Fragments of our identity
Szeretném, ha minden művész szem előtt tartaná a társadalmi felelősséget, függetlenül attól, hogy melyik művészeti ágban dolgoznak. Lucy Lippard Cosmin Moldovan legutóbbi szoborciklusát, mely a Fragments of our identity címet viseli, sikerrel tesztelték egy egyedi licit alkalmával az aradi Művészeti Múzeum Ovidiu Maitec termében ez év augusztus-szeptemberében. A csíkszeredai Új Kriterion Galéria, mely kétségtelen tekintélyre tett szert a mindig figyelmesen kiválogatott leghatásosabb kortárs művészek promoválása révén, meghívta az aradi művészt, hogy állítsa ki a legújabb műveit egy olyan konfigurációban, mely ennek a kiállítótérnek a sajátosságaihoz alkalmazkodik. A teljes ciklus annak a sorozatnak a véglegesítését jelenti, mely a kelet-európai ember sorsára fókuszál a sztálinista és posztsztálinista Kelet-Európában. Cosmin Moldovan, aki a temesvári művészeti főiskola neveltje, a posztmodern időkben formálódott, de komolyan érti a modern művészetet, és elsősorban a szobrászatot. Az a forma, melyet a művész gyakorol, nem más, mint „a forma lerombolása”, amit a XX. századi szobrászat fedezett fel és gyakorolt. A formát azért rombolják le, hogy újabb érzékenységet formáljanak. A modernizmus, emlékezzünk csak, a nyelvezet autonómiáját, a stilisztikai egységet, a forma tisztaságát támadta meg. Olyan alkotókra gondolunk, mint Piet Mondrian a festészetben vagy Brâncuși a festészetben. A posztmodern vegyítette a stílusokat, a dekonstrukciót és a töredék kultúráját képviselte. Az a posztmodernizmus, melyet most élünk, a felületesség és a szórakoztatás kultúrája. Cosmin Moldovan a posztmodern hódításakor strukturálta képzeletét, attitűdje pedig az X nemzedékével azonos (melyet az észak-amerikai térben határoztak meg így): irónia, cinizmus és szarkazmus. Ez a magatartás a kiábrándulás talaján szökkent szárba, és a modern és a kortárs (kommunista és nemcsak) társadalmak menete váltotta ki. Az élesen pamfletszerű nyilak az ellen a társadalom ellen irányulnak, melyben az embert minden lépésre traumatizálják a durva, támadó ideológia kinövései, melyet gyakran ostobaságok és súlyos abszurditások tarkítanak.
A rendszer rendszeresen arra törekedett, hogy végigvigye a projektjét: új, identitás nélküli embert alkosson, akit megsemmisít a proletár internacionalizmus bolsevik ideológiája – ez a jelenség folytatódik a globalizáció nivelláló jellegének „köszönhetően”. A fának a marokcsiszolóval durván lecsiszolt felületén helyenként nyomok látszanak a hagyományos népviseletből, mely véletlenszerűen maradt meg a múlt „vöröses”, ahogy a művész nevezi, csípős időszaka után. A művész neodada-expresszionista kóddal „olvasható” alkotó formulája, hogy az emberi alakok töredékekből alakulnak ki, ironikusan humoros, üzenete pedig siralmasan nevetséges. Az, ami első látásra mosolyt fakaszt, figyelmesebb pillantásra értésedre adja, hogy intenzív, évtizedeken át húzódó szenvedést rejt magában, melynek járulékos következményeit a mai napig nyögjük. A belső (jellembeli, morális és spirituális) újraszerveződés annyira romboló hatású volt, hogy nehezen látjuk a valós felépülés lehetőségét. Ennek a világegyetemnek, melyből Istent kiűzték, a két alapvető szimbólum, a sarló és a kalapács az alfája és az omegája. Cosmin Moldovan ezeket a jelképeket használja, meg még másokat is a műveiben. Az öklödnek nincs esze című munka például jellemző a szerző csípős iróniájára, mellyel egy olyan rendszer irányába, aminek legfőbb célja az volt, hogy irtsa ki az emberi tudatból a szent, a művészi áldozat hite megváltó erejének fogalmát. A munkák címéből, mely poémák és pamfletek címének tűnik, irónia és kérlelhetetlen szarkazmus árad. Ha a poémát szavak alkotjáj, Cosmin Moldovan szobrászati poémái megtestesült szavakból állnak: ember, nyomás, kalapács, ütés, rozsdás szeg, sarló, csavar, vér, kínzás, halál stb. Cosmin Moldovan minden munkáját vagy ciklusát nagy formátumú tehetségére alapozza, melyet figyelemreméltó művészi intelligencia irányít, mely nagyszerű arányérzékkel ruházza fel az anyag kifejező erejét, a művészi elemek, a formai artikulációk és a színvilág üzenetét illetően. A művészi nyelvezet uralása, a képzelet konkrét strukturálódása, a kulturális horizont és mindannak figyelmes követése, ami ma a művészetben történik – mindez nemzedéke egyik leginkább figyelemre méltó szobrászává teszik Cosmin Moldovant. Onisim Colta Fordította Demény Péter
Fragments of our identity
Mi-ar plăcea ca toţi artiștii să fie responsabili social, indiferent care este arta lor. Lucy Lippard Cel mai recent ciclu de lucrări de sculptură semnat de Cosmin Moldovan, situat sub titlul „Fragments of our identity” a fost testat cu succes printr-o panotare unică la Muzeul de Artă Arad, sala Ovidiu Maitec , în august-septembrie 2015. Galeria Új KRITERION din Miercurea Ciuc, care și-a câștigat un prestigiu incontestabil prin promovarea mereu atent selectivă a celor mai de impact artiști contemporani, i-a făcut o invitaţie artistului arădean să expună cele mai rcente lucrări într-o noua configuraţie adapatată spaţiului acestei galerii. Întregul ciclu de lucrări expuse, reprezită finalizarea unui concept / comentariu plastic focalizat în special pe destinul omului din perioada istoriei recente din estul european stalinist și post stalinist. Cosmin Moldovan (produs al școlii superioare de artă timișorene) s-a format în plin postmodernism, având însă o serioasă înșelegere a artei moderne, a sculpturii în mod special. Modul de tratare a formei, adoptat de artist, are la bază ceea ce s-a numit ( și practicat )în sculptura secolului XX „distrugerea formei” . Forma este distrusă pentru a realcătui o nouă sensibilitate. Modernismul, ne amentim , avea ca ţintă autonomia limbajului, unitatea stilistică, puritatea formei . Ca repere emblematice îi putem aminti pe Piet Mondrian, în pictură, sau Brâncuși în sculptură. Postmodernismul a venit apoi cu mixările stilistice, cu deconstrucţia și cultura fragmentului.Post- Postmodernismul pe care îl trăim acum este o cultură a superficialităţii și a divertismentului. Cosmin Moldovan și-a structurat imaginarul în plin postmodernism iar prin atitudine e consonant cu cei din Generaţia X (definită astfel în spaţiul Nord american) caracterizată de” ironie, cinism și sarcasm”. Această atitudine vine pe fondul unor profunde dezamăgiri faţă de mersul societăţii moderne și contemporane(comuniste și nu numai). Atitudinea lui are accente pamfletare, caustice la adresa unui sistem social în care omul este o entitate traumatizată la tot pasul de perceptele unei ideologii colțuroase, abazive și adesea presărată cu stupidităţi și grave absurdităţi.
Fragments of our identity Sistemul se străduia sistematic să-și ducă la capăt proiectul său: omul nou, fără identitate, anihilat de ideologia bolșevică a internaționalismului proletar, fenomen care continuă (cu cinism și dispreţ pentru om) cu nivelarea adusă de globalizare. Din loc în loc, pe formele cioplite în lemn, polisate aspru cu discul flexului, apar fragmente urme de motive decorative de costum tradiţional , ramase accidental după acea perioadă „roșiatică”, iute a trecutului, cum o numește artistul. Formula plastică agreată de artist (în cheie neo-dada cu accente neoexpresioniste) cea a asamblării formei / figuri umane din fragmente (un fel de reconstituire arheologică) ironic umoristice, aduce un mesaj râsu' /plânsu'. Ceea ce la prima vedere stârnește un zâmbet, la o privire mai atentă îţi dă de înţeles că în spate se ascunde o intensă suferinţă, intinsă pe decenii ale căror efecte derivate le trăim cu toţii aici și acum. Destructurarea interioară (caracterială, morală, spirituală ) a fost atât de devastatoare încât e greu de întrezărit prea curând o intremare reală. Cele două simboluri fundamentale, secera și ciocanul sunt „alfa și omega” acelui univers din care Dumnezeu a fost alungat. Cu o ironie cruntă Cosmin Moldovan operează cu aceste simboluri și cu altele de la lucrare la lucrare. Sculptura sa „Pumnul tău minte nu are” , spre exemplu, este emblematică pentru ironia usturătoare a autorului la adresa unui sistem al cărui principal obiectiv era extriparea din conștiinţa umană a ideii de sacru, de credinţă în puterea salvatoare a jertfei cristice. Din titlurile lucrărilor, ce par titluri de poeme/pamflete, transpare ironia și sarcasmul necruţător al artistului. Dacă poemul e alcătuit din cuvinte, poemele sculpturale ale lui Cosmin Moldovan sunt alcătuite din cuvinte întrupate: om , presiune, ciocan, lovitură, cui ruginit, secere, șurub, sânge, tortură, moarte etc. Cosmin Moldovan își alcătuiește fiecare lucrare sau ciclu de lucrări în baza unui talent robust ghidat de o inteligenţa artistică remarcabilă, care îi dă un excelent simţ al dozajelor în relaţia cu proporţiile, expresivităţile materiei, juxtapunerea de elemente inserate, articulările formale și aportul culorii în potenţarea mesajului. Stăpânirea limbajului, structurarea concretă a imaginarului, orizontul cultural și racordarea atentă la tot ce se întâmplă astăzi în artă, la sensibilitatea zilei fac din Cosmin Moldovan unul din cei mai percutanţi sculptori ai generaţiei sale. Onisim Colta
‘I would like all artists to mind their social responsibilities, no matter what genre of arts they do.’ – Lucy Lippard The last sculpture cycle of Cosmin Moldovan, bearing the title of Fragments of our Identity was successfully tested on the occasion of a unique auction in the hall of Ovidiu Maitec in the Museum of Arts in Arad this year’s AugustSeptember. Új Kriterion Gallery in Miercurea Ciuc, that acquired indisputable prestige by promoting with a great attention the most influential contemporary artists, invited the artists from Arad to exhibit his works in a configuration which adapts to the specifities of this exhibition hall. The whole cycle means the finalization of a series which focuses on the faith of the Eastern-European men in the Stalinist and post-Stalinist era. Cosmin Moldovan who graduated in the Artistic College of Timisoara was shaped in the Postmodern era but he understands modern arts, especially sculpting. The form practiced by the artist is nothing else than the ‘destruction of form’ that was discovered and practiced by the sculpting of the 20th century. Form is usually destroyed to create a new sensitivity. Let us not forget that modernism attacked the autonomy of language, stylistic unity and the purity of form. Just think of artists like Piet Mondrian in painting of Brâncuși in painting. Postmodernism mixed different styles, representing deconstruction and the culture of fragments. Today’s Postmodernism is the culture of superficiality and entertainment. Cosmin Moldovan structured his imagination during the expansion of Postmodernism, his attitude is the one of generation X (defined in Northern American space as): irony, cynicism and sarcasm. This attitude sprouted in the soil of disillusionment and was caused by the course of modern and contemporary (Communist and other) societies. Those pamphlet-like arrows are directed against a society, in which men keep being traumatized by the excrements of harsh and offensive ideology, often paired with nonsenses and heavy absurdities. The system regularly sought to bring its project off: to form a new man without identity, destroyed by the Bolshevik ideology of proletarian internationalism – this phenomenon
keeps continuing as a result of the leveling nature of globalization. On the scoured surface of wood some traces can be seen from traditional costumes that has remained randomly from the ‘reddish’, or as the artist calls it, poignant period of the past. The creation formula of the artist that can be read with a Neodadaist-Expressionist code is that human shapes are formed from fragments, its ironically humorous message is lamentably ridiculous. The thing that causes smile at first, on a second glance implies that it carries an intensive, decades-long misery, the results of which we are suffering from today. The internal (characteristic, moral and spiritual) reorganization had such a destructive effect that we can hardly see the possibility of real recovery. This universe, from which God was driven out of, has two basic symbols as its alpha and omega: hammer and sickle. Cosmin Moldovan uses these symbols and some others in his works. The work entitled ‘Your fist has no mind’ is very characteristic of the biting irony of the author towards a system of which main goal was to eradicate the concept of the redeeming strength of the faith of the sacred artistic sacrifice. There is a great irony and inexorable sarcasm in the titles of the works that seem to be the title of poems and pamphlets. If poems are consisted of words, the sculpting poems of Cosmin Moldovan are consisted of embodied words: man, pressure, hammer, hitting, rusty nail, sickle, bolts, blood, torment, death etc. Cosmin Moldovan bases all his works and cycles on his great talent, governed by a remarkable artistic intelligence which invests the expressive strength of matter with a fantastic sense of proportion regarding formal articulations and the messages of coloring. The dominance of artistic language, the structuring of concrete imagination, the tracking of the cultural horizont and everything else that is happening in today’s art – all of this make Cosmin Moldovan one of the most remarkable sculptors of his generation. Onisim Colta Translated by Előd Márton
My face was melting, in unusual body movement; painted wood; 91/20/25 cm
Contemplating that red, under loneliness scorching sun of ourloneliness; painted wood; 81/24/16 cm My face was melting, in unusual body movement (detail); painted wood; 91/20/25 cm
Sweet dreams; painted wood, resin; 100/30/24 cm
Yesterday I caught his roots in the light of your face; painted wood, resin; 97/22/20 cm
Yesterday I caught his roots in the light of your face (detail); painted wood, resin; 97/22/20 cm
Yesterday the wind of moving bodies has stopped (detail); painted wood, resin, obiect; 110/30/20 cm Yesterday the wind of moving bodies has stopped; painted wood, resin, obiect; 110/30/20 cm
Looking to the missing future; painted wood, object; 80/30/20 cm Drilling in depths of my soul; painted wood, resin; 94/26/20 cm
You cannot tear down the red shadow, with the light of our memories; painted wood, resin, object; 100/35/20 cm
You cannot tear down the red shadow, with the light of our memories (detail); painted wood, resin, object; 100/35/20 cm
I shed a tear on the meadow of our memories (detail); painted wood, resin, object; 72/24/20 cm I shed a tear on the meadow of our memories; painted wood, resin, object; 72/24/20 cm
I look away, inside your soul; painted wood, resin, object; 85/20/24 cm
I was holding in my hand, tender flesh of our faith; painted wood, resin; 111/30/32 cm
The hammer demolished your concrete shadow; painted wood, object; 63/24/18 cm
Your dream is not dead (detail); painted wood, resin, object; 90/24/25 cm Your dream is not dead; painted wood, resin, object; 90/24/25 cm
Moldovan Cosmin Florin
1976 in Arad. Romania Education, Faculty of Fines Arts Timisoara, sculptor major, 1999; sculpture Master 2006; PhD 2010. E-mail: porcotanu@yahoo.com website: www.moldovancosmin.ro Solo exhibitions 2004, Very colorful, Mansarda gallery of the faculty of fine arts – Timisoara, Romania 2005, Very colorful 2, Delta gallery – Arad, Romania 2005, Stories with body and soul, Triade gallery – Timisoara, Romania 2006, Cosmin Moldovan, Artlease gallery – Utrech, Olanda 2007, Stories with body and soul, Delta gallery – Arad, Romania 2010, Footmark, Galleria Calina – Timisoara, Romania 2010, Notes Between Clouds and Traces, Atelier 030202 – Bucharest, Romania 2012, Fragment of Red Memories, Machina Gallery – Rieti, Italy 2013, Fragments of Your Lost Memories, Centrul Cultural Palatele Brancovenesti – Mogosoaia, Romania 2015, Fragments of our identity, Arts Museum – Arad, Romania Prize 2000 – Amifram prize , prize for youth, small sculpture biennale – Arad, Romania 2006 – Prize U.A.P. from România for young artist (ex aequo) 2008 – Prize „Ovidiu Maitec” for sculpture, Meetingpoint biennial – Arad, Romania
When I want to breathe, I take a walk; painted wood, resin; 105/30/35 cm
Lista lucrărilor / List of the Artworks
Chipul meu se topea în nefireasca trupului mișcare, lemn pictat și rașină / My face was melting, in unusual body movement, painted wood, resin, 91/20/25cm
Ţineam în mână pulpa fragedă a credinței noastre, lemn pictat şi raşină / I was holding in my hand, tender flesh of our faith, painted wood, resin, 111/30/32 cm
Contemplând roșul sub soarele arzător al lăcrimării călimării noastre, lemn pictat și rașină / Contemplating that red, under loneliness scorching sun of ourloneliness, painted wood, resin, 82/24/16 cm
Ciocanul mîngâia umbra de beton, lemn pictat şi obiect / The hammer demolished your concrete shadow, painted wood, object, 63/24/18 cm
Somnul dulce mult aduce, lemn pictat și rașină / Sweet dreams, painted wood, resin 100/30/24 cm Ieri am prins rădăcini în lumina chipului tău, lemn pictat și rașină / Yesterday I caught his roots in the light of your face, painted wood, resin, 97/22/20 cm Ieri s-a oprit vântul trupurilor mișcătoare,lemn pictat, rașină și obiect / Yesterday the wind of moving bodies has stopped, painted wood, resin, obiect 110/30/20 cm Privind spre viitorul absent, lemn pictat şi obiect / Looking to the missing future, painted wood, object, 80/30/20 cm Sfredelesc în adâncul sufletului meu, lemn pictat şi raşină / Drilling in depths of my soul, painted wood, resin, 94/26/20 cm Nu poți dărâma umbra roşie cu lumina amintirilor noastre, lemn pictat, raşină şi obiect / You cannot tear down the red shadow, with the light of our memories, painted wood, resin, object, 100/35/20 cm Nu poți dărâma umbra roşie cu lumina amintirilor noastre, lemn pictat, raşină şi obiect (detaliu) / You cannot tear down the red shadow, with the light of our memories, painted wood, resin, object, (detail) 100/35/20 cm Să vărs o lacrimă pe pajiştea amintirilor noastre, lemn pictat, obiect şi raşină / I shed a tear on the meadow of our memorie, painted wood, resin, object, 72/24/20 cm Mă uit departe în sufletul tău, lemn pictat, raşină şi obiect / I look away, inside your soul, painted wood, resin, object, 85/20/24 cm
Visul tău Nu nu a murit, lemn pictat, raşină şi obiect / Your dream is not dead, painted wood, resin, object, 90/24/25 cm Când vreau să respir ies la plimbare, lemn pictat şi raşină / When I want to breathe, I take a walk, painted wood, resin, 105/30/35 cm