luni, 3 noiembrie 2014

ARCHAEOLOGICAL LANDSCAPES. Outlook, history, evolution

   The project ARCHAEOLOGICAL LANDSCAPES. Outlook, history, evolution was funded by the National Cultural Found Administration (AFCN) and had the main objective to promote the concept of archaeological landscape and the specific methods of analysis in order to increase the professionals awareness (archaeologists, historians, architects, cultural operators, students), and the public interest in the intrinsic value of heritage established by the European Landscape Convention in Florence, on October 20, 2000 (ratified in Romania by the Law no. 451 on July 8, 2002).
Final events at the National History Museum of Romania: 
 Conference (October 22 - 23, 2014): Approaches to archaeological landscapes- Tools, methodology and case studies 
 Exhibition (October 22 - November 15, 2014): Traces of the past& Images of archaeological landscapes.

Traces of the past& Images of archaeological landscape
 (October 22- November 15, 2014), The National History Museum of Romania

Traces of the past& Images of archaeological landscape
 (October 22- November 15, 2014), The National History Museum of Romania

Traces of the past& Images of archaeological landscape

        Traces of the past& Images of archaeological landscape



·        
 
Traces of the past& Images of archaeological landscape -Bucharest case study

  The dissapearance of Uranus neighborhood under the Communist regime, 
 (October 22- November 15, 2014), The National History Museum of Romania).
 Digital prints by Adriana Vilcu.
 

WAR METANARRATIVES




  War metanarratives was a project I developed together with Mirela Joja and Alexandra Tataru for the program MORA EMERGING. The main motivation was the I World War commemoration in 2014 through various cultural initiatives which reminded us the war stories we had heard during our childhood from our grandparents. This experience gave birth to a subjective perspective of reliving these stories through empathy. In our project we tried to depict some symbols that we have kept in mind and which were activated by the actual situation of political instability. From this emotional context we have conceived an installation which unifies symbols like: bread, the black gloves and the clove pinks which represent our connection with the evoked war stories. It is a commemorative table dedicated to those who died during the war and didn’t have a proper burial service. This table seems untouched; nevertheless the presence of the black gloves instead of the eating utensil is suggesting the presence of the death ones. The bread centered on the table brings the ones we commemorate on the same spiritual level, being an aliment which is fictive shared equally to all the guests. The clove pinks are common elements known from the mortuary culture, covering the table with a macabre beauty.
  The symbol I used in this project was the black hand (black glove as a part of the  Remembrance table installation). It’s the symbol of the war and death, a phantomatic presence and the annoncer of panic. In the digital work Framing the loved ones, the black hand is surprised when hitting a nail with a hamer for fixing on the wall a picture portraiting a solder with his familly. The image was being born from the pain of being obliged to transform  the picture of someone you love in a commemorative image.



Remembrance table- group installation (by Adriana Vilcu, Mirela Joja, Alexandra Tataru), CONCEPT exhibition at MORA art center
Nourishemnt- installation by Mirela Joja, CONCEPT exhibition at MORA art center
Framing the loved ones- Digital print, by Adriana Vilcu, CONCEPT exhibition at MORA art center
Flowers for the soldiers- oil on canvas by Alexandra Tataru, CONCEPT exhibition at MORA art center


WoMANYn COLORS@Femei pe Matasari

DELICATESSEN research photography project at WoMANYn COLORS exhibition

vineri, 14 martie 2014

marți, 20 septembrie 2011

DELICATESSEN

Oil on canvas wrapped in plastic, 50/60 cm
oil on canvas, 180/140 cm
                                                            
                                                   
oil on canvas, 180/160cm


oil on canvas, 180/200 cm


oil on canvas, 100/220 cm


oil on canvas, 100/190 cm


My artistic concerns have always had as the core subject the human body and the symbolism related to the direct confrontation with the image of a deformed, fragmented, contorted body.
Through my work I want to express the feeling of disintegration. The contorted flesh, which evokes slaughterhouse products  is actually the manifestation of an aesthetic of excess, stirring up both attraction and repulsion while revealing the implicit obligation of the observer to dissimulate his real feelings towards  the image of an imperfect, ghastly body.

I am eager  to explore the possibility that painting gives us through its technique, to reduce flesh to simple volumes which can be manipulated visually and reproduced in order to inflict the observer with the confusion of recognizing the common image he has of his own body or of the human body in general.

Through my compositions, in which the body seen as a fragment loses its clarity as a coherent entity, I wanted to capture ambiguous images which correspond to certain moments of immobilization of the living human body. By trying to reject an approach of the idealized image of the body, I tried to capture the vulnerability of the human being, its incoherence and its complexity. The body and body fragments have no autonomous control whatsoever, they cease to function as an organism as they are animated by a superior force or by another body of a completely different matter, whose actions are visible through their consequences upon the flesh, and the modifications and manipulations it is subjected to.
I wanted to capture in my work this exact moment of post-rebellion of the flesh, this tense silence in which bodies and their fragments are left, this convulsive juxtaposition between the flesh and objects of different textures (plastic, metal) that are able to shatter the common image one has on the natural, healthy and beautiful human body

For me the body is an area to explore,  a fascinating and frightening  hallucination which offers aggregated sensations to you as an artist, as a spectator, as a simple being who possesses a body,  or as an observer of your own body. " In this way the body becomes an interrogation about the limits of the identity. Until what point of fragmentation does an individual remain himself? Until what point of distortions we can identify the fragment as a part of a body? For how long does a human figure or a body which is dissolved in madness, hatred, or dead, remain a recognizable image? Where is the border beyond which ,,me’’ stops being ,,me’’? How much can we lose from our body in order to lose our identity? Which part of us represents the essence of our identity in order to lose all the other parts but keep only this one. Is it my head, is it my hart, is it my hands or legs? These paintings are born from all this questions and I even feel like, in the end these images are still not able to offer any answer but to continue questioning the ambiguous entity of the human body.

 


Studii fragmente corporale

tehnica mixta, 50/70 cm

tehnica mixta, 50/70 cm

tehnica mixta, 50/70 cm

tehnica mixta, 50/70 cm

tehnica mixta, 50/70 cm

tehnica mixta, 50/70 cm

creion, 50/50 cm

creion, 50/50 cm


creion, 50/50 cm






Studii mimica

tehnica mixta, 50/50 cm

tehnica mixta, 50/50 cm

tehnica mixta, 50/50 cm

tehnica mixta, 50/50 cm

tehnica mixta, 50/50 cm

tehnica mixta, 50/50 cm