For his show at Sabot, Nanca turns to reality and this time the reality he addresses is that of the last few years in Romania, characterized by sudden prosperity and exaggerations. Because of the total absence of references from art history, the show resembles a contemporary version of Dürer’s ‘Melencolia’. The space is enriched by a series of objects, each of them with a specific meaning and place (yes, like a rebus!): a large box, a collection of funnels, two pairs of wooden portals, a tripod, a cement bag and a mattress. The artist describes the deliberate assortment of odd things as “‘beautiful’ works. However un-political I might try to be, I think there is politics in everything and I think there is also a critical discourse in this exhibition.” Beauty is nothing without depth. At the same time, Nanca’s melancholia (he uses the word “poetic”) is an attempt to make something that elevates ordinary domestic life to an aesthetic Olympus: the common becomes precious. While many contemporary artists use such a strategy, Nanca envisions the life of such objects in space and their connection with the artistic genre of melancholia opens up new avenues and new channels for interpretations. (excerpt from Marcel Janco’s Two or three things I know about Vlad Nanca)

Vlad Nanca’s recent works disclose a distinct interest in objecthood of the exhibits and sculptural forms, sometimes with direct references to the minimalist legacy. Yet, this aestheticism does not convey a withdrawal from the social. The objects he employs and reconstructs are either modelled from objects of the quotidian life or taken in fully as ready-mades -a strategy, which allows Nanca to construct networks of meaning through the social codes these objects harbor. (from Erden Kosova’s Objects of possession)

With an immaculate design, simple and clean, almost precious in the precision of details, with neutral amorphous material qualities used for their painterly virtues, with an inner playful nerve that does not exclude functionality but dislocates it, these ingenious devices manage to turn the ordinary object into a singular object. (…) Nanca’s objects are deviated through manufactured malformations applied to containers, city’s functional cables, cement sacks or to interdiction barriers. (from Mica Gherghescu’s Pieces of Landscape)

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About SABOT:

SABOT was released at the beginning of 2009, by means of Dadaist spontaneity, as an attempt to verify the raison d’être of a gallery in the third millennium. Its initiators are Daria D. Pervain, former art critic and journalist and Marcel Janco, a Romanian-born, Turin-based art critic and curator (abstract inciter of Sabot and the gallery’s phantasmal comrade).

SABOT aims at having an elastic, almost unshaped format, able to take the form of our artist’s views. A project incubator, a generator, moreover an eccentric travesty of a gallery. We embrace curatorial and commercial models without solution of continuity. We will raise questions rather than spell predictable truths, by sabotaging the fundamental division between high and low culture, process and result, art making and curating.

By having no constitutional predisposition to things which may become certainties at a certain time, Sabot hopes to avoid all the conventional paths of generating common sense within the art world.

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SABOT
exhibition space: 59-61 Henri Barbusse street,
400616, Cluj-Napoca, Romania
mailing address: 12 Horea street, ap. 10,
400038, Cluj-Napoca, Romania
info(at)galeria-sabot.ro
www.galeria-sabot.ro
Join us on FACEBOOK:
http://www.facebook.com/group.php?gid=59262086823

Opening hours:
Tue – Sat, 4 – 8 p.m.
Sun, Mon – closed

Muresan’s art is profoundly aware of the history of art; intelligently referencing and recontexualising art and literary
history. For example his work The End of the Five Year Plan, 2004, is a reinterpretation of Maurizio Cattelan’s controversial La Nona Ora, 1999. Muresan’s 2004 reinterpretation replaces Cattelan’s decrepit global icon, Pope John Paul II, with the Orthodox Patriarch. Locating the work within recent Romanian political history, Muresan’s reinterpretation transcends Cattelan’s initial connotations of contemporary iconography and the deconstruction of protective authority. Muresan forms an assault against the Orthodox Church’s relationship with Nicolae Ceausescu‘s brutal regime and the blurring of secular and religious distinction. This reinterpretation of existing art work is central to Muresan’s practice, as Nicolas Bourriaud has conceptualized, this method of production; whereby artists interpret and reclaim preexisting objects, is an art of ‘postproduction’. National identity is a further defining narrative within the work or Ciprian Muresan. Romanian Blood, 2004 sets a precedent for this opposition toward the ideological falsification of history and national identity. The very paradox of this image is the tricolor of red, yellow and blue which run from the wrist of this individual; seemingly the ‘blood’ of a true patriot, except this ignoble death is surely a renunciation of any patriotic responsibility. It is this incomprehensible construction or idea of national identity that Muresan challenges. Muresan strives to create a more personal, less reified identity, and champions a sincere and proudly ambiguous alternative. This alternative perspective is evident in Choose…, 2005, which documents Vlad Muresan mixing Pepsi and Coca-Cola in a glass. Whilst most overtly the act of defining these two indistinguishable, late capitalist products, appears to be a commentary on the invasive nature of corporate branding strategies, the work can equally be understood as a comment on the vacuity of false identities, which in essence all brands are.

Ciprian Muresan’s exhibition at Wilkinson is a culmination of those existing narratives that punctuate his work. 4’33”,
2008, which takes its title and dimensions from John Cage’s original 1952 composition, is an alternative view of post- industrialism. Like Cage’s original piece, the soundscape of Muresan’s 4’33” is governed by an eerie stillness, the frozen machines and echo of the departed work force are a somber memorial to a former epoch of productivity.

Muresan’s dispute is with a failed utopianism and subsequent social decay that leaves a factory in this languid state, neither communism nor subsequent privatization could prevent this erosion. Communist manifesto, pig latin translation, 2007 is an intriguing obfuscation of the Communist manifesto. The reduction of this text to mere playful jargon is an ironic statement, but also a remark upon the ever-complicated reading of communism. The culmination of the exhibition is the deeply unsettling Dog Luv, 2009. Visually, the film’s atmospheric, indeed chiaroscuro, use of light is mysterious and striking. Muresan re-interprets a text by Romanian playwright Saviana Stanescu and the narrative extends a powerful and brutal portrait of humanity’s history of torture and execution. This dark and theatrical vision of society presents a world where choice, security and authority are bought into question.

It is often the unknown or the unseen that forms the dialogue within Muresan’s art; meanings lie beneath metaphor and insinuation, yet once uncovered there is a frankness that disconcerts the viewer and demands reflection. Muresan’s view is not linear, his inquisition of life is complex and there are no direct answers, instead an unsettling question mark lies over society.

Ciprian Muresan lives and works in Cluj (Romania), he is the co-editor of VERSION and editor of IDEA art + society
magazine. Recent solo exhibitions include ‘Ciprian Muresan’ at n.b.k. – Neuer Berliner Kunstverein, Berlin, ‘How I Wonder What You Are’ at Plan B, Berlin. He has also exhibited in the Romanian Pavilion at the 2009 53 rd Venice Biennale. He is represented by Plan B, Cluj.

Ciprian Muresan at Wilkinson (50-58 Vyner Street, London) – 2.09.2010 – 3.10.2010.

For more info: www.wilkinsongallery.com

As the art world adopts strategies from the world of business, cultural organizations have set up franchises around the globe. For the second year, apexart is joining this trend and setting up its own franchise in a new city.

This competition is an opportunity for anyone from anywhere to create their own temporary apexart in your city, town or village. For a four-week exhibition from March 13 – April 17, 2010, you will be the director, curator and/or
staff of your own apexart franchise with a budget, a modest salary, and almost complete control. We will provide the funding (up to 10,000 USD), along with the necessary guidance to make your curated exhibition happen. This includes an apexart brochure in an edition of 10,000 and its distribution around the world to more than 108 countries and a visit or two from us

In addition, prior to your show, we’ll arrange to bring you to NYC for three days, to visit apexart.

The Franchise is an opportunity to help bring an idea to fruition in a new place and to give someone an interesting opportunity. This year we will exclude people in large cities like New York, Rio de Janeiro and Tokyo from applying, and invite submissions from locations with less than 500,000 people. Places such as Moshupa or Priboj. Baton Rouge or L?beck, Cadiz or Az-Zawiyah, Heidelberg or Zinder.

To participate, please submit a reason in the form of a 250 word essay, along with four images, to tell the jurors why apexart should come to you. We encourage applicants to use the 250 words in any way they see fit. Applications will be accepted until December 15, 2009.

Visit: www.apexart.org/franchisetwo.htm for information on how to apply.

In mijlocul lunii care pune capat verii se anunta SIRNAVILLE ARTS & CRAFTS FESTIVAL, primul festival dedicat diversitatii in artele contemporane, desfasurat in mijlocul unui camp, la 40 km de Bucuresti.

Localizat langa pista Aerodromului Aerofox din localitatea Sirna, Jud. Prahova, Romania (la 40 de km de Bucuresti), Sirnaville inseamna evadarea din aglomeratia sufocanta a marilor orase, un weekend de relaxare si evenimente socio – culturale, artistice si educative, la care sunt invitati sa participe toti cei care vor trece portile catre Sirnaville.

Construit pe modelul unui mic orasel, Sirnaville / Arts & Crafts Festival reprezinta o noua etapa in organizarea evenimentelor in aer liber, oferindu-le participantilor pe durata celor trei zile de festival (incepand cu Vineri, 14 August, Ora 18:00 – cand va avea loc deschiderea oficiala pana Duminica, 16 August, Ora 20:00 – cand portile se vor inchide), posibilitatea de a participa la o serie impresionanta de activitati care vor face din Sirnaville un centru de sinergie a artelor contemporane, un loc al valorilor autentice.

Locatia este accesibila pentru participanti de pe DN1, localitatea Sirna fiind situata intre Ciolpani si Puchenii Mari iar accesul se realizeaza pe drumul din dreptul localitatii Potigrafu, punct de reper manastirea Pissiota (pe partea stanga in directia Bucuresti – Ploiesti). Coordonatele Aerodromului: N 44.47.07,58 / E 25.59.17,55. Harta o puteti consulta mai jos.

Mai multe despre Sirnaville, aici.

Where: Yerevan, Armenia
When: 2009
Deadline: ongoing deadline

Art and Cultural Studies Laboratory NGO (ACSL) is a non-profit, non-governmental organization was established in Yerevan, Armenia and is now a leading model for similar institutions internationally.

The aim of the organization is to support the development of contemporary creativity and carry out projects by Armenian and international artists to foster discussion and research into themes which are of vital importance for society and culture.

ACSL is a catalyst for communication between artists, art workers, theorists, cultural critics, curators and their audience. Organizing exhibitions, conferences, seminars and workshops are within the scope of our organization. ACSL promotes and diffuses contemporary creativity. A group of Armenian artists, art and cultural critics are
involved in the organization which co-operates with international artists.

ACSL proposes to work in collaboration with a cultural company in Ireland which is located in The Irish Gaeltacht. Clo is an artist lead initiative providing a platform for creative exchange between artists worldwide and the Gaeltacht community. It fosters the emergence of artists in the Gaeltacht through providing access to professional development
services.

Every year ACSL produces 2 Annual Events and Artist Residency ART COMMUNE:

1. INTERNATIONAL FORUM ON CONTEMPORARY ART (Autumn) (workshops, seminars, conferences are foreseen) Curator: Susanna Gyulamiryan.

2. INTERNATIONAL ANNUAL EXHIBITION GENDER TROUBLE (Spring). (workshops, seminars, conferences are foreseen) Curator: Susanna Gyulamiryan.

3. ARTIST RESIDENCY ART COMMUNE, all the year round (12 months).

The primary aim will be for the artists to work on an agreed project in Yerevan, Armenia (North district Djrvej). However, artists transporting to different environments is expected to have many other benefits. These include:
Opportunities for a new physical environment to impact upon the artists work Cross fertilization of ideas with residents of other cultures Professional Development opportunities e.g. invitations to exhibit elsewhere.

The Artist Residency ART COMMUNE is a major artists residency and project workshop for the promotion of contemporary and other categories of art and international exchange. Art Disciplines: Visual Arts, Curatorial, Art critical researches, Composing, Crafts, Dance, Fiction, Non Fiction, Theatre, Playwriting, Screenwriting, Film making, other. ART COMMUNE is able to host 30 individuals at one time. 

ART COMMUNE PLACE DESCRIPTION AND SUPPORT

The Artist Residency ART COMMUNE is located in one of the districts of Yerevan called Djrvej and has occupied 10,000 m/sq territory. Yerevan is the capital of Armenia. The region is not far from the city center (it takes 20 minutes by car).The territory is in a suitable place away from the city life and near to the countryside. The territory is enclosed with a large gate and includes two buildings; factory and comfortable living quarters. It gives a possibility to live and work the same area. ACSL takes care of the territory rent in Djrvej (studios, exhibition hall, some equipments and tools), utility expenses (gas, electricity, hot water except winter months stay heating expenses, TV-set, internet) and somen materials, depending on the volume of artists works (if they dont required something specific).

The territory has all conveniences for land art.

1. The living house has 4 floors.
* There are two large studios on the first floor. Each of them is 12m#10m height-3,5 m (120m/sq), with a big gate.
* There are four separate apartments on the 2nd and the 3rd floors (2 apartments on each floor).
* Each apartment has 4 bedrooms (15m/sq each one), 2 bathrooms, 1 well living room with all conveniences (TV, furniture, telephone, internet ) and 1 kitchen with gas, hot and cold water, refrigerator and etc.
* On the 4th floor there is a large multifunction studio 240 m/sq with a bathroom and barbeque place.
* There is also a computer room, restroom and an open balcony with view to the Biblical Mountain Ararat.

2. The 2nd building is a factory (1152m/sq), there are plenty of multifunctional technical machines: 3 cars, 1 lorry, 3 ovens for ceramic works, computer studio (video editing, recording etc.) and a music studio (arrangement, recording of live music, mixing, mastering etc.) with technical support.

*The centre has cars for rent as well as, the cars can be rented by the artists with or without a driver.

Near this factory are a fresh air studio and an old factory building, which can be used as a studio, exhibition venue or for other kind of big projects.
Possible extra options:
- smith craft
- gold smithy
- sculpture of all types
- printmaking
- tours to historical places of Armenia
- tour to the Armenian brandy factory in Yerevan
- visit to the art spaces, galleries and schools

Administrator of that territory is Armen Miqaelyan, e-mail: info@malver.net

Criteria and Eligibility
Knowledge of English is obligatory.
Artists experience in giving floor talks, participating in exhibitions,
seminars, workshops or panels will thus be an advantage.

Evaluation
On completion of the residency the artists will get a Diploma about participation in the Artist Residency ART COMMUNE, Booklet or Catalog on Final Exhibition and will provide a detailed report that gives an account of project completion and of all the professional activities in which the artist has engaged while in Yerevan. The report is an important resource for ACSL NGO helping to build a picture of what is being achieved over time through similar initiatives.

FEE PROCEDURE
There is no an application or exhibition fee.
We would love to invite all participants but we are a young non-profit organization and, unfortunately, we do not have the budget which would allow us to cover artists expenses.

We are able to cover only utility expenses but heating in winters. But we are ready to provide you with some materials, studios for the workshops, computer-hall, hard ware, soft ware, internet, some equipments and necessary tools.

However, if participants can find resources to cover their expenses (travel, living, housing and medical insurance) through an institution in their country, we will be happy to provide any official letter required.

DEADLINE: We have no deadline, but all potential members have to apply to ACSL NGO at least one month before their preferable residency date.

PLEASE NOTE:
*Minimal duration for Artist Residency Art Commune is 2 weeks. If the duration of the residency coincides with the date of International Forum on Contemporary Art or International Annual Exhibition Gender Trouble, each member of the Artist Residency can make a proposal to partake in the above mentioned events.

CATALOGUE
2 Catalogues will be publishing every year date to ACSL 2 events: International Forum on Contemporary Art (autumn) and International Annual Exhibition on Gender Studies Gender Trouble (spring). Besides the theoretical texts, there are small texts, photos and credits for each project. Digital type of Catalog is available, too.

Where send your application.
Please send your application package, by post or courier, to the ACSL NGO office specifying the program title: Artist Residency ART COMMUNE.

For more information and files downloading, please visit our website: www.acsl.org.am or contact with Susanna Gyulamiryan, art critic, curator and artistic director of the ACSL projects Mkrtich Tonoyan, artist, director of the ACSL residency program
E-mail: info@acsl.org.am.

Contacts: Phone numbers:
Postal address: Susanna Gyulamiryan
ACSL (T) + 374 10 64 20 47, (Mob.) + 374 91 944 783
8 Roubinyants, apt 17,
Yerevan, Armenia, 0069 Mkrtich Tonoyan
Mkrtich Tonoyan (T.) + 374 10 24 42 13
Susanna Gyulamiryan (Mob.) + 374 91 23 24 55, (Fax) + 374 10 64 34 32