Back…

It has been quite a while since my last update. I´ve been intensively working the last two months on a new project, predominantly inspired by my work as an art educator. The project is meant to takeoff in September with a group exhibition gathering artists, researchers, students and art educators, and develop subsequently into a periodic (yearly) event.

I am really glad to be back here, now that the preparatory work on “Mark Me Present” is done! The time invested into rounding up a concept that was germinating in our minds and then creating the frames to make it happen, has been both exhausting and rewarding. I´ve got amazing, inspiring vibes from meetings, conferences and spontaneous talks that have been going on lately.

Am both nervous and excited about the opening.

The book i started back in spring, named after Vian´s theater play, “Series Blême”, is also completed. The last part of it, The Cow and the Bear – book and installation – will be shown as my statement in the “Mark Me Present” exhibition.

Stay tuned for the updates and very important for now: if you happen to be in Berlin between 7. 09 – 9. 10. 2018, it will be a massive joy to have you around! 😊

Wishing everyone a delightful, chilled, breezy summertime! ☀️🍧⛱

 

Return to Venice

Almost eleven years ago i saw Venice for the first time, in a hasty couple of hours stop on the way to France. It was late October and no tourists waves. The ténébreux air of the city stroke with its power to ingest one in its convoluted structure. This initial impact adhered to my memory and spurred me to return someday.

I´m glad we did, Venice was yet another. One smothered by masses of tourists. One robbed of its concealed shades and privacy. In the middle of the crowd, through the thicket of “selfie-sticks” and suitcases, grasping scenes of daily life – like a grandmother guiding the granddaughter on the ancient steps, a man in white scrub greeting his wife and kid on the stairs of the pharmacy, people walking by carefully to avoid the strident groups of holidaymakers, are strangely moving. The abruptness and asynchrony between the two worlds, within the narrow public spaces is painfully disconcerting.

Together, my boyfriend and i, we had to choose from the many spots of the city we wished to visit and managed to find our way on foot. There are certain images, figures, tones and scents with whom one place resonates. We stopped at first to the Gallerie dell´Accademia to sense the nuances of the Venetian Renaissance and Mannerism.

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IMG_5056          The Feast in the House of Levi, Paolo Veronese, 1573, 555 cm × 1,280 cm, oil on canvas, Gallerie dell´Accademia, Venice

IMG_5025         Vecchia, Giorgione, 1506, 68×59, oil on canvas, Gallerie dell´Accademia, Venice

It is prodigious to lay eyes on Veronese´s “Feast in the House of Levi” – a work commissioned for the Basilica di Santi Giovanni e Paolo and also target for accusations of heresy under the Roman Catholic Inquisition. As it is singular to see in depth the layers of Giorgione´s canvas.

We came across, on our way back and entered to the Music Museum – an exhibition dedicated to “liuteria” – the making of instruments  – throughout the ´700 epoch.

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Next day, another visit was to the Scuola Grande di San Rocco, to see Tintoretto´s most poignant in situ masterpiece. The ceilings and walls in Sala Capitolare and in Sala dell´Albergo depict scenes of the biblical saga from Fall to Redemption. They were executed by Jacopo Comin / known as Jacopo Robusti, often called Il Furioso and consecrated to the art history as Tintoretto, between 1564 and 1590.

Roughly 1270 years before that, in 303 AD, Diocletian was issuing the edicts against all Christians clergy. Less than a decade after that episode, Constantine the Great converts himself to the new religion and makes it soon after to the official cult in the Empire. In 1440 the Gutenberg press was to change radically the way the (sacred) image was communicated to the masses. The thoughts that came to mind while watching cardinal scenes of the genesis of our culture, were straightaway related to the making of the image – in its intimate process and as a fundamental apparatus – code of signs – to the transmission and perpetration of a culture.

To paraphrase Sartre who dedicated many pages to Le Tintoret, we´re in the heart of an “evolution which was to substitute everywhere the profane to sacred: the various branches of the human activity arose one after the other from the promiscuous vicinity to God”(J.-P. Sartre in Le Séquestré de Venise…)

Wandering off into the city streets with lingering odours of seaweed, moor, fish and muddy waters, staring at the blooming glycines and spotting shrouded little pearls of minimalist graffiti, we were too late for Peggy Guggenheim…

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#Exit/Enter, Venice, Italy

The day before we left Venice we stumbled upon “Acqua Alta”, the dreary bookstore where books come to die a sullen, miserable, slow death. Bound together and used as walls and stairs, in the inner patios, facing rain and winds – the perfunctory dystopian place lures queues of tourists… The flamboyance is atrocious for one who esteems the paper medium and, on a dissociate note, inciting to dust off old reads on the subject, from McLuhan´s “Gutenberg Galaxy” to Derrida´s “Of Grammatology”, going through Ed Ruscha…

Lavish we did also, on the Venetian cuisine. “Nero di seppia” was on the menu and naturally, the debonair Aperol spritz. I say, So long and thanks for all the fish…

© Photos Mogosanu/Poppmann 2017

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My work featured on Slippery Edge

Am very happy and honored – thank you! It made my day and filled my lil´Transylvanian heart with mighty energies. 🙂 A lovely spring time from Berlin!!

Born in 1980 in Transylvania (Romania), Luiza Mogosanu graduated in 2004 from the Arts and Design University of Cluj-Napoca, Romania. She went on to study History of Arts in Sibiu, Romania and in 2008 moved to France where she completed a Masters degree on the topic of Contemporary Autobiographic Art (autofiction) at Sorbonne, Paris. The…

via Luiza Mogosanu — Slippery Edge

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Dresden, 34. Deutscher Kunsthistorikertag and Studio Visit at HfBK

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2017 started with exciting teaching assignments and with the preparations for an exhibition which will open later in May this year (updates to follow). Conjointly, i began working on the translation into German of my Master research, “L´intime à l´oeuvre” (“The Intimacy as Artwork”) – first and foremost as a redraft into the language and culture i live in now, and also as a stimulus to further develop its pivotal idea – the autobiography at the core of the artistic process…

In this context of building up incentives for further research, we drove Friday to Dresden, to the 34. Deutscher Kunsthistorikertag, a biennial event organised by the Verband Deutscher Kunsthistoriker e.V. The co-partner of the event this year, having as topic global art vs. local art, was the Institut für Kunst und Musikwissenschaft of the Technischen Universität Dresden. The Kunsthistorikertag lasted from 8th to 12th of March and had numerous art historians guests with various backgrounds and very engaging talks. As the introduction word conveys, this year´s event had a spotlight on the present-day political aspects. Obviously, the art history is, malgré tout, about the position of the Images and these days in a more straightforward way it is about the politics of the Images.

In the words of the organizers:

“It is the abundance and the frequency of this images, along with their mass-media processing, that are emotionally impacting and affecting us, just as well as they irritate and make us skeptical. The present-day political context shows us even more, in our global world, how profoundly, the interlinking between politics, culture and science works and how strong the consequences and shocks can be felt, as well at a local level.”

(Transl. from original text/German.)

How does today the notion of identity change within this process of cultural transformations and how can it be defined in the context of a diverse society marked by divergent religious and political models? – Was the challenge question that brought the lecturers together with debates from different perspectives.

We opted for the day with the lectures focused on the “Identity of The Islamic Art and Architecture After 1798” and we´ve witnessed a few very engaged and engaging talks, as for instance on the relatively new research field of the Islamic cultural heritage in the Balkans, followed by an enthusiastic prologue to the “Skopje 2014 Project” and a compact, substantial talk on the urban planning in Kuweit City after 1945.

Later that evening was the closing party at the Hochschule für Bildende Künste (HfBK) and we´ve pondered for a while whether going or not. The eventuality of joining in a stiff cocktail reception was not exactly in tune with my cogitating mind. We decided to go out for dinner and just out of sheer curiosity to check at the HfBK if the ateliers were open to the public. I couldn´t have been more wrong about the hypothetical stiffness and could not have felt more gratified for deciding to go inside the university. The ateliers were open to the public for the entire evening / night (a brilliant and sensible idea for a closing party hosted by HfBK). It was a gratifying and unexpected flashback into the golden days of experimenting. We´ve wandered around between the Graphic and Painting departments with their respective studios packed with students, attending friendly their spaces with “that” gaze of poised confidence, an unsullied form of idealized trust towards their métier that only one that has already experimented such quixotic, incurable, impractical passion for her/his trade can pick up the vibe.

I asked the authors if i may photograph and clicked now and then on my camera, while avoiding to chase and decontextualize the object from its system. The whole film was to be experienced then and there: yet what i would´ve loved to capture unobtrusively was that acute state-of-the-art sense, that cuts beyond art history and theories, the one that urged the students into assembling their in situ, micro installation out of working wear, private items and statement objects.

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