{"id":1444,"date":"2022-04-21T11:47:58","date_gmt":"2022-04-21T11:47:58","guid":{"rendered":"https:\/\/4culture.ro\/?p=1444"},"modified":"2023-03-16T14:54:49","modified_gmt":"2023-03-16T14:54:49","slug":"comunitate-in-solitudine-matei-bejenaru-gabriela-mateescu-liliana-mercioiu-popa-ghenadie-popescu","status":"publish","type":"post","link":"https:\/\/4culture.ro\/en\/comunitate-in-solitudine-matei-bejenaru-gabriela-mateescu-liliana-mercioiu-popa-ghenadie-popescu\/","title":{"rendered":"Comunitate \u00een solitudine \/\/ Matei Bejenaru, Gabriela Mateescu, Liliana Mercioiu-Popa, Ghenadie Popescu"},"content":{"rendered":"

COMUNITATE \u00ceN SOLITUDINE <\/strong><\/p>\n\n\n\n

20.04.2022 \u2013 15.05.2022<\/strong><\/p>\n\n\n\n

Opening: 20.04.2022, 19:00-22:00<\/strong><\/p>\n\n\n\n

WASP Working Art Space and Production, str. Ion Minulescu 67-93, corp E<\/strong><\/p>\n\n\n\n

Expozi\u021bia \u201cComunitate \u00een solitudine\u201d poate fi vizitat\u0103 la Facebook event details: https:\/\/fb.me\/e\/1EeyFXED1<\/a> \u00eentre 26.04.2022 \u2013 06.05.2022 prin programare, complet\u00e2nd formularul: https:\/\/forms.gle\/dcK9qU7HLtTvdEVF7<\/a><\/strong><\/p>\n\n\n\n

\u201cDe la A la C. Dispozitiv\u201d \/ video, MATEI BEJENARU<\/strong><\/p>\n\n\n\n

Durat\u0103: 11 min, HD video<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

De la A la C este un film experimental de artist \u0219i reprezint\u0103 o medita\u021bie asupra echipamentelor \u0219i dispozitivelor care fac posibil\u0103 realizarea unui film, pe de-o parte, \u0219i, pe de alta, o radiografie a st\u0103rii emo\u021bionale a realizatorului \u00een timpul film\u0103rilor.<\/p>\n\n\n\n

Filmul este structurat \u00een jurul unui parcurs fizic \u0219i mental, pornind de la schi\u021bele de idee \u0219i film\u0103rile de testare \u00een atelier \u0219i finaliz\u00e2ndu-se cu cele din loca\u021biile din natur\u0103 alese. Av\u00e2nd referin\u021be istorice din zona filmului experimental structuralist, proiectul \u00eencearc\u0103 s\u0103 medieze \u00eentre luciditatea reflec\u021biei asupra mediului \u0219i emo\u021bia \u0219i subiectivitatea autorului datorate interac\u021biunii cu subiectul filmat \u0219i dispozitivul filmic.<\/p>\n\n\n\n

Matei Bejenaru<\/strong> is a visual artist and professor of photography and video art at \u201cGeorge Enescu\u201d National University of Arts Iasi. He is the founder and artistic director of Peripheric Biennial for Contemporary Art in Iasi (between 1997 and 2008). In his latest projects, through photographs, video and public performances, he examines the politics of representation in documentary photography and film and methods of generation of hybrid art projects at the confluence between visual arts, poetry, experimental music and scientific research.<\/p>\n\n\n\n

\u201cIZOLAREA \/ \u00ceNAINTE \u00ceMPREJUR \u0218I \u00ceNAPOI\u201d \/ Instala\u021bie, Gabriela Mateescu \u0219i Andrei Mateescu<\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Proiectul propus de Gabriela Mateescu \u0219i Andrei Mateescu preia \u0219i extinde temele abordate anterior de Gabriela \u00een lucrarea sa din 2014 \u201eC\u00e2nd vreau s\u0103 respir aer curat, deschid fereastra\u201d. \u00cen aceasta a explorat metode de rela\u021bionare cu natura \u00een interiorul cutiilor noastre notorii de beton, pornind de la simplul gest de a deschide fereastra. Dac\u0103 scopul principal al acelei lucr\u0103ri a fost acela de a \u00een\u021belege rela\u021bia dintre locuitorii apartamentelor \u0219i exteriorul lor, \u201eDe Jur \u00cemprejur\u201d se concentreaz\u0103 \u00een schimb pe rela\u021biile interpersonale ale subiec\u021bilor cu \u00eemprejurimile lor interioare imediate \u2013 (a)casa acestora.<\/p>\n\n\n\n

Restric\u021biile impuse odat\u0103 cu pandemia de COVID (oficiate \u00een Rom\u00e2nia la 1 martie 2020) ne-au l\u0103sat cu op\u021biuni reduse de p\u0103r\u0103sire a apartamentului, \u00een timp ce tehnologia a evoluat \u0219i mai mult \u00een direc\u021bia de a ne permite s\u0103 lucr\u0103m de acas\u0103, s\u0103 comand\u0103m m\u00e2ncare sau s\u0103 pl\u0103tim pentru utilit\u0103\u021bi direct de pe telefon. Toate acestea se traduc \u00eentr-o via\u021b\u0103 \u0219i o realitate imediat\u0103 petrecut\u0103 aproape \u00een \u00eentregime \u00een interior.<\/p>\n\n\n\n

Cei doi arti\u0219ti, abordeaz\u0103 nu doar tema convie\u021buirii \u00een condi\u021bii de carantin\u0103 \u0219i restr\u00e2ngerea mi\u0219c\u0103rii \u00een ora\u0219, ci \u0219i procesele prin care izolarea \u00eentr-o garsonier\u0103 extins\u0103 din Bucure\u0219ti le-a alterat opera \u0219i expresivitatea artistic\u0103. Cum s-a schimbat rela\u021bia lor cu mediul \u0219i ce \u00eenseamn\u0103 s\u0103 tr\u0103ie\u0219ti \u0219i s\u0103 explorezi anxiet\u0103\u021bi (sau s\u0103 le dezvol\u021bi pe altele) \u00eentr-un cadru spa\u021bial extrem de limitat?<\/p>\n\n\n\n

Gabriela Mateescu<\/strong> este o artist\u0103 care tr\u0103ie\u0219te \u0219i lucreaz\u0103 \u00een Bucure\u0219ti \u0219i este fondatoarea colectivului de arti\u0219ti Nucleu 0000. Absolvent\u0103 a sec\u021biei de Grafic\u0103 a Universit\u0103\u021bii de Arte din Bucure\u0219ti, Gabriela lucreaz\u0103 cu performance, video-performance, instala\u021bie \u0219i desen, explor\u00e2nd teme ce \u021bin de feminitate, experien\u021ba personal\u0103, via\u021b\u0103 social\u0103. Este interesat\u0103 de caracterul expansiv al artei, de schimbul constant de idei dintr-o comunitate ce se desf\u0103\u0219oar\u0103 prin discu\u021bii, \u00eent\u00e2lniri. Caracterul social este vizibil \u00een proiectele realizate al\u0103turi de comunitatea Nucleu 0000, iar re\u021beaua de comunicare creat\u0103 \u00eei serve\u0219te ca liant pentru opera sa, ce evolueaz\u0103 din rela\u021biile interumane. Arta \u00eenseamn\u0103 pentru ea un sistem \u00een dezvoltare, ce atinge al\u021bi oameni, \u00een loc s\u0103 fie v\u0103zut ca un obiect stabil \u00eenghe\u021bat \u00een timp.<\/p>\n\n\n\n

Andrei Mateescu<\/strong> este un artist care tr\u0103ie\u0219te \u0219i lucreaz\u0103 cu fotografia \u00een Bucure\u0219ti. Preocup\u0103rile acestuia deseori \u021bin \u00een egal\u0103 m\u0103sur\u0103 de raporturile sincretice din mediul urban Est-European \u0219i de rolul \u0219i capacitatea fotografiei \u00een societatea contemporan\u0103 de a reprezenta problemele specifice epocii, proiectele sale av\u00e2nd o pronun\u021bat\u0103 abordare post-fotografic\u0103 \u0219i minimal-instala\u021bionist\u0103. \u00cencep\u00e2nd cu 2021 acesta s-a angajat \u0219i in pozitia de curator \u0219i coordonator de proiecte, prin asocia\u021bia SLOW-SYNC PH.<\/p>\n\n\n\n

\u201cDe unde p\u00e2n\u0103 unde se \u00eentinde persoana mea, unde \u00eencep ceilal\u021bi?\u201d \/ Instala\u021bie site-specific, LILIANA MERCIOIU POPA<\/strong><\/p>\n\n\n\n

Instala\u021bie site-specific, reproducerea unui apartament la scara real\u0103, folie ultrasub\u021bire, dimensiuni 9\u00d76 m, 2022<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

Configurat\u0103 ca o materializare a experien\u021bei personale din perioada de izolare impus\u0103, instala\u021bia reconfigureaz\u0103 multiplicarea, extensia sau \u00eentre\u021beserea spa\u021bialit\u0103\u021bilor propriului spa\u021biu de locuit prin conectarea curent\u0103 la ecranele\/platformele de interceptare ce p\u0103reau s\u0103 absoarb\u0103 spa\u021biul real, d\u00e2ndu-mi senza\u021bia  de noi spa\u021bii hipnotice care se deschid.  Permanenta negociere a spa\u021biului fizic \u0219i gestionare a celui virtual cu nevoia \u0219i teama de singur\u0103tate tr\u0103ite simultan, mi s-au conturat ca fiind tr\u0103iri dominante, exacerbate de convie\u021buirea for\u021bat\u0103 <\/em>cu tine \u00eensu\u021bi \u0219i cu al\u021bii, adu\u0219i  mult prea aproape prin intermediul ecranelor, sau reg\u0103si\u021bi la distan\u021b\u0103, tot prin intermediul lor, vorbe\u0219te despre subtilitatea diferen\u021belor dintre  aceste  multiple forme de singur\u0103tate \u0219i despre posibilitatea\/misterul \u00eent\u00e2lnirii reale cu noi \u00een\u0219ine \u0219i cu ceilal\u021bi.<\/p>\n\n\n\n

Se spune c\u0103 \u00eensingurarea este oricum un diagnostic al vremurilor noastre, iar, \u00een mod contrar, c\u0103 a putea sta \u00een solitudine (cu tine \u00eensu\u021bi) ar fi o necesitate pentru a diminua problemele societ\u0103\u021bii (Blaise Pascal).  Noua realitate, situa\u021bia din Ucraina, \u00een care ne-am trezit brutal, reconfirm\u0103 spusele lui Pascal, mut\u00e2nd dansul automatizat<\/em> al interac\u021biunilor umane \u0219i aten\u021bia noastr\u0103 \u00eentr-un alt cadru, al r\u0103zboiului vizibil\/ real.<\/p>\n\n\n\n

Prin rela\u021bia dintre sfere, un fel de dans<\/em> automatizat<\/em>, sugerez diversele scenarii de interac\u021biune interuman\u0103 din perioada de izolare \u0219i probabilitatea \u00eent\u00e2lnirilor<\/em>, dar \u0219i o percep\u021bie a acestora la nivel micro – dans molecular<\/em>, unde interac\u021biunile ar putea c\u0103p\u0103ta coeren\u021b\u0103 indiferent de cadru.<\/p>\n\n\n\n

Liliana Mercioiu Popa<\/strong> (n. 1975) s-a stabilit \u0219i \u00eesi desf\u0103\u0219oar\u0103 activitatea artistic\u0103 la Timi\u0219oara, unde \u0219i pred\u0103 \u00een cadrul Facultatea de Art\u0103 \u0219i Design. Crea\u021bia sa cuprinde diverse forme de expresie, cum ar fi instalatia, textul, fotografia, desenul sau pictura. Orientarea Lilianei Mercioiu Popa reprezint\u0103 diverse nuan\u021be ale viziunii sale asupra contextelor macro \u0219i micro-istorice: propria devenire \u00een raport cu dezvoltarea lumii, evolu\u021bia istoric\u0103 a climatului social \u0219i cultural \u00een care artista \u00ee\u0219i tr\u0103ie\u0219te via\u021ba, echilibrul for\u021belor \u0219i al determin\u0103rilor care creeaz\u0103 identitatea unei comunit\u0103\u021bi, a unui grup social sau a unui individ. Interesul pentru natur\u0103 s-a dezvoltat \u00een jurul ideii de repeti\u021bie \u0219i recrea\u021bie \u00een leg\u0103tur\u0103 cu progresul \u00een art\u0103 \u0219i \u00een via\u021ba de zi cu zi. Poetica \/ politica spa\u021biului cu coexisten\u021ba uman\u0103 \u0219i non-uman\u0103, interac\u021biunile dintre diferite niveluri (spa\u021bii variabile) ale realit\u0103\u021bii \u0219i rela\u021bia tensionat\u0103 dintre \u201eobiecte\u201d sunt, de asemenea, zone de interes pentru ea.<\/p>\n\n\n\n

Expozi\u021bii (selec\u021bie): 2021 Ora\u0219e invizibile \u2013 T\u0103r\u00e2muri imaginare, Comenduirea Garnizoanei, Timi\u0219oara; 2021 (solo) Corp ulterior, ICF Timi\u0219oara; 2020 (solo) Moduri de a construi, MNAC Bucure\u0219ti; 2019 Bienala ArtEncounters Dialoguri cu arta, Timi\u0219oara; 2018 No Man Land, Scena 9, Bucure\u0219ti ; 2017 UNIVERSALLOWED, Turnul Fabricii de Baterii, Timi\u0219oara; 2016 (solo) Structuri \u00een echilibru, Centrul Cultural Palatele Br\u00e2ncovene\u0219ti, Mogo\u0219oaia; 2014 (solo) Geometrie variabil\u0103, Galeria Jecza, Timi\u0219oara.<\/p>\n\n\n\n

\u201cLeukos. The Quickest Response\u201d \/ Ghenadie Popescu<\/strong><\/p>\n\n\n\n

placaj, adeziv, nisip, 113x113x4 cm, 2022<\/p>\n\n\n\n

\"\"<\/figure>\n\n\n\n

La \u00eenceput a fost QR codul.  Un cod cu date personale medicale privind vaccinarea Covid19.<\/p>\n\n\n\n

Dar la un moment dat, peste noapte lucrurile s-au schimbat. Necesitatea QR, a unui r\u0103spuns rapid  a r\u0103mas, s-au schimbat doar datele. Codul nou e despre un r\u0103spuns imediat la agresiune deschisa.<\/p>\n\n\n\n

\u201cLeukos. The Quickest Response\u201d este un obiect interactiv, se poate activa prin scanare cu un dispozitiv iPhone, iPod\u2026<\/p>\n\n\n\n

Ghenadie Popescu<\/strong> (n. 1971, Flore\u0219ti, Republica Moldova) locuie\u0219te \u0219i lucreaz\u0103 la Chi\u0219in\u0103u. Ghenadie Popescu este interesat de identitatea local\u0103 (post-comunist\u0103), tradi\u021bia, amestecul geopolitic. Este cunoscut pentru obiectele sale de art\u0103, performance-uri, videoclipuri \u0219i anima\u021bii video, f\u0103c\u00e2nd referire \u00een arta sa la absurditatea lumii \u00een care tr\u0103ie\u0219te \u0219i lucreaz\u0103.<\/p>\n\n\n\n

Ghenadie Popescu a studiat la departamentul de pictur\u0103 al Academiei de Muzic\u0103, Teatru \u0219i Arte Plastice din Chi\u0219in\u0103u. Din 2012 s-a implicat mai ales \u00een proiecte personale de anima\u021bie stop-motion. Expozi\u021biile sale de grup includ Galeria Posibil\u0103, Bucure\u0219ti, RO (2019), Expanded space, Bucure\u0219ti, RO (2017); Attention borders, Galeria Labirint, Galeria Lublin, galeria Arsenal, Bialystok, PL (2017); Festivalul de Film Documentar CRONOGRAF, Chi\u0219in\u0103u, MD (2013-17); One sixth of the Earth, MUSAC, Museo de Arte Contemporaneo de Castilia y Leon, ES, ZKM Karlsruhe, DE; Shaping the new, Kosice, SK (2011); Rencontre de la performance, La G\u00e9n\u00e9rateur, Gentilly, FR (2009); Un pas de c\u00f4t\u00e9, Die\/Grenoble, FR.<\/p>\n\n\n\n

<\/p>\n\n\n\n

Produc\u021bie: C\u0103pit\u0103nescu St. Andreea PFA. Co-produc\u021bie: Asocia\u021bia 4Culture \u0219i WASP Studios<\/p>\n\n\n\n

Cultural project co-financed by the Administration of the National Cultural Fund.<\/p>\n\n\n\n

Parteneri: Universitatea de Vest Timi\u0219oara \u2013 Facultatea de Arte \u0219i Design, T-act\/Centrul de Art\u0103 Contemporan\u0103 \u0219i studii Teoretice, Universitatea Na\u021bional\u0103 de Arte George Enescu Ia\u0219i \u2013 Facultatea de Arte Vizuale \u0219i Design, Centrul de Fotografie Contemporan\u0103 Ia\u0219i.<\/p>\n\n\n\n

Media partners: Radio Rom\u00e2nia Cultural, Modernism, Revista Zeppelin, Revista ARTA, Feeder, IQads, Rom\u00e2nia Pozitiv\u0103<\/p>\n\n\n\n

The project does not necessarily represent the position of The Administration of the National Cultural Fund. The Administration of the National Cultural Fund is not responsible for the content of the project or the manner in which the results of the project may be used. These are entirely the responsibility of the funding recipient.<\/p>","protected":false},"excerpt":{"rendered":"

COMUNITATE \u00ceN SOLITUDINE  20.04.2022 \u2013 15.05.2022 Opening: 20.04.2022, 19:00-22:00 WASP Working Art<\/span><\/p>","protected":false},"author":1,"featured_media":1452,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[67,1,69,27,20],"tags":[],"_links":{"self":[{"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/posts\/1444"}],"collection":[{"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/comments?post=1444"}],"version-history":[{"count":1,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/posts\/1444\/revisions"}],"predecessor-version":[{"id":1678,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/posts\/1444\/revisions\/1678"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/media\/1452"}],"wp:attachment":[{"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/media?parent=1444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/categories?post=1444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/4culture.ro\/en\/wp-json\/wp\/v2\/tags?post=1444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}