea
trasÄrii unor coordonate interne, aÈadar abstracte, ale
spaÈializÄrii arhitecturii Ãn experienÈa dinamicii privitorului,
pre-stabilind relaÈii de plasare Èi observare din partea
publicului, fiind instalatÄ matematic Èi imponderabil.  


ExpoziÈia24/24se bazeazÄ pe proiectul 24/24 realizat
de Rodica Grosu Ãn cadrul programului de Masterat Ãn Arte Plastice
- PicturÄ la Facultatea de Arte Vizuale Èi Design a UniversitÄÈii
de Arte âGeorge
Enescuâ din
IaÈi.  



---------------------------------------------------

24/24
an
exhibitional installation by Rodica Grosu


 curator: CÄtÄlin Gheorghe


Galeria Benjamin Fondane  
 (French InstituteIaÈi, B-dul Carol I, 26)

June 11 â July 10, 2014
Opening: June 11, 2014, 6 pm

Project applied in the frame of the programme Carte Blanche aux Jeunes CrÃateurs, financially and logistically supported by Institut FranÃais in IaÅi in partnership with Vector Studio (UAGE).

Argument:
24/24
proposes a visual study, respectively a conceptual
and a performative research on the semiotics of urban space, on the
instability of perception, on the functions of movement, on the
qualities of light, on the variations of temporality, on the effect
of archiving, on the image transfer between media, on the artist'swork, on the condition of contemporary painting, not just in
relation with the photographic documentation.  
 Situated
in a public square, Rodica Grosu analyses from an observational point
of view, somehow as if she assists an autopsy, the spatial
distribution of buildings, the modification of the perspectives, the
conjectural atmosphere of the intersection of the senses of looking,
the places of geometry and the axes of time. Her critical interest is revealed
as you get involved in the logic of the secrets of the works.
One is considering that the critical act have to be direct, to the
object; nonetheless, in some moments of art, the critical message can
be obliterated, thus suggested to the public to be involved actively.  
Rodica
Grosu understands painting as a form of site-specific figurative art, or as
a special method for archiving, insisting also on
the quality of the practice of painting as a performative act.
Despite prejudices, co-generated by the hegemony of the painting
medium in art fair exhibitions and in the cynical art market,
prejudices according to which painting should be just history and
should stop at one moment to reproduce itself, nonetheless there are
very few ones that understand painting as labour or as a conceptual
manifestoor
as a critical
politicisation of the aesthetic experience.By
situating the painting and through the action of painting, Rodica
Grosu rethinks the status of the painter, not necessarily in relation
with the
detractors of painting as a medium re-position in contemporary art,
irrespective of the paternalism of the art market, but in relation
with the working medium,
reset through inter-media practice, and
with the social milieu, understood from the perspective of its own
production of urbanity and from the perspective of exposing the
passer-by to the meditation on the inevitability of time
decrease. 
It
is avoided the conception of any additional device of visualisation,
if one should refer to the transformation of the conditions for the
exhibition production for surprising the public through the realist
speculation of the possibilities to modify the aesthetic experience.  
The
exhibition is designed in a minimalist structure, suggesting the
simulation of tracing internal coordinates, thus abstract ones, and
the spatialisation of the architecture in the experience of the
dynamics of the viewer, pre-establishing relations of placement and
observation specific for the public, the exhibition being installed
mathematically and imponderable.  


The
exhibition 24/24 is based on the project 24/24 realized by Rodica
Grosu in the frame of the Master programme in Fine Arts â Painting
at the Faculty of Visual Arts and Design of the University of Arts
âGeorge Enescuâ in Iasi.  


Â
''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''''' Â 
catalin gheorghe ÂÂ 
university of arts "george enescu"ÂÂ 
iasi, romania 

vector> studio +Âpublication 
faculty of visual arts and design 

mobile: 0040 723 785 816ÂÂ

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