Few Were Happy with their Condition
Dan Acostioaei, Jozsef Bartha, Claudiu Cobilanschi, Stefan Constantinescu, Alexandra Croitoru, Cristina David, Bogdan Girbovan, Alex Mirutziu, Monotremu, Ciprian Muresan, Vlad Nanca, Cristi Pogacean and Stefan Sava are part of a generation consumed by an existential struggle, an oscillation between optimism and resignation and a desire to build despite the many obstacles it faces. Their works look outward with critiques of society, the political climate and social injustice, backward toward the country鈥檚 dark past, but also inward, with personal narratives and reflections on the human condition. As a counterweight to the current image of Romania as a country of important painters, the time was ripe to allow this generation to also present a different, more critical position.
In a second part of the exhibition, Dan Perjovschi combines temporary drawings which intervene onto the Kunsthalle鈥檚 windows and glass doors and explore topical issues characteristic of the artist鈥榮 practice with snapshots of street graffiti that has either been whitewashed or otherwise eliminated. The contrast between the two modes of mark-making highlights the duality with which we approach what we call graffiti, one sanctioned by the art world and restricted to the elite confines of the museum, while the other existing surreptitiously in public space at the constant risk of censure by the authorities controlling that space.
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Dan Acostioaei, Jozsef Bartha, Claudiu Cobilanschi, Stefan Constantinescu, Alexandra Croitoru, Cristina David, Bogdan Girbovan, Alex Mirutziu, Monotremu, Ciprian Muresan, Vlad Nanca, Cristi Pogacean and Stefan Sava are part of a generation consumed by an existential struggle, an oscillation between optimism and resignation and a desire to build despite the many obstacles it faces. Their works look outward with critiques of society, the political climate and social injustice, backward toward the country鈥檚 dark past, but also inward, with personal narratives and reflections on the human condition. As a counterweight to the current image of Romania as a country of important painters, the time was ripe to allow this generation to also present a different, more critical position.
In a second part of the exhibition, Dan Perjovschi combines temporary drawings which intervene onto the Kunsthalle鈥檚 windows and glass doors and explore topical issues characteristic of the artist鈥榮 practice with snapshots of street graffiti that has either been whitewashed or otherwise eliminated. The contrast between the two modes of mark-making highlights the duality with which we approach what we call graffiti, one sanctioned by the art world and restricted to the elite confines of the museum, while the other existing surreptitiously in public space at the constant risk of censure by the authorities controlling that space.
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