<\/p>\n
\n
<\/p>\n
ARCUB, the
\nacronym of Bucharest’s Cultural Centre, jointly with the Romanian Fine Artists Union
\nhave recently brought ot the attention of art lovers anew edition of a project
\nthemed Arts in Bucharest. This years the project title was Deco ReMake, a
\nplethora of exhibitions, workshops, conferences and masterclasses, all focusing
\non decorative arts. A 360-degree view of the decorative arts, from the perspective
\nof curatorial concepts and contemporary artistic practices. The Deco ReMake
\nproject has been structured around several central exhibitions mounted in
\nvarious dedicated areas around the capital city. The project took shape out of
\nthe wish to educate the lay public, at once getting it acquainted with
\ntechniques and specific procedures used in the manufacturing of decorative art
\nobjects. We sat down and spoke with the Deco Remake’s general coordinator, Dorina
\nHor\u0103t\u0103u. She gave us details about how the project came into being, about
\nits directions and about the organizing team.<\/p>\n
\n
<\/p>\n
<\/p>\n
Arts in Bucharest has now seen its 9th edition, an edition
\ndedicated to the decorative arts. We have been making our research for the titles,
\nand, of the shortlisted titles we came up with, we opted for Deco ReMake, which,
\nfor me, is an appropriate label for resetting, an updating of the decorative earts,
\nthat is. In what specific way? The major arts borrow a great deal from the
\ndecorative artist’s basic techniques, yet they restructure them according to
\nseveral principles of contemporary art and, furthermore, according to a concept.
\nA great many of the artists activating in the area of the decorative arts find
\nit rather hard to overcome that barrier of a message capable of getting deeply involved
\nin what happens in the present-day world. In the previous editions, the decorative
\narts were embedded in the major arts, they were less powerful. In a project,
\nyou lay things, you build, you get results, there is an impact for the others. Apart
\nfrom the exhibitions, we wanted the decorative artists to go public, so that
\nthey can show everyone how they actually make those objects, those works and what
\nthe underlying technology was. We have some recipes. It is important how you
\nuse all those recipes and formulas for the materials you have and how you convey
\nthe message you, as an artist, have, into a shape that transmits something, so
\nthat everything turns into a on object with a message. Oftentimes you pursue,
\nand there is glaring evidence of that kind of pursuit, the intention of focusing
\non the connection with the conceptual and with the dialogue with the public,
\nmeaning you want to incite, to make things more problematic. This year, the
\nwork we had was tremendous, for the production of the exhibitions, we did that
\nwith the general curator Ana Negoi\u021b\u0103, Georgiana Cozma and Marian Gheorghe. It
\nis high time a dialogue took place, between what happens to the youngsters and
\nthe old guard.<\/p>\n
\n
<\/p>\n
<\/p>\n
Here is
\ngeneral curator, Ana Negoi\u021b\u0103, giving us details on the artistic concepts and
\ncriteria that generated Deco ReMake:<\/p>\n
\n
<\/p>\n
<\/p>\n
There are two oddities in this project, oddities we accept since we’ve grown accustomed to taking the
\nrough with the smooth, which means that ours is a project that did not start off
\nfrom a curatorial concept, with the works revolving around a particular concept,
\njust as it happens very often, which is common practice, instead, it started
\noff from an organizing project, a project that got the branch closer together,
\nthe Decorative Arts Branch, which means textiles, glass, metal, ceramic, in a bid
\nto get those people closer together, through a discourse that needed to be
\nsaid. And it is here that the curatorial team plays its part, as it is not
\nmyself alone, all of us, at one point, took the responsibility of such a role
\nand it was a dialogue, it was interdisciplinary work, since I hail from the theoretical
\nperspective, my colleagues have the practical perspective as well as that of
\nthe practicing artist, so we had to get all those objects together, with no
\ncuratorial criteria whatsoever, which is in no way easy, mounting an exhibition
\nwith no curatorial standards, conceptually speaking, so that they, together,
\ncan have a unitary discourse. And the running thread was for us to pursue that
\nin every dedicated area, to give a contemporary touch to decorative arts, since
\nit is very important, we’re still fighting for the decorative arts a little bit,
\nthey have static dimension so they need to be taken to object installations and
\nto interdisciplinary structures within the decorative arts, meaning they no
\nlonger are just textile or metal, the mixed techniques translate into a certain
\nperspective on the object from the viewpoint of the installation, and even into
\na performative structure, just as the video area is. Which is very important, and
\nin no way easy to integrate that kind of discourse into a generation of seniors.
\n<\/p>\n
\n
<\/p>\n
<\/p>\n
Last but
\nnot the least, the Fine Artists Union’s President, Petru Lucaci, shared his
\nopinion with us, on the Deco ReMake project. <\/p>\n
\n
<\/p>\n
<\/p>\n
It is a project we initiated many years ago and which has already seen several
\neditions that were carried against various backdrops and in various locations.
\nWe have been trying to widen our interest area in as many domains as possible,
\nsince the Fine Artists’ Union, apart from the fact that it has more than 6,000 members,
\nit also has, like, 10 different career paths, departments trying to promote
\ntheir image and promote their activity as well. This time we have tried to prioritize
\nthe decorative arts, not only because the domain has become a major art area.
\nIt is an innovative register, it is welcomed, in the long run rounding off the contemporary
\nart scene with significant stuff. As we speak, the decorative arts section looks
\nperfect to a fault. The picture rail is a museum rail, it has bene renewed, it
\nis an area where each and every work is capitalized on and the relationship between
\nthem is expressive and interesting, it is provoking. The Fine Artists’ Union
\nhas a tremendous potential, it has so many members who are very interesting, as
\ndistinct individuals. Yet it is more difficult to get them together and create
\nevents capable of supporting them in every respect, and also from this
\ncuratorial perspective. It is an exemplary pattern of behavior. As of late, in
\nrecent years, we have been trying to hang on to that particular type of visual discourse.
\nThat is how they can put an elevated exhibition area together, an area of
\ninterest, capable of truly emphasizing something on Romania’s contemporary art
\nscene.(EN)<\/p>\n
\n
<\/p>\n
<\/p>\n
\n
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The Deco ReMake project<\/p>\n","protected":false},"author":127,"featured_media":163993,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[44685],"tags":[33514,45148,45150,32349,45149],"coauthors":[],"class_list":["post-163992","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-world-of-culture","tag-art","tag-decorative","tag-discourse","tag-exhibition","tag-visual"],"acf":[],"yoast_head":"\n