home–studio–school–city '90 – '93
08 Oct - 18 Dec 2010
HOME–STUDIO–SCHOOL–CITY '90 – '93
Curated by Mihai Pop, Cristian Rusu and Vlad Toca
8 October – 18 December 2010
For a group of schoolmates and friends to acknowledge the opportunities brought by the year '89 was the starting point of a spontaneous unfolding of individual and collective creativity.
This is a document exhibition 20 years after the change of regime, in which the real and the official history don’t overlap, not even chronologically. The subjective history of this group, consisting mainly of art students, begins in 1990 with attempts to transpose freedom into action.
Galeria Plan B exhibits an archive of photographs taken during 1990-1993, documenting some of the group’s actions, the working atmosphere of their studio and the look of the city at that time.
The pictures were taken with a single camera (belonging to VT) that was traveling from hand to hand. Photo documenting was established as a rule for all of the group’s actions. The pictures were developed only 15 years after and are now being exhibited for the first time. They speak about the intuition and the energy of the group to improvise actions that had only later been identified as proper performances, with their own props and public, being witnessed in most of the cases by colleagues and the photo camera. The ingenuous mix of playfulness, protest and anarchy supplied the lack of information at the time ('90-'93) and lead the group to reinvent things known for long in the art world.
One of the objects documenting the group’s work that were preserved (again by VT) is a burnt photographic film, the result of one of the group’s DADA actions. The artists painted the celluloid by hand frame by frame.
The film has later become part of an ample installation, along with a portrait of Ceausescu, a flag that had its centre cut out, a cap belonging to a former militia officer that was found on the streets after the Revolution, “The feathered snake ” a small ceramic object made during the school practice and two technical pieces, a Swiss bicycle pedal and a Mercedes hubcap. The coloring of the celluloid was documented too in some pictures that aspired to be "psychedelic", no less than all the other pictures taken at that time. No one can remember the precise aim of this action (as it is the case with many other actions), yet the hand painted film captures both the utopia and the beauty of that period of collective actions.
Curated by Mihai Pop, Cristian Rusu and Vlad Toca
8 October – 18 December 2010
For a group of schoolmates and friends to acknowledge the opportunities brought by the year '89 was the starting point of a spontaneous unfolding of individual and collective creativity.
This is a document exhibition 20 years after the change of regime, in which the real and the official history don’t overlap, not even chronologically. The subjective history of this group, consisting mainly of art students, begins in 1990 with attempts to transpose freedom into action.
Galeria Plan B exhibits an archive of photographs taken during 1990-1993, documenting some of the group’s actions, the working atmosphere of their studio and the look of the city at that time.
The pictures were taken with a single camera (belonging to VT) that was traveling from hand to hand. Photo documenting was established as a rule for all of the group’s actions. The pictures were developed only 15 years after and are now being exhibited for the first time. They speak about the intuition and the energy of the group to improvise actions that had only later been identified as proper performances, with their own props and public, being witnessed in most of the cases by colleagues and the photo camera. The ingenuous mix of playfulness, protest and anarchy supplied the lack of information at the time ('90-'93) and lead the group to reinvent things known for long in the art world.
One of the objects documenting the group’s work that were preserved (again by VT) is a burnt photographic film, the result of one of the group’s DADA actions. The artists painted the celluloid by hand frame by frame.
The film has later become part of an ample installation, along with a portrait of Ceausescu, a flag that had its centre cut out, a cap belonging to a former militia officer that was found on the streets after the Revolution, “The feathered snake ” a small ceramic object made during the school practice and two technical pieces, a Swiss bicycle pedal and a Mercedes hubcap. The coloring of the celluloid was documented too in some pictures that aspired to be "psychedelic", no less than all the other pictures taken at that time. No one can remember the precise aim of this action (as it is the case with many other actions), yet the hand painted film captures both the utopia and the beauty of that period of collective actions.