Curators: Sorina Ianovici Jecza, Kees Schrevel
Artists: Stefan Calarasanu, Remus Irimescu, Peter Jecza, Rudolf Kocsis, Linda Menczel , Cosmin Moldovan, Gheorghe V. Muresan, Bodgan Rata, Dumitru Serban, Nada Stojici, Joseph Tasi, Luigi Varga, Rudolf Varna, Ana Adam, Ilie Boca , Zoe D. Cochia, Gheorghe Dican, Willem van Hest, Mircea Nechita, Elena Pogan, Margareta Popescu, Daniel Predut, Angela Tomaselli
The subject chosen for the project we are presenting takes as its premise that, given the dislocations that have taken place in the transmission of the norms that give consistency to cultural conduct and a relatively stable set of values, the sculptural paradigm has suffered/is suffering significant changes.
Taking as a reference point the model of ascending verticality established by Brancusi, the context of European sculpture describes a marked downward curve, from Brancusian essentialism, powerfully spiritualized, to the descending horizontalism of the earth-workers (a Land of Art). Within this space, the transmission of celestial – telluric , plainly favoring the second pole, expresses the gradual abandonment of spirituality, in favor of total, quasi-epidermal (to the limit) materialism.
Along this development, followed by sculpture in twentieth-century Europe, many concepts of esthetics could be reformulated: from cubist poiesis (but also constructivist, supremacist or futurist), of the turn of the century (but, of course, with prolonged echoes throughout its course), to dadaist and neo-dadaist entropy, which marks, through ready-made and objets trouvés, the entire distance, from before 1920, to today, passing through the catharsis of surrealism (from its moment of inception in the 1940s), which suggests a psychoanalytically oriented, de-spiritualized depth, to the revitalization (by means of happenings, performances, representations) of ancient mimesis (much criticized at the beginning of the century), as a total, standardized imitation, integrally flattened, to ground level (it could be called tautological mimesis).
Arising from this foundation, Romanian sculpture, from its important representatives of older generations ( Constantin Brâncusi , Dimitrie Paciurea , Oscar Han , Ion Jalea , Cornel Medrea , Gheorghe D. Anghel , Romul Ladea ) to artists more recently active ( Ion Irimescu , George Apostu , Ovidiu Maitec , Constantin Lucaci , Gheorghe Iliescu-Calinesti ), reveals its striking personality.
From a very general point of view, that which first draws one's attention when studying Romanian sculpture is its great capacity for synthesis and synchronization. It must be said immediately, however, that this synthesis is not in the least passive, and the synchronization totally rejects any mechanical, obedient connection to an esthetic trend, to an artistic norm, to a certain theory or to a certain method. On the contrary, this synthesis and synchronization evoke the necessity of an individual leap in the area of substance, and the necessity of an individual language, widely intelligible, in the field of _expression.
Indeed, in proposing a creative synthesis between the facts of tradition (popular or formal) and the European orientations mentioned, and, on the other hand, demonstrating a great capacity for synchronization with new trends and esthetic norms, with new procedures and styles, Romanian sculpture does not in the least imitate, in its essence, in its profound, constitutive nature, the existential perspective that generated in European sculpture the descending Celestial – Telluric (Spirituality – Materialism, Élan – Depression, Ascension – Decline, Verticality – Horizontality) curve; it preserves a distinct, in many ways unmistakable, individuality, an individuality conferred by the authenticity of the spiritual substance sublimated in the work.
The artists chosen for the project Another Beginning belong to successive generations, from Peter Jecza (born 1939), to the very young Bogdan Rata or Rudolf Varna . The artistic program they have put together is varied, inasmuch as each artist tries, in an individual key, to react to the challenges that the contemporary context, complex as it is, produces. Our intention is only to draw attention to a new view on the plastic arts, meant to illustrate the continuity/discontinuity of Brâncusi's legacy.
The element that holds together all these steps is recourse to the most stable values of cultural memory, of tradition – whether this is called “grandfather's wardrobe” (Rudolf Kocsis), or the “legacy of the village” (Bogdan Rata's Pail ), or if it represents a wider cultural symbolism (Dumitru Serban's Cupola of the Earth, or The Secret Supper by Luigi Varga).
In a world that is “beginning”, that is “being born” but that is not yet structured, the artists included in the exhibition propose a few familiar reference points with which to give substance to an authentic world. On the threshold of a restructuring of European cultural space, we do not believe that Another Beginning means disfiguring ruptures and discontinuities, but new forms of continuity and reciprocal enrichment.
Sculptors: Stefan Calarasanu, Remus Irimescu, Peter Jecza, Rudolf Kocsis, Linda Menczel, Cosmin Moldovan, Gheorghe V. Muresan, Bodgan Rata, Dumitru Serban, Nada Stojici, Josif Stefan Tasi, Luigi Varga and Rudolf Varna
In the framework of this exhibition, artists belonging to other areas of the plastic arts have been invited. Pictures – created by various techniques – photography, will also be present. Among these artists figure: Ana Adam, Ilie Boca, Zoe D. Cochia, Gheorghe Dican, Willem van Hest, Mircea Nechita, Elena Pogan, Margareta Popescu , Daniel Predut, Angela Tomaselli