Laurian Popa: Tárgyak az árny mögött
Az utóbbi ötven év művészeti gyakorlatában a tárgy, bármilyen banális tárgy, megerősítette a pozícióját a kortárs művészet területén. A múlt század kezdetétől errefelé, a híres duchampi ready made-ekkel egyidőben, a tárgy nem-rendeltetésszerű használata az ábrázolások és gyakorlatba ültetett ötletek centrifugális mozgását generálta, és számtalan átváltozás-folyamatot. A nézőben gyakran merültek fel kérdések az eredeti tárgy valós hovatartozását és anyagiságát illetően, s annyival inkább a tárgyak asszociációira vonatkozóan, mely a jelentés gyors eltűnését eredményezi. A tárgy identitása a kommunikáció egyfajta kitágulásává változott, reflexszé vagy kereskedelmi torzulássá, ahogy a pop-artnak, ennek a kombinatorikus művészetnek az esetében is történt, mint Rauschenberg műveiben, a New Dada megnyilvánulásaiban, vagy humoros sagává, ahogy a Fischli & Weiss színházi installációiban megjelenik, hogy csak néhány példát idézzünk. Az élettelen tárgyak világa, melyeket kiutasítottak eredeti funkcionális és kereskedelmi környezetükből, és ezzel és megfosztották tőle, tökéletesen leírja Laurian Popa kifejezési eszközeit, melyek viszonyulásmódja személyes és absztrakt és figuratív egyidőben. A Laurian jegyezte művekben a kölcsönös hatások és interferenciák komplex kapcsolatokat hoznak létre a művészi technika és nyelvezet között, hiányzó marginális szereplőkre utalnak, akiket azonban vizuálisan körvonalaznak a távolítási és építkezési technikák, melyek a jelenlét–hiány váltakozást biztosítják, ez pedig, mondhatnánk, a tárgyak bemutatásának technikájával képez ellentétet. Az előző, 2014-es, az Aradi Szépművészeti Múzeumban megrendezett kiállításon Laurian a színházi kellékekből indult ki, egy egész színpadi arzenálból, melynek elemei megrongálódtak, elhasználódtak – ezeket a művész újrahasznosította, és új szerepet bízott rájuk egy új, saját eredeti darabban, egy figuratív és absztrakt narrációt épített fel általuk, mely akkor a kompozíciós módszert és a tematikus értelmezést szolgálta. Ugyanezek a korlátozott és absztrakt térbe vetett tárgyak jelennek meg most a Futás után című kiállításban a csíkszeredai Kriterion Galériában. Az önazonosság elvesztése az emlékezet elvesztésébe csap át, és fordítva, a saját maga ellen fordult tárgy az utca embereinek lassú, a versenyfutás végén levő versenyző mozgását kapja el, méghozzá egy ideiglenes és szándékolatlan ready made képben. Egy tárgy többféle projekciója (a paplan például hol sárga, hol piros) több különváló szakaszban jelenik meg, mikro-narrációk alanyaként, és párhuzamos, befejezetlen cikkcakkban olvad fel, a színek olyan robbanásában, mely az elsődleges rendeltetésüktől megfosztott tárgyak mozaikjai
között történik. Miközben az utca emberei, akik egyáltalán nem jelennek meg ezekben a munkákban, láthatatlan, hívatlan árnyak csupán, az üldözött élet nyomai ezekben a jelenlétüktől megfosztott terekben. A neuroesztétika bizonyos módszerei hasznosak lehetnek ahhoz, hogy megértsük, miért asszociálja Laurian „a kényelmet és a lustaságot” az eldobott paplanokkal, ahogy a kiállítás bemutatkozó szövegéből megtudjuk. Ugyanígy megtudhatnánk, hogy az a pokróc, mely gyerekkorában a nővéréé volt, most miért egy négyszögű totem mágikus ruhája. Ugyancsak a neuroesztétika nyújthatna egyféle Ariadné fonalát ahhoz, hogy behatolhassunk azokba a mértani struktúrákba, az onirikus gyűrűk egymásmellettiségébe és a színek kavalkádjába, a tárgyak szövetségébe és a finom reflexív, majdnem metafizikus referenciákba – melyek egytől egyig olyan elemek, melyek a művész kétségbevonhatatlan alkotói érettségéről beszélnek, és egy immár teljességgel kialakult művészet pontos ikonográfiájáról adnak hírt. Claudio Scorretti Művészi tanácsadó, kurátor Fordította Demény Péter
Laurian Popa: Obiecte dincolo de umbră
În practica artistică a ultimilor 50 de ani, obiectul, oricât de banal, şi-a consolidat propriul spaţiu pe teritoriul artei contemporane. Odată cu începuturile secolului trecut, cu celebrele ready made duchampiene, folosirea improprie a obiectului a generat o mişcare centrifugă de reprezentări şi de invenții aplicate, nenumărate procese de metamorfoză. Spectatorul s-a interogat adesea asupra apartenenţei reale şi asupra materialității obiectului-matrice, cu atât mai mult în cazul asocierii între obiecte, destinate unei rapide combustii artistice a semnificațiilor. Identitatea obiectului a devenit un fel de extensie a comunicării, un reflex sau o distorsiune comercială, cum s-a întâmplat în cazul pop art -ului, un hibrid de artă combinatorie, ca în lucrările lui Rauschenberg, în manifestările New Dada, o saga umoristică așa cum apare ea în instalațiile teatrale ale lui Fischli & Weiss, pentru a cita câteva exemple. Lumea obiectelor lipsite de viaţă, expulzate şi deposedate de contextul lor funcţional şi comercial descrie registrul expresiv al lui Laurian Popa, într-o abordare personală, deopotrivă abstractă şi figurativă. În lucrările semnate de Laurian, influențele şi interferențele reciproce produc corelări complexe între tehnica artistică şi limbaj, cu trimiteri la personaje marginale absente, dar recuperate vizual printr-o tehnică de distanțare şi de construire a alternanței prezenţă/absenţă aflată în opoziţie, am putea spune, cu tehnica de prezentare a obiectelor. În expoziția precedentă din 2014, organizată la Muzeul de Artă din Arad, Laurian pornea de la recuperarea recuzitei teatrale de culise, a unui întreg arsenal de elemente scenice refuzate, deteriorate, scoase din uz, refolosite de artist şi reinvestite cu un nou rol într-o insolită piesă proprie, servind unei narațiuni figurative şi abstracte, în același timp, care corela atunci metoda compozițională şi interpretarea tematică. Aceleași obiecte ancorate într-un spaţiu delimitat şi abstract reapar acum în expoziția După fugă..., la Galeria Új Kriterion din Miercurea Ciuc. Pierderea identității se transferă în pierderea memoriei şi invers, obiectul întors asupra lui însuşi capturează mișcările lente, de final de cursă, ale oamenilor străzii, într-un tablou ready made provizoriu şi involuntar. Proiecția multiplă a unui obiect (plapuma, de pildă, când galbenă, când roșie), defalcată în secvențe distincte, construite în micro-narațiuni, se topeşte într-un zigzag paralel, neterminat, într-o explozie de culori care izbucnesc printre resturile obiectelor deposedate de rolul lor principal. În timp ce oamenii străzii, care nu apar deloc în aceste lucrări, sunt umbre invizibile,
clandestine, urme ale vieţii hăituite în aceste spații golite de prezența lor. Anumite metode ale neuroesteticii ar putea fi utile pentru a înţelege, de exemplu, de ce Laurian asociază „confortul şi lenea” cu plapumele abandonate în picturile sale, așa cum rezultă din statement-ul expoziției. Tot astfel am avea un indicator în plus pentru a înţelege de ce pătura care a aparținut surorii sale în copilărie a devenit acum haina magică a unui totem pătrat. Tot neuroestetica ne-ar putea oferi un fir al Ariadnei pentru a pătrunde în structurile geometrice, în alăturarea de inele onirice şi în aglomerarea de culori, în alianţă de obiecte şi subtile referințe reflexive, aproape metafizice – toate, elemente care vorbesc despre incontestabila maturitate creatoare a artistului şi descriu, deja, iconografia precisă a unei opere profund articulate. Claudio Scorretti Galerist, curator
Laurian Popa: Objects Beyond the Shadow
In the artistic practice of the last 50 years, the object, however ordinary, has consolidated its own realm on the territory of contemporary art. With the beginnings of the last century and the famous ready made objects by Duchamp, the improper use of the object has generated a centrifugal movement of representations and applied inventions, alongside countless processes of metamorphosis. The spectator has often questioned about the object's real origin and about its materiality – and even more when it came to the association of objects, which became subjects to a rapid artistic combustion of significants. The identity of the object has been turned thusly into a sort of extension of communication, a reflection or a commercial distortion, as it happened with Pop Art, a hybrid of combinatoric art, like in Rauschenberg's works, in the New Dada manifestations, or a humor-filled saga the way it appeared in the theatrical installations of Fischli & Weiss, just to quote but a few examples. The world of lifeless objects, expelled and stripped of their functional and commercial context identifies Laurian Popa's particular expressive path, in a personal approach, at the same time abstract and figurative. In his works, the mutual influences and interferences produce complex correlations between the artistic technique and language, with allusions to absent marginal characters, but who are recovered visually through a technique of distantiation based on the alternation between presence and absence, which is opposed, one could say, to the technique of presenting the objects. In his previous exhibition of 2014 organized at the Museum of Art in Arad, Laurian would start there from recovering the back stage props, a whole series of refused stage elements, deteriorated, not functional any longer, which have been reused by the artist and reinvested with a new role in the artist's new original play, aimed to serve therefore to a figurative and abstract narration, which at that time put together the compositional method with the thematic approach. The same objects anchored in a delimited and abstract space reappear now in the exhibition After the escape..., at the Új Kriterion Gallery in Miercurea Ciuc. The loss of identity goes to the loss of memory and vice versa, the object turned to itself captures the slow motions, as if of end of race, of the homeless people, in a ready made picture, involuntary and ephemeral. The multiple projection of an object (the duvet, for instance, now yellow, now red), separated in distinct sequences, constructed in micro-narrations, melts in a parallel zigzag, unfinished, in an explosion of colours which burst among the remains of objects deprived of their
principal role. All this while the homeless, who never appear physically in these works, are like shadows of a haunted life in these spaces devoid of their presence. Certain methods of Neuroaesthetics could be helpful in order to understand, for instance, why Laurian associates “comfort and laziness� with the abandoned duvets in his paintings, the way he asserts in his statement for this exhibition. The same way we may have a further clue to understand why the duvet that belonged to his sister during her childhood has become the magic cloth of a square totem. The same Neuroaestetics could provide us with the Ariadne's thread able to lead us through the geometrical structures, in the junction of dreamlike rings and in the agglomeration of colors, in the alliance between objects, subtle almost metaphysical references – all, elements which clearly speak about the incontestable maturity of the artist and delineate already the precise iconography of a deeply articulated work. Claudio Scorretti Art advisor, Gallerist
Cím nélkül, 60 x 70 cm latex, akril, papír, 2015
Arany paplan, 160 x 215 cm, olaj, våszon, 2014  Arany paplan, 200 x 140 x 10 cm, 2014
A fekete doboz, 70 x 100 x 40 cm, fa, textil, forex, cement, latex, 2015 A legjobb barátom, 80 x 120 cm, olaj, vászon, 2014
Vรถrรถs paplan, 150 x 200 cm, olaj, vรกszon, 2015
Organikus cím nélkül, 30 x 40 cm, olaj, vászon, 2015
Organikus rajzok, 1–28 db., 30 x 42 cm, 2015
Zöld polc, 57 x 70 cm, olaj, vászon, 2014 Katona, 30 x 40 cm, olaj, vászon, 2014
KĂŠk doboz, 51,5 x 70,5 cm, olaj, vĂĄszon, 2015
Szarvasok, 130 x 160 cm, olaj, vรกszon, 2015
Koponya lufikkal, 50 x 70 cm, olaj, vรกszon, 2014
Zรถld polc, 130 x 160 cm, olaj, vรกszon, 2015
Szakadt szék, 130 x 160 cm, olaj, vászon, 2013, Ruha, 90 x 60 x 50 cm, gyapjú, fa, 2015
Szürke padló, 62 x 79 cm, olaj, vászon, 2015
Terek és tárgyak az enyészetnek (pamlag részlet), 80 x 130 cm, olaj, vászon, 2014
Sรกrga kert, 130 x 160 cm, olaj, vรกszon, 2014
Popa Laurian Constantin
b. 1980, Arad, Romania Personal exhibitions, selection 2014, Spaces and objects for nothing, Arad Art Museum 2012, Closed Spaces, Machina Gallery, Rieti, Italy 2011, Black Sky, D’Anconabudis Gallery, Bucharest 2010, Signs among Clouds and Traces, Atelier 0302020 Contemporary Art Space, Bucharest 2009, Synthetic Experiment Gallery, Teatrul Vechi, Arad 2007, No name, Debrecen, Hungary 2005, Superstar, German Cultural Centre, Timişoara 2005, Very colourful 2, Delta Gallery, Arad 2004, Very colourful, Mansarda Gallery, Timişoara Scenography 2012, The Bear, Ioan Slavici Classical Theatre, Arad 2009, Tartuffe, Ioan Slavici Classical Theatre, Arad 2008, Push-up, Sică Alexandrescu Theatre, Braşov 2008, Swansong, Ioan Slavici Classical Theatre, Arad 2008, Decalogue, Ioan Slavici Classical Theatre, Arad
Organikus rajzok 3., 5., 30 x 42 cm, 2015
Lista lucrărilor / List of the Artworks
Fără titlu, 60 x 70 cm, latex, acril pe hârtie, 2015 / Untitled, 60 x 70 cm, latex, acrylics on paper, 2015
Podea gri, 62 x 79 cm, ulei pe pânză, 2015 / Grey Floor, 62 x 79 cm, oil on canvas, 2015
Plapuma de aur, 200 x 140 x 10 cm, 2014 / The Golden Quilt, 200 x 140 x 10 cm, 2014
Spații și obiecte pentru nimic (bucată de canapea), 80 x 130 cm, ulei pe pânză, 2014 / Spaces and Objects for Nothing, 80 x 130 cm, oil on canvas, 2014
Plapuma de aur, 160 x 215 cm, ulei pe pânză, 2014 / The Golden Quilt, 160 x 215 cm, oil on canvas, 2014 Cutia neagră, 70 x 100 x 40 cm, lemn, material textil, forex, ciment, latex , 2015 / Black Box, 70 x 100 x 40 cm, wood, textile, forex, cement, latex, 2015 Prietenul meu cel mai bun, 80 x 120 cm, ulei pe pânză, 2014 / My Best Friend, 80 x 120 cm, oil on canvas, 2014 Plapuma roșie, 150 x 200 cm, ulei pe pânză, 2015 / Red Quilt, 160 x 200 cm, oil on canvas, 2015 Organic fără titlu, 30 x 40 cm, ulei pe pânză, 2015 / Untitled Organic, 30 x 40 cm, oil on canvas, 2015 Desene organice, 28 de desene, 30 x 42 cm fiecare, 2015 / Organic Drawings, 28 drawing, 30 x 42 cm each, 2015 Raft verde 1, 57 x 70 cm, ulei pe pânză, 2014 / Green Shelf 1, 57 x 70 cm, oil on canvas, 2014 Soldat, 30 x 40 cm, ulei pe pânză, 2014 / Soldier, 30 x 40 cm, oil on canvas, 2014 Cutia albastră 51,5 x 70,5 cm, ulei pe pânză, 2015 / Blue Box, 51,5 x 70,5 cm, oil on canvas, 2015 Cerbi 130 x 160 cm, ulei pe pânză, 2015 / Deer's, 130 x 160 cm, oil on canvas, 2015 Craniu cu baloane, 50 x 70 cm, ulei pe pânză, 2014 / Skull with balloons, 50 x 70cm, oil on canvas, 2014 Raft verde, 130 x 160 cm, ulei pe pânză, 2015 / Green Shelf, 130 x 160 cm, oil on canvas, 2015 Haina, 90 x 60 x 50 cm, lână, lemn, 2015 / Clothes, 90 x 60 x 50 cm, wool, wood, 2015 Scaun rupt, 130 x 160 cm, ulei pe pânză, 2013 / Broken Chair, 130 x 160 cm, oil on canvas, 2013
Gradina galbenă, 130 x 160 cm, ulei pe pânză, 2014 / Yellow garden, 130 x 160 cm, oil on canvas, 2014 Organic 3, desen, 30 x 42 cm, 2015 / Organic 3, drawing, 30 x 42 cm, 2015 Organic 5, desen, 30 x 42 cm, 2015 / Organic 5, drawing, 30 x 42 cm, 2015