{"id":4201,"date":"2014-02-05T20:02:12","date_gmt":"2014-02-05T18:02:12","guid":{"rendered":"http:\/\/artout.ro\/blog\/?p=4201"},"modified":"2014-02-05T20:02:12","modified_gmt":"2014-02-05T18:02:12","slug":"zece-plus-unu-tabara-lepsa-2013","status":"publish","type":"post","link":"https:\/\/artout.ro\/reviste\/blog\/zece-plus-unu-tabara-lepsa-2013\/","title":{"rendered":"Zece plus unu \u2013 Tab\u0103ra Lep\u015fa 2013"},"content":{"rendered":"

Debutat\u0103 \u00een formula \u201eUn artist \u015fi prietenii s\u0103i\u201d, seria de expozi\u0163ii \u201eZece plus unu\u201d continu\u0103 \u00een rela\u0163ie cu tab\u0103ra de crea\u0163ie de la Lep\u015fa, aflat\u0103 \u00een 2013 la a treia edi\u0163ie. Conceput\u0103 mai cur\u00e2nd ca un spa\u0163iu de \u00eent\u00e2lnire \u00eentre arti\u015fti cu op\u0163iuni culturale apropiate, chiar dac\u0103 cu preocup\u0103ri de atelier diferite, ca un timp de medita\u0163ie \u015fi de dezbateri asupra artei contemporane, a temelor propuse de contextul epistemolotic, tehnologic, sociopolitic artei, dec\u00e2t ca un loc al exerci\u0163iilor de plain air, tab\u0103ra nu impune niciun fel de constr\u00e2ngeri sau exigen\u0163e de unitate a crea\u0163iilor ce rezult\u0103 din adecvarea la contextul natural sau la sensul dezbaterilor. Totu\u015fi, apropierea de genera\u0163ie a majorit\u0103\u0163ii participan\u0163ilor \u015fi ata\u015famentul pentru o tradi\u0163ie complex articulat\u0103 din straturi suprapuse de modernism t\u00e2rziu \u015fi variante de postavantgard\u0103 \u015fi postmodernism temperat confer\u0103 unitate grupajului de lucr\u0103ri expuse de cei unsprezece arti\u015fti. Grupul a cuprins \u015fase pictori, un grafician \u015fi patru sculptori, care au frecventat constant manifest\u0103rile galeriei de art\u0103 din Foc\u015fani.<\/p>\n

Proglematica general\u0103 a lucr\u0103rilor de pictur\u0103 este o negociere \u2013 f\u0103r\u0103 tensiuni \u2013 \u00eentre un informal de factur\u0103 gestual\u0103 sau tachist\u0103 \u015fi apelul la form\u0103, fie ca delimitare a expansiunilor spa\u0163iale \u015fi configurarea \u2013 oric\u00e2t de vag\u0103 a unui topos \u2013, fie ca insert figurativ, fantastic-mimetic sau redus la semnele unor repertorii investite cu semnifica\u0163ii specifice unor segmente culturale ale complexei texturi actuale.<\/p>\n

\"\"<\/a><\/p>\n

\u00cen continuarea unor exerci\u0163ii de observa\u0163ie\u00a0 – subiectiv\u0103 \u2013 dar hedonist senzorial\u0103, dezvoltate \u00een seria \u201eGr\u0103dinilor\u201d, Liviu Nedelcu reg\u0103se\u015fte atrac\u0163ia peisajului. Spa\u0163iul dinamizat de gestul intens, expresionist, permite formei ce opereaz\u0103 subtext s\u0103 reconstituie aluziv peisajul. Regimul cromatic \u00eent\u0103re\u015fte sugestia peisagistic\u0103, prin bog\u0103\u0163ia acordurilor. \u00centr-o tradi\u0163ie postimpresionist\u0103, fertil prezent\u0103 \u00eenc\u0103 \u00een pictura noastr\u0103 contemporan\u0103 nu doar ca un decalaj de sensibilitate \u015fi regim conceptual, ci ca surs\u0103 de solu\u0163ii originale pentru reprezentarea subiectiv reconstitutiv\u0103, Alexandru R\u0103dvan (artist format \u00een chiar perioada interbelic\u0103) realizeaz\u0103 un peisaj industrial mai cur\u00e2nd melancolic-calofil \u015fi la limita abstrac\u0163iei. Men\u0163in\u00e2nd la r\u00e2ndul s\u0103u registrul melancoliei, tipic pentru ciclurile de pictur\u0103 cele mai recente, \u00a0Gabriela Culic reintegreaz\u0103 picturii dominate de griuri forme bine definite \u2013 volume arhitecturale \u015fi siluiete \u00eenchise \u00een sine de p\u0103s\u0103ri. Recuren\u0163a figurativismului genereaz\u0103, \u00een cazul lui Mihai Chiuaru, acele raporturi de suprapunere \u00eentre un spa\u0163iu complex articulat dintr-un continuu desf\u0103\u015furat \u00een timp de aluviuni material cromatice \u015fi pe de-o parte siluiete antropomorfe mai cur\u00e2nd sugerate \u015fi semne simbolice precis definite formal \u015fi semnificativ.<\/p>\n

Dinamismul spa\u0163ial este fondat pe aceast\u0103 condi\u0163ie temporal\u0103 activ\u0103 ca un imperfect al discursului predicativ, ca o nara\u0163ie ce precede \u015fi \u00eenglobeaz\u0103 nara\u0163ia figurat\u0103. Imaginea cel mai retoric figurativ\u0103, cu un regim fantastic, mai mult dec\u00e2t suprarealist cum ar p\u0103rea la o prim\u0103 lectur\u0103, distan\u0163eaz\u0103 pozi\u0163ia lui Felix Aftene de tropismul spre informal\u00a0 al majorit\u0103\u0163ii partici\u0103pan\u0163ilor la tab\u0103r\u0103. \u00cen cazul lui Tudor Zb\u00e2rnea, traseul spre abstrac\u0163ia liber\u0103, ce organizeaz\u0103 \u00een pete ample \u015fi imprecis delimitate, creeaz\u0103 tensiuni expresive prin contrapunerea unor zone neutre, aproape lipsite de culoare, sau rezolvate \u00een griuri cu arii intens colorarte printr-o materie abundent\u0103 \u015fi agitat\u0103.<\/p>\n

Stilistic, imaginile expuse de graficianul Drago\u015f P\u0103tra\u015fcu particip\u0103 la aceea\u015fi poetic\u0103 a dinamismului ce antreneaz\u0103 spa\u0163iul prin trasee\u00a0 consistente, articulate din fascicule de linii\u00a0 ce traverseaz\u0103 suprafa\u0163a. Cu toat\u0103 discontinuitatea \u015fi mi\u015fcarea sinuoas\u0103, liber\u0103, fasciculele fac aluzie la portativul nonconven\u0163ional al muzicii contemporane.<\/p>\n

Coerent dezvoltat\u0103 din expresionismul intens figurativ \u015fi narativ al anilor \u201880, sculptura ilustreaz\u0103 o alt\u0103 tipologie a libert\u0103\u0163ii operante \u00een cadrele reprezent\u0103rii. Aurel Vlad, reprezentant etalon al acestui traseu, desprinde un personaj din amplul ciclu dedicat gestului \u015fi semnifica\u0163iilor sale, ciclu \u00een aceea\u015fi m\u0103sur\u0103 provocant la nivelul plastic al repartiz\u0103rii volumelor \u00een mi\u015fcare, al tectonicii fisurilor, ca \u015fi la nivelul discursiv mai cur\u00e2nd \u00een comunicare cu spectacolul teatral dec\u00e2t literar epic. Acla\u015fi interes pentru discursul volumetric condi\u0163ioneaz\u0103 aspectul arhaizant al siluetei umane implantate \u00een spa\u0163iu cu acea masivitate static\u0103 a vechilor reprezent\u0103ri sumeriene, \u00een cazul lui Gheorghe Z\u0103rnescu, sculptor de o mare diversitate de preocup\u0103ri \u015fi \u00een permanent\u0103 prospectare a resurselor culturale de la minimalism la pop\u2019art, la aluzia istoric\u0103 sau la fondul filozofic-poetic al rela\u0163iei cu materialitatea \u015fi modelele formale ale naturii vegetale. Seduc\u0163ia siluetei feminine ca expresivitate deja filtrat\u0103 cultural, elocvent\u0103 prin detaliul anatomic cu prestan\u0163\u0103 volumetric\u0103 specific\u0103 \u00een varianta reductiv\u0103 de bust, este aleas\u0103 ca variant\u0103 de reprezentare de Alexandru Grosu, \u015fi \u00een imaginea umoristic realist\u0103, provocator narativ\u0103 semnart\u0103 de Ilie Bostan, sus\u0163ine \u015fi \u00een expozi\u0163ia taberei din 2013 repertoriul uneia dintre cele mai prestigioase \u015fi mai uzate teme ale sculpturii universale.<\/p>\n

Varianta de tab\u0103r\u0103 de crea\u0163ie independent\u0103 fa\u0163\u0103 de un topos bine definit, devenit pur spa\u0163iu colocvial, \u015fi \u00een care artistul \u00ee\u015fi continu\u0103 preocup\u0103rile atelierului, s-a dovedit fertil\u0103, expozi\u0163ia fiind bogat\u0103 \u015fi concludent\u0103 pentru un segment al artei contemporane r\u0103mas legat de problematicile intrinsec estetice, de limbaj.<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0Alexandra Titu.<\/p>\n","protected":false},"excerpt":{"rendered":"

Debutat\u0103 \u00een formula \u201eUn artist \u015fi prietenii s\u0103i\u201d, seria de expozi\u0163ii \u201eZece plus unu\u201d continu\u0103…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[13,14],"tags":[2336,848,1246,1654,2049,2176],"_links":{"self":[{"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/posts\/4201"}],"collection":[{"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/comments?post=4201"}],"version-history":[{"count":0,"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/posts\/4201\/revisions"}],"wp:attachment":[{"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/media?parent=4201"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/categories?post=4201"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artout.ro\/reviste\/blog\/wp-json\/wp\/v2\/tags?post=4201"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}