“Punerea la un loc a doi artisti din generatii diferite, cum sunt Ion Grigorescu si Ciprian Muresan, constituie, din punct de vedere conceptual, un demers ambitios. Este posibil ca similitudinile dintre lucrarile celor doi sa nu fie percepute imediat, insa convergentele si punctele lor de intalnire expresive se dezvaluie la un nivel mai subtil.  Ambii dau dovada de flexibilitate in folosirea diferitelor medii si se dedica explorarii interactiunilor complexe care leaga determinarile sociale, istorice si ideologice de viata individului.” (Magda Radu)“Vreau sa vad ce devine prin arta expozitiei un act destul de familiar, care deja a fost privit fie ca o rusine, fie ca un mandru eveniment de trecere de la o varsta la alta, fie, astazi, ca dorinta de diferentiere sau, invers, de ambiguitate. Traditia romantica a portretelor (Nadar) va persista oricand vom avea in imagine un par bogat, care va filtra luminile, va diversifica umbrele, camufland oprobriul sau retinerile legate de intimitate.” (Ion Grigorescu, referindu-se la lucrarea “Tunsul”).

Alaturi de aceasta, apare lucrarea “Fara titlu”, a lui Ciprian Muresan, care combina 120 de gravuri si o animatie de 10 secunde si careinfatiseaza un corp intins, amintind de „Lamento sul Cristo morto”, a lui Andrea Mantegna. Imaginea, pe care artistul o foloseste, de fapt, adesea in lucrarile sale, este si un laitmotiv vizual obsedant din media romaneasca, legat de Revolutia Romana din 1989. Spre deosebire de tehnica gravurii (in care se multiplica aceeasi imagine), aici artistul descompune o animatie cadru cu cadru, pentru a o recompune apoi intr-o imagine unica.

Galeria Andreiana Mihail
Str. Vasile Alecsandri 16 – Muzeul Storck
Bucuresti
www.andreianamihail.com
info@andreianamihail.com
Tel: +40722650221

9 September – 10 October 2010. Opening days: 8 – 12 September 2010
Ekaterinburg, Russia. Curators: Cosmin Costinas, Ekaterina Degot, David Riff.

Ekaterinburg, formerly Sverdlovsk, is the capital of the Soviet Union’s industrial heartland, the Ural. When the USSR collapsed, the city’s many heavy industries fell prey to economic malaise. But today, Ekaterinburg has become one of the hubs of Russia’s resource economy, a site of accumulation following an era of shock privatization, a place where people dream with BRICs and awaken to the harsh realities of economic crisis. How should we understand all this new investor architecture, empty as of yet, all these new service industries, all that new imaginary “symbolic capital” produced by “creative professionals” and their underlings? What role does and can contemporary art play in such a place, when it comes to the half-operational spaces of Soviet industry? Can it be more than a shot in the dark, a fastmoving consumer commodity, a medium for gentrification, a plaything of the superrich? Can it be more than a reproduction?

The biennial’s title is “Shockworkers of the Mobile Image,” and its main venue is the Ural Worker Printing Press, a constructivist building in the center of Ekaterinburg. Built in 1929-1930, this space prompts a dialogue with the most contradictory period of Soviet history, when the party sent shock brigades to build heavy industries in the middle of nowhere. Their superproductive labor was supposedly voluntary, heroic, based on enthusiasm and affect, but overseen by a growing security apparatus. Foreign experts and internationalists participated, reproducing and implanting mobile images of Fordist modernity. Their engagement was genuine, but remained blind to the harsh reality of intensifying exploitation. In many ways, Russia’s transition to global post-Fordist capitalism is no less drastic, and today’s global artists, filmmakers, and architects are shockworkers, too, and internationalists, no doubt, capable of an affective solidarity much like that of the pre-fascist 1930s. They come to distant cities, working nights to build temporary factories on the sites abandoned by industry, factories that reproduce images, affects, and social relations, factories where free time takes on form and becomes a commodity. In Ekaterinburg, this temporary factory taps into a vast reservoir of amateur creativity, harkening back to an age when it seemed like all the shockwork was over… We want to ask: who is really the worker in this new factory? The artist? The curator? The audience? What happens when these workers leave? And what happens when they return?

Curated by Cosmin Costinas (Amsterdam/Utrecht), Ekaterina Degot (Moscow), and David Riff (Moscow/Berlin), “Shockworkers of the Mobile Image” draws together the work of more than 40 artists and filmmakers in a dense curatorial narrative.The exhibition consists almost entirely of copies, reproductions, rips, reconstituted objects and long-distance works, including contributions by: Yuri Albert, Tarsila do Amaral, Pablo Baen Santos, Yael Bartana, Bela Balazs Studio, Guy Ben-Ner, Blue Noses, Christian von Börries, Serguej Bratkov, Alex Buldakov, Cao Fei, Olga Chernysheva, Chto Delat, Evgenia Demina, Jimmie Durham, Harun Farocki, Daniel Faust, M.M. Fontenelle, Joris Ivens, Christian Jankowsky, Ilya & Emilia Kabakov, Nikita Kadan & Alexander Burlaka, Kolumne Links, Naroa Lizar, Roman Minin, Andrei Monastyrski, Rabih Mroue, Ciprian Muresan, Deimantas Narkevicius, Amshei Nuerenberg, Johannes Paul Raether, Araya Rasdjarmrearnsook, Andreas Siekmann & Alice Creisher & Max Jorge Hinderer, Sean Snyder, Praneet Soi, Hito Steyerl, Mladen Stilinovic, Taller E.P.S. Huayco, Avdey Ter-Oganyan, David Ter-Oganyan, Florin Tudor & Mona Vatamanu, V.M.Volovich, Lin Yilin, Vadim Zakharov, among others.

The exhibition at the biennial’s main venue is accompanied by a program of special projects, curated by Alisa Prudnikova, director of the National Center for Contemporary Art, Ekaterinburg branch. It inhabits the operational or defunct premises of some of Ekaterinburg’s largest industrial plants. Artists from Ekaterinburg and elsewhere in Russia and from abroad will turn these production sites into a heterogeneous territory for experiments in the industrial environment. Factory spaces themselves become objects of artistic production that pursues a diversity of aims, be they critical, poetic, or social.

The biennial’s opening will be accompanied by an international symposium.

On the occasion of the opening, the biennial will publish a catalogue in two volumes, one of them dedicated to the main venue, the other to the special projects program. Contributors include Oleg Aronson, Keti Chukhrov, Boris Groys, Hu Fang, Ben Seymour and Hito Steyerl.

Biennial venues:
Main venue: Ural Worker Printing Press (House of Print)
Special projects: Verkh Iset’ Metallurgical Factory, VIZ-Stal’, Ural Heavy Machines Plant, old Uralmash House of Culture, Colored Metals Factory (historical building), Sverdlovsk Worsted Factory

Intiator: National Center for Contemporary Art (NCCA)
Co-Initiators: Governor’s Office of the Sverdlovsk Region, the Sverdlovsk Regional Government with the official support of the Ministry of Culture of the Russian Federation
Organizer: National Center for Contemporary Art, Ekaterinburg branch
Co-organizers: City Administration of Ekaterinburg, “New Art” Regional Public Foundation in Support of Contemporary Art

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

Proiectul “Social Cooking Romania” a fost prezentat in 2007 la Neue Gesellschaft fuer Bildende Kunst (NGBK), Berlin si a fost conceput de un grup de artisti si teoreticieni: Sophia Bickhardt, Raluca Blidar, Ulrike Ettinger, Miron Schmueckle, Simon Marschke si Dan Mihaltianu. Acum ajunge si la Sibiu.

Galeria de Arta Contemporana a Muzeului National Brukenthal (Sibiu, 6 Tribunei Str.) va asteapta la “Social Cooking Romania” (3.09 – 3.10.2010) – Vernisaj, 3.09, orele 13.30.  Orar muzeu: marti – duminica, 10.00 – 18.00

Aproape toate proiectele care discuta dezvoltarea artistica si sociala din Romania in era postcomunista pornesc de la aceleasi premise – nevoia de dezvoltare, solidaritate, formarea unei identitati, a unei istorii comune si unitare sau efectele emigratiei.

De aceasta data, investigatia se desfasoara prin intermediul perspectivei particulare a mancarii sau a hranei. Legatura dintre arta si mancare creeaza o structura de analiza a vietii zilnice si a spatiului trait, cu referiri constante la sfera sociala si politica, in timp ce demersul ramane personal, uneori chiar ironic.

Social Cooking Romania este un proiect de cercetare bazat pe doua componente: publicatia si expozitia, vazute ca mijloace de interpretare a unei serii de mituri, simboluri sau situatii care implica mancarea, impactul sau social si identitatea culinara romaneasca – de la lipsa mancarii la statul la coada in timpul perioadei comuniste, la politicile agrare, migratia fortei de munca, gandirea de tip comunitar, valorile europene, introspectia sau pur si simplu gustul si savoarea.

Imaginile si instalatiile apartinand unor artisti activi in anii ’70, cum ar fi Geta Bratescu, Constantin Flondor si Ion Grigorescu au fost puse in dialog cu pozitiile unor artisti emergenti: Olivia Mihaltianu, Ciprian Muresan sau Vlad Nanca. Un alt aspect important urmarit in cadrul proiectului este evolutia generatiei anilor ’80 in contextul transformarilor care au avut loc in Romania postcomunista, cu abordarile vizuale reprezentative ale lui Dan Mihaltianu sau Iosif Kiraly. Contextul social al anilor ’90 este atent cercetat prin contributia lui Matei Bejenaru sau a
grupului subREAL.

Expozitia va fi prezentata in Galeria de Arta Contemporana a Muzeului National Brukenthal intr-un nou display curatorial, cu accent pe relatiile dintre artisti, interesele lor vizuale si punctele comune.

Pe data de 3 septembrie, la orele 17.00, Matei Bejenaru va sustine o prelegere in cadrul programului brut ’10 (platforma de cultura contemporana) la Centrul Cultural German din Sibiu (Str. General Magheru, nr. 4) si va discuta contributia sa la proiectul *Social Cooking Romania*.

Artisti: Auditorium, Matei Bejenaru, Raluca C. E. Blidar, Geta Bratescu, Candida TV, Ulrike Ettinger, Constantin Flondor, M.A.N. Florian, Ion Grigorescu, Iosif Király, Katharina Koch, Aurelia Mihai, Olivia Mihaltianu, Dan Mihaltianu, Nita Mocanu, Ciprian Muresan, Vlad Nanca, Stefan Rusu, subREAL, Joanne Richardson, Patricia Teodorescu.

Publicatia *Social Cooking Romania * (cu texte de Simina Badica-Bucurenci, Horea Avram, Ion Grigorescu, Dan Mihaltianu, Joanne Richardson, Nadia Badrus, Aura Cumita, Hilke Gerdes, Irina Cios) este disponibila la Erasmus Buechercafe, Str. Mitropoliei, nr. 30, Sibiu.

La vernisaj vor fi prezenti Nadia Badrus, Patricia Teodorescu, Matei Bejenaru si Miron Schmueckle.

Discurs de deschidere / Dl. Thomas Gerlach, consulul general al Germaniei la Sibiu.

Receptia de deschidere este oferita de Consulatul general al Germaniei din Sibiu.

From 4 february to 6 march 2010 “Tales of the Unexpected”. Artists: Laurence Aegerter, John Bock, Rossella Biscotti & Kevin van Braak, Josef Bolf, Calin Dan, Irina Dumitrascu, Liu Gang, Boukje Janssen, Jeroen Jongeleen, Jesper Just, Ana Maria Micu, Ciprian Muresan, Sanja Medic, Navid Nuur, Ahmet Ogut, Onno Poiesz, Wilfriedo Prieto, Kathrin Schlegel & Hagen Betzwieser, Daniel de Roo, Ulay, Carine Weve.

Curators:
Maria Rus Bojan & Radek Vana. Produced by Dek 22 Rotterdam, Project Foundation, and MB Art Agency for Art Rotterdam.

Opening 4 February 2010, 18.30-20.30 hours (Willem Buytewechstraat 22, 3024 BN Rotterdam)

To reach Dek22, by public transport: metro (station Coolhaven, change at station Beurs); tram 4 (a little walk south from the Nieuwe Binnenweg, stop Heemraadssingel) ; tram 8 (around the corner from stop Pieter de Hoochweg); bus 44 and 46 (around the corner from stop Erasmus MC). Find Dek22 on the map by clicking this link.

www.projectfoundation.nl

www.dek22.com

www.artrotterdam. com

Editia a saptea a Bienalei Periferic analizeaza diferite aspecte ale contextului social-politic si cultural din Iasi si din Romania. Proiectul se va finaliza cu o serie de expozitii al caror vernisaj va avea loc pe 12 mai(ora 17) la Palatul Culturii din Iasi. Tabloul expus se numeste “Iasi at 1842(back to the future”, un proiect semnat Matts Leiderstam. Bienala Internationala de Arta Contemporana de la Iasi, se desfasoara in perioada 12 – 30 mai.

Aceasta editie a Perifericului se concentreaza asupra:

- pozitiei orasului Iasi in contextul global in care fenomenele sociale, politice si economice influenteaza practicile, productiile si reprezentarile culturale;

- problemei generarii, colectarii, importarii si exportarii informatiei despre contextul artistic din Romania, in incercarea de a cauta si a crea referinte artistice reciproce si de a experimenta o Istorie comuna;

- explorarii conditiei copiilor, cu un accent deosebit pus pe problema abandonului acestora, privit in sens larg.

Periferic 7 este structurat in trei sectiuni independente curate de:Marius Babias & Angelika Nollert, Florence Derieux si Attila Tordai-S. Periferic 7 este insotit de trei publicatii, cate una pentru fiecare
sectiune.

Periferic 7: Focussing Iasi / Social Processes (Procese sociale)

Curatori:Marius Babias (teoretician si curator, Berlin) si Angelika Nollert (curator,
Siemens Art Program Munchen)

Social Processes (Procese sociale) este o colaborare intre Asociatia Vector
si Siemens Arts Program

Procese sociale a inceput in octombrie 2005 cu o serie de conferinte, prezentari si workshopuri si se va incheia cu o expozitie in fosta Baie Turceasca. Artistii invitati vor cerceta perspectivele sociale, culturale si socio-politice pe care le ofera orasul Iasi, privit ca un nod cultural ce uneste Romania, Ucraina, Moldova si Transnistria. Ei se vor concentra asupra unor proiecte cu referinta specifica la orasul Iasi. Prezentarea finala a acestora va fi dispusa, in mai 2006, in spatiul fostei Bai Turcesti, o cladire istorica aflata in centrul Iasului. In expozitie va mai fi expusa si Vector Art Data Bank, o banca de proiecte si initiative artistice regionale (Romania, Serbia, Bulgaria, Moldova, Ucraina), realizata de Matei Bejenaru si Catalin Gheorghe.

Un source book reprezentand contributiile artistilor va fi publicat si distribuit de catre Editura Revolver (Germania) si Editura Polirom (Romania).

Locatii: Baia Turceasca din Iasi / Spatii publice din Iasi

Artisti: Luchezar Boyadjiev (Bulgaria); Boris Buden (Austria/Croatia); Nicoleta Esinencu (Moldova); Andrea Faciu (Germania); H.arta (Romania); Christine si Irene Hohenbüchler (Austria); Laura Horelli (Finlanda); John Miller (SUA); Dan Perjovschi (Romania); Lia Perjovschi (Romania); Hito Steyerl (Germania); Vector Art Data Bank

Cu sprijinul: Institutului Cultural Roman, FRAME Helsinki, IFA Stuttgart, Kontakt. The Arts and Civil Society Program of Erste Bank Group in Central and Eastern Europe, Barnard College of Columbia University New York, Ringier AG

Periferic 7 – Focussing Iasi / Strategies of Learning (Strategii ale invatarii) Curator: Florence Derieux (curator, Musee cantonal des Beaux-Arts, Lausanne)

Strategies of Learning  reprezinta un raspuns pragmatic dat unui anumit context si o propunere de a genera, colecta, importa si exporta simultan informatii despre scena artistica si istoria recenta a artei contemporane romanesti. Acest proiect se dezvolta pornind de la contextul specific complex oferit de catre Bienala Periferic 7. Ce tipuri de relatii putem noi, intr-adevar, initia cu alte culturi, cu istoria si arta lor, si, de asemenea, cu realitatile lor specifice, in cadrul unei bienale? Pentru ca arta este singurul numitor comun, trebuie sa pre-existe o baza comuna de cunoastere si intelegere pentru a realiza comunicarea. Daca emergenta istoriei, investigata cu elemente specifice (o expozitie si o publicatie) a devenit noul sit al artei, Strategies of Learning propune sa foloseasca
acest format curatorial oarecum demodat si compromis, ca pe o unealta flexibila pentru a cerceta si crea referinte comune artistice.

Locatii: Palatul Culturii (Complexul Muzeal National “Moldova”) Iasi; Galeria Cupola din Iasi; Muzeul de Istorie Naturala din Iasi; Universitatea de Arte “G. Enescu” din Iasi

Artisti: Sandy Amerio (Franta); Bik Van der Pol (Olanda); Valentin Carron (Elvetia); Latifa Echakhch (Maroc/Franta); Jens Haaning (Danemarca); Pierre Joseph (Franta); Mattias Olofsson (Suedia); Sean Snyder (SUA/Germania); Simon Starling (Marea Britanie/Germania); Andrei Ujica si Harun Farocki (Romania/Germania)

Cu sprijinul: Ambasada Frantei la Bucuresti, Centrul Cultural Francez Iasi, Ambasada Regatului Regatului Tarilor de Jos la Bucuresti, IASPIS Stockholm, Danish Arts Council,
Mondriaan Foundation, Complexul Muzeal National “Moldova” Iasi,Muzeul de Istorie Naturala Iasi, Universitatea de Arte “G. Enescu” din Iasi

Periferic 7: Focussing Iasi / Why Children? (De ce copiii?)

Curator: Attila Tordai-S (curator al Protokoll Studio, redactor al revistei IDEA arta
+ societate, Cluj, Romania)

Problema abandonului infantil sau, cu alte cuvinte, practica plasarii copiilor “sub autoritatea unei alte administratii” este o consecinta a lipsei unei responsabilitati politice si sociale care ar avea drept rezultat esecul crearii unei viziuni adecvate asupra fezabilitatii unei constructii sociale si a unui imaginar social corespunzator.

In graba de a se schimba dupa 1989, de a deveni o membra „matura” a Europei moderne, de a se transforma intr-o democratie functionala si economica viabila, societatea romaneasca nu a fost avertizata asupra repercursiunilor pe care le-ar putea avea aceasta metamorfoza asupra copiilor. Chiar parintilor si profesorilor responsabili li se pare dificil sa reziste acestui asalt al noii societati romanesti condusa orbeste de interesele economiei de piata, fara nici o reflectie asupra costurilor sociale si consecintelor acestei economii de piata agresive.

Prin intermediul propunerilor artistice, conferintelor, workshopurilor si expozitiei proiectul intentioneaza sa puna in discutie problema abandonului copiilor, in sens larg.

Locatii: Sala Polivalenta a Universitatii de Arte “G.Enescu” din Iasi, Spatii publice din Iasi

Artisti: Big Hope ( Dominic Hislop, Elske Rosenfeld)
(Ungaria/Scotia/Germania), Nita Mocanu si Hajnalka Bessenyei (Romania),Mircea Cantor si Gabriela Vanga (Franta/Romania), Elke Marhofer (Germania),Ciprian Muresan (Romania)
Ioana Nemes (Romania), Katya Sander (Germania/Danemarca), Nedko Solakov (Bulgaria)
Peter Szabo (Romania/Ungaria)
Discutie publica si dezbatere publica (Goethe Zentrum Iasi):

1. In urma comunitatii. Media si imaginarul social postcomunist”

2. Copii abandonati. Parinti in abandon”

dosar tematic realizat de revista IDEA arta + societate

In colaborare cu Allianz Kulturstiftung si Akademie Schloss Solitude

Cu sprijinul: Inspectoratul Scolar Judetean, Scoala Primara “EuroEd”, Scoala “Garabet Ibraileanu”, Liceul “Emil Racovita”, Quinta Cafe Iasi, Best Club Iasi, Yes Club Iasi, Radio Nord-Est, Radio France Internationale (RFI)

Despre Periferic:

Proiectul Periferic a fost initiat in 1997, in Iasi, ca festival de performance. Din 2001 a fost transformat intr-o bienala de arta contemporana, cu intentia de a dezvolta o scena artistica locala si de a incuraja schimbul de idei si artisti din contexte culturale si politice
diferite.

Despre Iasi:

Iasi este un oras cu 400 000 de locuitori, fiind unul din cele mai mari centre universitare ale tarii, cu mai mult de 60 000 de studenti. Dupa preconizata admitere a Romaniei in UE, in 2007 sau 2008, acest oras va deveni unul din avanposturile estice ale Uniunii.

Bienala Periferic 7 este sprijinita de: European Cultural Foundation Amsterdam, Ministerul Culturii si Cultelor din Romania, Elysee-Fonds – Gemeinsame Deutsch-Franzsische Kulturprogramme in Drittstaaten / French-German Cultural Fund

Organizator: Asociatia Vector din Iasi

Parteneri:

Primaria Municipiului Iasi

Centrul Cultural Francez din Iasi

Goethe Zentrum Iasi

Universitatea de Arte “George Enescu” Iasi

Sponsori:

BRD-Groupe Societe Generale

Editura Polirom Iasi

Ciprian Muresan este co-editor al Version Magazine, si, din 2005, redactor al revistei clujene IDEA arta + societate. Intre 2002 si 2004 a lucrat impreuna cu Cristi Pogacean si Laszlo Istvan sub numele Supernova. Expozitia cuprinde recente lucrari pictura si video, majoritatea realizate chiar in 2006.