• A Young Beuys

    Date posted: September 2, 2010 Author: jolanta
    One day I left my house and visited a park during a time of my life when things were not going very well. It inspired me and I soon began to do different things in the deserted spaces. I started to visit these places because of the powerful impact that these abandoned places had on my senses. My project started as a form of therapy and it was extremely important to me as a person. It was also a way of staying in touch with someone I loved. Gradually things changed, people surrounded me, and in the end, my interior monologue dissipated to some extent. Usually I place the things I do under the name of intervention.

    Mircea Nicolae

    Mircea Nicolae, Deserted Glass Factory, 2007. Glass modules arranged in a circle on the floor on the second level of a deserted glass factory in Bucharest. Courtesy of the artist.

    One day I left my house and visited a park during a time of my life when things were not going very well. It inspired me and I soon began to do different things in the deserted spaces. I started to visit these places because of the powerful impact that these abandoned places had on my senses.

    My project started as a form of therapy and it was extremely important to me as a person. It was also a way of staying in touch with someone I loved. Gradually things changed, people surrounded me, and in the end, my interior monologue dissipated to some extent.

    Usually I place the things I do under the name of intervention. One always works on a context that changes in the end, whether this happens in the street, inside a gallery, in front of a public, or within the general art system.

    Between July 2008 and July 2009 I had a home gallery in the living room of the apartment where I live with my mother and sister. At the end of the 10 exhibitions that took place, all of the exhibits were given to the public through a raffle or tombola process. Through this gesture, I was trying to criticize two types of behavior (I was bothered by the gallery circuit in Bucharest). One was the evident lack of interest for the exhibited work coming from the people who were present at the openings; the other was preferential socializing, based on the different power relations on the local art scene.

    After my home gallery closed, I continued to work on my own and to support the work of other young Romanian artists through my curatorial projects. In 2009, I won a six-month residency at the Romanian Cultural Institute in Venice, which I turned into an exhibition opportunity for young Romanian artists, who were selected via an open call.

    The name of the project was Young Romanian Art, and it took place between July and November 2009, in the New Gallery of the Romanian Institute in Venice. It was made up of a series of 14 one-week exhibitions that were trying to promote the work of 33 young Romanian artists during the Venice Biennial 2009.

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