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he magazine was put together by the design department of “Visual Kontakt�.
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DESIGNERS Teodora Vișinescu Diana Flore Astrid Țîrlea
PHOTOGRAPHER Emil Costruț
MODEL Silvana Radu
ACCOMPANYING ARTICLES Alina Staicu Astrid Țîrlea 3
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Proto-Art & Proto-Gallery foreword
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he church starts transitioning from a place meant exclusively for worship, into a contemporary genre of space; a space where art (and an admittedly large palette of it) manages to seamlessly infiltrate painting, graphics, photography, and least but not last, Design with a capital “D”. The model collaborates with this ecclesiastical setting, filled with an unexpected secularism, but nonetheless very well fitted. She either
discretely infiltrates, as if she was meant to have always been there, or appears to be an intruder in this colossal clash of holiness and secularism, seeking sense and meaning. The end result is a photo shoot in which the character levitates, having sought for absolution, or becomes one of the exposed pieces of art, perfectly blending with her surroundings.
Astrid Țîrlea
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G allery the
An article by one of the organisers, and a member of contemporary to inactivity, usually art the Visual Kontakt team, of Alina Staicu imposed by the gallery and Michaelangelo. That is to
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he “Proto-Art & Proto-Galler y” exposition i n c l u d e s artworks created by a handful of contemporary artists — Andrei Ciurdărescu, Carlos Carmonamedina, Natasa Kokic, Lucian SzekelyRafan are just a few of them — which perfectly integrate in the sacred lieu, so that it interacts with the profile of the space in which the gallery goer is.
its comfort zone, permits a change of coordinates, and infiltrates, with all of its autonomy, in the spiritual space, intimate and at the same time social, of the onlooker.
The unconventional space associated with the exposition is the driving force behind the manifestation of contemporary art , and of a quintessential importance. It is a paradox, really: the unconventional location becomes usual, Thus, the visitor has the common, predictable. double role of being a spectator, and, foremost, a Churches, from Byzantine parishioner. The reception to Renaissance, and acceptance have been of the exposed “That is to say, one subjected to artworks are can conclude that the an art more due to, and in church was the first or less driven this context, form of manifestation by cult. The influenced by of contemporary art.” Sistine Chapel the location is considered to be a of the exposition; heresy even in present contemporary art times, but nonetheless transcends the boundaries it is representative of
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say, one can conclude that the church was the first form of manifestation of contemporary art. st In the 21 century, objects of contemporary art are not an uncommon sight in places of worship. Rothko has built a Chapel which is rather an installation; The Dominican Abbey from Steyr offers shelter to artists, and also houses their expositions; the Dome of Linz is still home to the monumental chefsd’oeuvre of Robert Moser. Visual Kontakt has initiated a course of action, based on these premises, in a Greek-catholic church.
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artwork by
NATASA KOKIC
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She either discretely infiltrates, as if she was meant to have always been there, or appears to be an intruder in this colossal clash of holiness and secularism, seeking sense and meaning.
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In the 21
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century, objects of contemporary art are not an uncommon sight in places of worship.
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page 16-17
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Organised by Visual Kontakt Oradea
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Teodora Vișinescu Astrid Țîrlea Diana Flore Teodora Vișinescu Diana Flore Diana Flore Diana Flore Teodora Vișinescu Diana Flore Diana Flore Diana Flore Diana Flore Astrid Țîrlea
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or inquiries regarding pricing/availability/ custom orders/general questions, e-mail one of the following (click on the name): Astrid Țîrlea Diana Flore Teodora Vișinescu
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