Forgotten Statues , 2020 continues the artist’s reflections on power and the fragility of works of art. In this case, it’s no longer about sculptures which are no longer on display but rather those that are on permanent display, fixing the official narrative of art history. In Forgotten Statues , the artist reproduces from memory sculptures from the permanent exhibition of the Art Museum in Cluj. In this case, the seemingly redundant relationship between the original and the copy, which leaves little space for creativity (due to the distortions of memory), suggests the difficulty of overcoming inertia in a society that is not distant enough from its past. While the Ceausescu regime came to an abrupt halt in 1989, it does not seem to have represented a divide that separates the past from the present. The confusion of the past with the present is perpetuated both at the level of our daily life, of the urban reality that surrounds us, as well as at the level of the cultural heritage presented in museums or in the public space. Muresan’s work demonstrates how cultural heritage is presented only partially, in a censored manner, often moving within the confines of a comfort zone that avoids confronting the past.
Ciprian Muresan appropriates historical, political, social and cultural (essentially artistic, literary and cinematographic) references which he re-contextualizes. He analyzes the mechanisms de diffusion of culture, the ambivalent relations between the memory of recent history and the experience of current realities, as well as the relations between political power, religious power and civil society. With simple gestures, themes and methods borrowed from popular culture, he tackles art in an expiatory manner, returning importance to personal expression and experience. Ciprian Muresan belongs to the generation after the fall of the former Communist regime who deal the aftermath of political and social history of his country, in a post-conceptual mode, without necessarily inscribing it within the traditional East/West opposition. Instead, on the contrary, he approaches this history as an integral part of a larger whole, and is interested in questions linked to the disturbances in contemporary society following the declining of Modernist utopias and in the impact of new technologies on our visual culture. Ciprian Muresan was born in 1977 in Cluj, Romania. He lives and works in Cluj, Romania.
Art Basel reveals 287 leading galleries and expanded city-wide program for its 2024 edition in Basel, Switzerland (News) - ArteFuse Art Basel reveals 287 leading galleries and expanded city-wide program for its 2024 edition in Basel, the first led by the show’s new Director Maike Cruse With 287 premier galleries from 40 countries and territories, Art Basel will once again bring together the international art world at its marquee fair in Basel, Switzerland...
The Site Where Alexander the Great was Crowned King Reopens and More News | Art & Object Skip to main content Subscribe to our free e-letter! Webform Your Email Address Role Art Collector/Enthusiast Artist Art World Professional Academic Country USA Afghanistan Albania Algeria American Samoa Andorra Angola Anguilla Antarctica Antigua & Barbuda Argentina Armenia Aruba Ascension Island Australia Austria Azerbaijan Bahamas Bahrain Bangladesh Barbados Belarus Belgium Belize Benin Bermuda Bhutan Bolivia Bosnia & Herzegovina Botswana Bouvet Island Brazil British Indian Ocean Territory British Virgin Islands Brunei Bulgaria Burkina Faso Burundi Cambodia Cameroon Canada Canary Islands Cape Verde Caribbean Netherlands Cayman Islands Central African Republic Ceuta & Melilla Chad Chile China Christmas Island Clipperton Island Cocos (Keeling) Islands Colombia Comoros Congo - Brazzaville Congo - Kinshasa Cook Islands Costa Rica Croatia Cuba Curaçao Cyprus Czechia Côte d’Ivoire Denmark Diego Garcia Djibouti Dominica Dominican Republic Ecuador Egypt El Salvador Equatorial Guinea Eritrea Estonia Eswatini Ethiopia Falkland Islands Faroe Islands Fiji Finland France French Guiana French Polynesia French Southern Territories Gabon Gambia Georgia Germany Ghana Gibraltar Greece Greenland Grenada Guadeloupe Guam Guatemala Guernsey Guinea Guinea-Bissau Guyana Haiti Heard & McDonald Islands Honduras Hong Kong SAR China Hungary Iceland India Indonesia Iran Iraq Ireland Isle of Man Israel Italy Jamaica Japan Jersey Jordan Kazakhstan Kenya Kiribati Kosovo Kuwait Kyrgyzstan Laos Latvia Lebanon Lesotho Liberia Libya Liechtenstein Lithuania Luxembourg Macao SAR China Madagascar Malawi Malaysia Maldives Mali Malta Marshall Islands Martinique Mauritania Mauritius Mayotte Mexico Micronesia Moldova Monaco Mongolia Montenegro Montserrat Morocco Mozambique Myanmar (Burma) Namibia Nauru Nepal Netherlands Netherlands Antilles New Caledonia New Zealand Nicaragua Niger Nigeria Niue Norfolk Island Northern Mariana Islands North Korea North Macedonia Norway Oman Outlying Oceania Pakistan Palau Palestinian Territories Panama Papua New Guinea Paraguay Peru Philippines Pitcairn Islands Poland Portugal Puerto Rico Qatar Romania Russia Rwanda Réunion Samoa San Marino Saudi Arabia Senegal Serbia Seychelles Sierra Leone Singapore Sint Maarten Slovakia Slovenia Solomon Islands Somalia South Africa South Georgia & South Sandwich Islands South Korea South Sudan Spain Sri Lanka St...
Le Droit à l’oubli — Musée Transitoire #3 — Musée Transitoire — Exposition — Slash Paris Connexion Newsletter Twitter Facebook Le Droit à l’oubli — Musée Transitoire #3 — Musée Transitoire — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour Précédent Suivant Le Droit à l’oubli — Musée Transitoire #3 Exposition Techniques mixtes Jean-Charles de Quillacq, vue de l’exposition Le Droit à l’oubli, Musée Transitoire #3 © Musée Transitoire Le Droit à l’oubli Musée Transitoire #3 Encore environ 2 mois : 26 janvier → 30 mars 2024 Date de clôture provisoire Artistes : Bas Jan Ader, Mégane Brauer, Sarah Bucher, A...
246247596248914102516… And then there were none narrates a semi fictional account centered around the ambiguous history of the Democracy Monument in Bangkok, and on the aftermath of the 1973 demonstration of 400,000 people who marched against the military junta from Thammasat University to the monument...
Things Entangling Edited by Che Kyongfa and Elodie Royer Designed by Toshimasa Kimura Published by Museum of Contemporary Art Tokyo (MOT) and KADIST The publication is available in pdf — see links on the right side of this page Things Entangling was published on the occasion of the eponymous collective exhibition presented at MOT, Tokyo from June 9 to September 27, 2020, the culmination of a long-term curatorial collaboration between MOT and KADIST...
Weekly Picks: Malaysia (26 Nov – 2 Dec 2018) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Weekly To Do November 26, 2018 Symposium – How Easily Modernism Could Be Disturbed , at ILHAM Gallery, 1 Dec, 10am–6:30pm A symposium in conjunction with the Latiff Mohidin: Pago Pago (1960–1969) exhibition in the gallery...
Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...
In Escaped Lunatic , a steady stream of figures run across the screen, sprinting, jumping, and rolling through the streets of Houston...
This selection of photographs taken between 2014 and 2019 focus on Piotrowska’s long-term preoccupation with issues of domesticity and containment...
Masterpiece in the Water by Lu Pingyuan tells the story of an impatient collector who is killed by an artist...
Dreaming of the dream of the dream is a 16mm projection consisting of images of waves that come and go continuously...
Composed of two rectilinear pieces of glass, this work is part of a series of sculptures started in 2006...
Calderón & Piñeros (La Decanatura) refer to Sólheimasandur as a work that tackles the issue of “the ruin as a tourist destination.” As they say, “at the end, tourists become an essential part of this unusual, beautiful, and—at the same time—banal landscape.” The video features a plane wreck on Sólheimasandur beach in Iceland, where a navy plane belonging to the United States Army crashed in 1973 due to fuel exhaustion...
Like an Attali report, but different June 15 – July 27, 2008 Curator: Cosmin Costinas With: Yael Bartana, Gregg Bordowitz, Heman Chong, Ciprian Muresan, Deimantas Narkevicius, Redza Piyadasa, Pushwagner, Anatoli Osmolovsky, Mona Vatamanu & Florin Tudor The Attali Report (or the Report of the Commission for the Liberation of French Growth), commissioned by President Sarkozy, was published half a year ago, provoking a long series of discussions, mainly confined to the French public arena and mainly focused on the report’s concrete proposals, set to implement a neoliberal model for the French economy and society...