September 23 through October 15, 2015 – BUCHAREST CONTEMPORARY

    September 23 through October 15, 2015 – BUCHAREST CONTEMPORARY


    OPENING EVENT:
     Tuesday, September 22, 7pm
    CLOSING EVENT: Friday, October 16, 7pm

    ARTISTS: Traian Boldea, Amalia Dulhan, Ciprian Paleologu

     

     

    schita babel_1r Blue-like-you piele_7

    1. Sketch Babel 1, pen and acryl on paper, 40×20 cm

    2. Amalai Dulhan, Blue like you, acrylic on wood, 80×55 cm

    3. The dreams of the virgin: the fourteen stations, ink on leather, 143×104 cm

     

    Ciprian Paleologu, born in 1976 in Ploiesti is a graduate of the National University of Arts in Bucharest, where he studied painting, Now he is a Lecturer of the University of Arts in Bucharest.

    “I started the HUMAN Project in 2000, when I was 24, aiming to build up the architecture of a world. I chose accurately the phases and the general functional details to be followed. I attached to each sequence a role, the constitutive elements and the determinations within the assembly. The 24 biennial stages of the Project are meant to be carried on until I’ll be 70, though the mechanism has the due resources to make it function and develop even after my biological death.

    For the time being, eight stages have been developed: 2000 – HUMAN; 2002 – The Decay; 2004 – Nil medium est (“There is no Middle Way”); 2006 – Everywhere is Nowhere; 2008 – PreTraumatic AREA; 2010 – Traumatic AREA; 2012 – PostTraumatic AREA; 2014 – Laboratory.

    The survey of the HUMAN Project highlights two main components:

    1. The prerequisite – HOMAGE TO HELPLESSNESS – is made of a series of displays able to identify and “illustrate”, through successive proofs, man’s constant regressive tendency to motivate his inner spirit, both as collective and individual phenomenon.
    2. The (utopian) conclusion – THE HOMODROME – imposes the building-up of a human-correction mega-aggregate (i.e. the setting up the Institute of Corrective Research).

    What made me start building-up such a sophisticated organism was the need to offer the world a token of consistency and stability. I dared approach a route which many people (acting mainly in the arts) could seem frozen, rigorous or too linear. To start something that cannot be changed en route, something that takes up one’s almost whole so-called biological existence, seems a heavy chain bearing too many locks trailed along one’s life. The conceptual dimension of the Project exceeds any doubts or plausible difficulties.



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