RO: Punctul de fugă perspectival, 10-31 october 2014, Halele Timco, Timișoara.
CONCEPT: Eveniment de lansare a platformei Avantpost.ro, expoziția The Vanishing Point transbordează reprezentarea clasică prin însumarea câtorva momente transperspectivale specifice secolului trecut: mecanomorfismul 4D, suprafețele vibrante ce îmbină imaginea și sunetul, circuitul închis de tip video surveillance, distorsiunile vizuale generate prin aplicații digitale, percepția tunelară tipică reprezentărilor binoculare, imponderabilitatea materiei picturale. Toate acestea reprezintă experimente ale percepției în continuitatea formelor.
ENG: The Vanishing Point, 10-31 october 2014, Timco Halls, Timișoara.
CONCEPT: The Vanishing Point exhibition, an Avanpost.ro platform launch event, tranships classical representation by summing specific postperspectivale moments of the last century: 4D mechanomorphism, vibrant surfaces combining video and sound, closed circuit video surveillance, visual distortion caused by digital applications, the tunnelar perception of binocular representations, weightlessness pictorial matter. All these represent the perception experiments in the continuity of forms.
Aura Bălănescu, octombrie, 2014
Expoziție organizată de platforma Avantpost.ro și Galeria Calina , cu mulțumiri D.nei Alina Cristescu
Parteneri culturali: Facultatea de Arte și Design,Timișoara
Sponsori: ANANSI Sisteme electronice de securitate
OSD Ornella Studio Design
Artists / Artworks
Daniel TELLMAN, Five days in the life of a bouquet of flowers, pinhole long exposure installation, 2014
In the video projection “Five days in the life of a bouquet of flowers”, Daniel Tellman investigates the principle of four-dimensional space-time in which reality is perceived not by a corporeal identity, but by its waving in the series of events. With the help of a video loop created by the sequence of frames obtained with a bullet time photo rig equipped with 24 pinhole machines, the viewer extends the fraction of duration of photo frames, generating a dynamic succession of images, as well as a rotation of the visual field. The photographic exposure captured the blooming and the wilting of the bouquet in the days of continuous exposure, compressing time and their movement in each photo frame. To illustrate the technique employed, the setup that was at the basis of the projection was brought into the exhibition, as an argument to support the work.
Gabriel KELEMEN, Flower of life, standing wave
In the same sphere of movement, Gabriel Kelemen’s vibrating surfaces of Hexaton type bring together image and sound, in the spirit of historical avant-garde, and by a certain angle of incidence they configure the geometry of sphere packing in a hexagonal manner, revealing the originating patterns of creation: the symbol of the flower of life, the hexagonal man (hexome).
Nicolae VELCIOV, Big Brother, installation, 2014
In the Big Brother installation, Nicolae Velciov addresses, in a neovanguard way, the connection between the construction of the image (focal point) and address-reception level (oculus or legally privileged). More specifically, the relationship between observer and observed object is described by closed circuit video surveillance, reflected by the omnipresence of surveillance in contemporary society that hovers over all things.
Bogdan TOMȘA, Fluid, installation, 2014
Diverting the universe of perspective geometry using digital software, in his works Fluid 1, Fluid 2, Eye, Bogdan Tomșa presents the continuity of forms, even if they can apparently be perceived separately, according to the perceptive angle. These visual distortions seem to refer to Plato’s game of perception of solids.
Aura BĂLĂNESCU, Tunnel series, Midnight Sun, acrylic on canvas, 2014
In the case of some binocular representations (Midnight Sun, Binocular/Binaural), Aura Bălănescu presents the paradox of co-existence of both visual pyramids, known as separate (antagonistic) in the perspective paradigm. This visual (even auditory) implosion triggers outstanding mutations, generating a level of representation that transcends the ordinary limits of address-reception, requiring the use of devices that augment the relationship between the viewer and the work.
Petrică ȘTEFAN, Embryos series, oil on canvas, 2014
If in binocular works we can identify a type of air image resulting from the implosion of visual pyramids, in the case of Petrică Ștefan’s works (Embryos series), the weightlessness of the forms is achieved by simply dismantling the perspective cube. Released from its restrictive form, its embryonic forms pave the way for a new beginning in the journey of representations.