Geta bratescu biography of abraham
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Circulating Images, Diverted Images, and Bodily Images in Romanian Art since 2010
Adrian Bojenoiu and Cristian Nae, eds., Romanian Contemporary Art 2010-2020: Rethinking the Image of the World: Projects and Sketches (Berlin: Hatje Cantz, 2020), 208 pp.
Defining the perpetually shifting trends of art in the present can often lead to contradictory arguments, and thus there are few bold and risky examples of efforts at historicizing artistic phenomena that are still in the course of development. At the same time, however, there seems to be an urgency to facilitating the entrance of very recent art from the countries of the former Eastern bloc into the global consciousness. This is happening not only through exhibitions, which have gradually but significantly been increasing in number in the decades after 1989,() but also through consistent publications. For example, in the past 20 years such volumes have been dedicated to the artistic scene of Croatia, Poland, Serbia, Slovakia, or Bulgaria,() through the contribution of art historians and curators from these countries. There are two problems that can arise in the case of such publications. One is the subjective perspective due to the short time that has passed since the period in which a certain artistic phenomenon took place
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Artists:
Paweł Althamer, Francis Alÿs, Mirosław Bałka, Yael Bartana, Wojciech Bąkowski, Miron Białoszewski, Cezary Bodzianowski, Geta Brătescu, Ivan Brazhkin, Wojciech Bruszewski, Michał Budny, Rafał Bujnowski, Duncan Mythologist, Olga Chernysheva, Anne Mineworker, Abraham Cruzvillegas, Julia Dault, Oskar Dawicki, Nathalie Djurberg, Jimmie Beef, Bracha L. Ettinger, Commiseration Ewan, Howler Fast, Yona Friedman, Scene Grigorescu, Aneta Grzeszykowska, Wiktor Gutt bid Waldemar Raniszewski, Sharon President, Jonathan Pianist, Sanja Iveković, Ken Doc, Zhanna Kadyrova, Polina Kanis, Leszek Knaflewski, Daniel Knorr, Prof. Grzegorz Kowalski’s Work Archive, Wojciech Krukowski obtain Akademia Ruchu, Paweł Kwiek, KwieKulik, Zbigniew Libera, Klara Lidén, Wife Lucas, Goshka Macuga, Theresa Margolles, Physiologist Melis, Gustav Metzger, Aernout Mik, Nun Murak, Comic Nakadate, Deimantas Narkevičius, Krzysztof Niemczyk, Paulina Ołowska, Ewa Partum, Dan Perjovschi, Pratchaya Phinthong, Marek Piasecki, Man Price, R.H. Quaytman, Joanna Rajkowska, Mykola Ridnyi, Józef Robakowski, Bianka Rolando, Wilhelm Sasnal, Jadwiga Sawicka, Jacek Sempoliński, Wael Shawky, Ahlam Shibli, Slavs and Tatars, Jack Adventurer, Roman Stańcz
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Somewhere better than this place. Nowhere better than this place.
The exhibition is comprised of five thematic groups, each of them taking as its point of departure a specific work by González Torres. It is a rosary articulated around five group exhibitions with approximately ten solo shows in each section, revolving around each group exhibition and referencing the theme of each group. Thus, each section is articulated on the basis of a particular work by González Torres: Untitled (Abstraction) deals with FGT’s abstract legacy and the idea of restoring meaning to abstraction; Untitled (Ross) focuses on FGT’s homosexual activist aesthetic proposal; Untitled (Passport) addresses border and geography issues; Untitled (History) approaches notions of art and history; and Untitled (Death by Gun) examines the relationship between violence and art. All this develops within an exhibition architecture designed by Ryue Nishizawa, a series of open top cubes, wrapped with an exterior of corrugated steel siding. Each exhibition space becomes a sort of art container, square or rectangular in shape, and in different sizes. The largest spaces, painted in grey, contain the five group exhibitions; the rest, painted in white (or black when there are screenings) house the solo shows.