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Experiența unicului festival din România pe o insulă Citeste mai mult pe: http://www.weart.ro/?s=3sof

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Aerobatic Yakers @AeroNautic Show

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Waha Festival 2014

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Grădina Botanică "Alexandru Borza" Cluj-Napoca © Adrian Cînciu www.weart.ro

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MIRCEA CANTOR Q.E.D 10 April 2013 - 13 April 2014 Curators: Raluca Velisar, Mihai Pop Architecture: Attila Kim Mircea Cantor (b. 1977) is one of the most important young artists to emerge on the international art scene over the last decade. The title of his 1999 photograph, All the directions is premonitory for his artistic biography: the artist doesn’t identify himself with any particular culture or region, he works with a variety of artistically means (video, photography, drawing, sculpture) and he often refers to the concept of uncertainty to compensate the need to control specific to our times. Quod Erat Demonstrandum (which was to be proved): Cantor’s auto-ironic title of the exhibition counterbalances the artist’s ambition to create unique, universal pieces, to operate artisti¬cally within the domain of irrefutable statements. His minimal, poetic, and metaphysical works can be viewed and interpreted in various ways because they reflect the modern world and the human contradictions. Mircea Cantor: Q.E.D. will be on display for one year. Special events and a rotating program of video works are scheduled for early September. Eyes Starring to My Absence can be seen at the entrance of the building only on Mondays and Tuesdays, when the museum is closed to the public. The guest room, a space integrated in the exhibition, will host each month a work by an artist or an acquaintance Cantor shares affinities with: Rudolf Bone (April), Geta Brătescu (May), Gabriela Vanga (June), Ion Grigorescu (July), Corneliu Brudașcu and Andrei Șerban (August), Victor Man (September), Oanea Vasile and Ioan Opriș (October), Ciprian Mureșan and Old Clown Wanted by Matei Vişniec, directed by Geo Balint, with Eliza Noemi Judeu, Nina Ionescu and Adelaida Perjoiu (November), Adrian Gagiu (December), Victoria Berbecaru (January), Miklós Onucsán (February), Pavel & Tudor (March). Works in the exhibition (April – September 2013): Unpredictable Future, 2004; Deeparture, 2005; Ciel Variable, 2007 – 2013; Threshold Resigned, 2012; DNA Kiss, 2008; Diamond Corn, 2005; All the Directions, 2000; Wind Orchestra, 2012; Vertical Attempt, 2009; Double Heads Matches, 2002-2003; The Origin of The World (After Courbet), 2008; I Sell My Spare Time, 2009; Europe Supported by Africa and Asia, 2009; More Cheeks Than Slaps, 2011; Holy Flowers, 2010; Fishing Fly, 2011; Eyes Staring to My Absence, 2008; SIC TRANSIT GLORIA MUNDI, 2012 – 2013; Business Class Worried, 2013; I decided not to save the world, 2011; Rainbow, 2010; With a Free Smile, 2007; Hymn For a Big Day, 2012. Works in the exhibition (September 2013 – April 2014): Unpredictable Future, 2004; The leash of the dog that was longer than his life, 2009; Ciel Variable, 2007 – 2013; Threshold Resigned, 2012; DNA Kiss, 2008; Diamond Corn, 2005, All the Directions, 2000; Wind Orchestra, 2012; Vertical Attempt, 2009; Zooooooom, 2006; The Origin of The World (After Courbet), 2008; I Sell My Spare Time, 2009; Europe Supported by Africa and Asia, 2009; More Cheeks Than Slaps, 2011; Easy, 2008; Fishing Fly, 2011; Eyes Staring to My Absence, 2008; SIC TRANSIT GLORIA MUNDI, 2012 – 2013; Tracking Happiness, 2009; Business Class Worried, 2013; I decided not to save the world, 2011; Rainbow, 2010; With a Free Smile, 2007; Color Silent, 2010 – 2013. Mircea Cantor was born in Romania in 1977. He lives and works “on earth”. His major solo exhibitions include Mircea Cantor, Centre Pompidou (2012); Sic Transit Gloria Mundi, MACRO Museo di Arte Contemporanea, Roma, (2012). More Cheeks Than Slaps, Le Crédac, France, (2011); Wise as a Serpent and Innocent as a Dove, Städtisches Museum Abteiberg, Monchengladbach, Germany, (2010). Mircea Cantor solo show, Kunsthaus Zürich, Zurich (2009), The Need for Uncertainty, Modern Art Oxford and Arnolfini, Bristol and Camden Arts Centre, London (2008-2009); Ciel Variable, Fonds Régional d´Art Contemporain Champagne Ardennes – FRAC, France (2007); The Title Is the Last Thing, Philadelphia Museum of Art, USA (2006). And group shows: Our Magic Hour – Yokohama Triennale, Yokohama, Japan (2011); Airs de Paris, Centre Pompidou, Paris (2007); and 4th Berlin Biennale (2006). He won the Marcel Duchamp Award, Paris in 2011 and the prize of the Fondation d'entreprise Ricard, Paris in 2004.

www.mnac.ro

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Supralealism Dali

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Hipster Ceausescu

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National Museum of Contemporary Art

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”LJUBIJA KILLS”

Artists: Sandra Dukic and Boris Glamocanin

SPAPORT 2010th Banja Luka / EXPOSURES

_LJUBIJA - Universal example of a marginalized community, forgotten people and government’s irresponsibility.

- Ljubija, a former municipality in BiH, which used to be one of the highly developed regions, mainly due to the mine from which the majority of the population lived. The mine was built during the Austro-Hungarian Empire and it was one of the largest and most productive mines in the Balkans.

- During the Communist era in BIH the residents of Ljubija used to address each other with Mr. and Mrs. After work, working clothes were replaced with a suit, a tie and a hat.

- Most of the settlements were built specifically for mine workers, with many buildings dating from 1909.

- At the beginning of war in Bosnia the majority of Ljubija residents left the town. After the war the municipality of Prijedor decided to resettle refugees from collective centers around the RS in Ljubija. Today the unemployment rate in Ljubija is as high as 80%, which makes Ljubija residents one of the most socially vulnerable groups of people in the country. Ljubija has become a reservation of forgotten people that nobody talks about.

- Residents live solely on social security (which amounts to around 23 € in the Republic of Srpska) and child allowance. Escapist entertainment is the most pronounced, with alcohol abuse, prostitution and other forms of socially deviant behavior on the constant increase.

The project “Ljubija Kills” emerged from the study of and participation in activist and humanitarian work with women in the local community of Ljubija. In our earlier works we dealt with marginalized people (not hiding that we include ourselves in that group) and their identity. Ljubija seemed like the most dramatic example of a marginalized community, forgotten people and government’s irresponsibility. Thinking about the future of the community, we viewed it as a long-term project and a clear answer to the topic “where everything is yet to happen”. The project is envisaged to have a number of chapters to be addressed. First and foremost, it is necessary to raise public awareness about Ljubija because this town is nowadays completely marginalized.

Kills – in addition to its literal meaning, when used in local slang, this term has a positive connotation and corresponds to the English slang word “rulez”, “smashing”, etc. (e.g. “Dodik kills”, “State kills”, “LJUBIJA KILLS!”)

The main feature of Ljubija is the mine which is the center of life, because it is full of ore that is an integral part of the planet and one of the basic factors of life on Earth. The mine is the main theme of all stories, while the re-starting of its operation is seen as a potential lifeline for this town.

Ljubija foundries were known in all the towns around the region as they produced manhole covers that protect us from all the “crap” flowing below us that we do not want to see. By making interventions in public space, marking the manhole covers in the capital of RS, Banja Luka, which were made in the Ljubija foundries, we found that they were great symbols of diversion. We used manhole cover, an object that protects us from the sewer hole, as a symbol of Ljubija today. By “sewage” we mean “social sewage” that someone must be responsible for.

The intervention in public space is designed in such a way to mark manhole covers produced in the Ljubija foundries as well as other foundries (because we are telling a universal story) as places which “scream”: “LJUBIJA KILLS!” The marking of manhole covers would take place in downtown Banja Luka, one of the busiest parts of the city, where every day almost every manhole becomes “imprinted” with thousands of human footprints.

“Ljubija Kills” raises questions, draws attention, opens a discussion as it gives a clear artistic attitude about the place where life ends and which currently has no positive platform for future development.