(Romanian version at the final of the text – versiunea în limba română este găsită la finalul textului)
I woke up in my second year of teaching as a substitute teacher at the ”Sigismund Toduță” Art School in Deva, and in the studio where I did all the activities, whether professional-personal-artistic, or professional as a teacher, I had at my hand a full suit of keys from the school. Among them where the keys from the ”from the Hill” Art Gallery. So, at the initiative of the boring summer of 2017, I decided to use this opportunity and put a set of works, small or large photographic installations on the wall, to view them, and photograph them.
What developed later was something more interesting. At leas for me, both as the creator and as the ”visitor”.
What was developed was a ”Gallery in Transition” which, from week to week, housed other works, ideas and expression solutions on the white wall.
GALLERY IN TRANSITION
– Incursion in the impeccable white –
I don’t think that what I called ‘Gallery in transition’ is really a project. It could be easily confused with performance, or with a happening; but without a public, both of the last two have no applicability, so I remained at the title of ‘project’.
So, the project ‘Gallery in Transition’ was born as a product that was brought to solve me a major shortage of mine as an young artist, respectively that of the exhibition exercise – that is, playing the show one might say, but without the public, and without boredom the vernissage, and the dull speech, or long periods of time in which the walls of the gallery become monotonous. Trying not to talk about the artists that are using other techniques and artistic environments, the young artist who chooses to express through photography (both direct and individual photography, and the photomontage or photographic sequence, or other derivatives thereof), without a space in which they can view their photos physically, on a with wall, especially today, when the new digital mediums are trying to simulate as many aspects of reality as possible, fooling the eye of the artist which has a minus when they face up with an immaculate wall, invited by a gallery, or a curator to install their works.
I have tried countless computer simulation variants and methods of an exhibition, I’ve even come to learn specific software for architecture, to simulate the space of a gallery, as Sketch-up, calculating each wall in a particular gallery, the scaling each height, width and distance of each individual photograph. I even created small video presentations of these 3D simulations. Nothing compares, and nothing can simulate the sound and the echo of the hammer that beats the first nail, needle or hook on the wall of the gallery. And nothing will simulate the feeling that you have while thinking at what if I had to put that first nail three centimeters higher (?) or three centimeters to the left(?).
Besides, the exercise that i produced individually, involuntarily and unconsciously in the ”from the Hill” Gallery forced me to make more prints, more constantly, and more consciously; moreover, I discovered that for the sake of the composition, fluidity and coherent, and aesthetic consistency of the photographic installation, no matter how conservative you are with your practice, you can also allow yourself to reprinting the photos in different dimensions. And such experiences have made me realize that regardless of the screen performance and calibration of the printer used, what the creator sees in the backlit pixels on the scree differs greatly from the environmental illumination of the ink dots from the printed rezult that you are tear it, one afte the other, torn them nervously until the work that you decide to hang on the wall is coherently related to the desire of your vision.
Access to a white wall or white space where young creators can experience with different types and ways of installing a possible exhibition that can make a real contribution to their awareness of their whole artistic approach is, in my opinion crucial. For whatever creation, and regardless of the creator, the purpose and finality of any gesture, and whatever technique or medium, lies on the white wall, or in the space of the gallery. And this requires exercise, because only through repetition of mistakes and successes appears the stratification/the structuring of the experience, later of the success.
And this is for me, today, the ”from the Hill” Art Gallery at ”Sigismund Toduță” Art School from Deva, where I teach as a qualified substitute for over two years. This space I turned it, transformed it in the summer of 2017 into the ”Gallery in Transition”, because if not daily, then weekly I were made some changes, some parts of the installation, small or larger ones. And in that moments I tried to empathize with the visitors, either informed and abil ones, or unfamiliar with art, my creative process and exercise leaves the lab, or the printer, in the workshop, and finishes in the gallery, in the white wall, beaten needles into it. During this time, a naturally and involuntarily but personal gesture of experimenting in and with the wall started, and because of some economic factors that have removed me from the possibility of framing my work I have come to the needles version. And thus, with the lack of vertical and horizontal wood, cork or paper of the frames and passepartout broke the encapsulation of my little photographic compositions, the relationship between the photos flattened and have coagulated by the white of the wall, being introduced into the organic, the anatomy and the architecture of the space. In this controlled way I discovered the consistency and the quality of some exhibitions that marked me from artists such as Tillmans, or Yamamoto. And with their influence, and with personal inspiration from philosophy, theory or essays from some authors as Susan Sontag, John Berger, or Vilém Flusser, I have come up with works such as ”Green Cityscape #1”, ”Painting with blue” or ”Hands helping hands to make other hand”, which ere designed after the first incursion with the freedom for access to a simple white space.
Concluding, the ”Gallery in Transition” project is not, or must not be under the influence of a project title in its conventional sense, but may remain in the simplicity of the natural sphere of author‘s gesture, the incursion with creativity, and the state of creation through a personal, individual and solitary exercise – or, of course, we can also call it performance, or especially happening, because none of the headmasters of the ”Sigismund Toduță” Art School in Deva knew that under the school cafeteria, in the ”from the Hill” Gallery, there is a contemporary and very vital creation act. For if not under the institutional dome of an Art School, which acts as an artistic incubator, and offer space and accommodation to the contemporary art, then where?