[Nettime-ro] vernisaj Marin Gherasim - Geometria magmei, H'art gallery, luni 15 decembrie, ora 19

[Popescu Dan <event@hartgallery.ro>]

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ÂÂAcum Âvreo cinci ani de zile am realizatcÄ a doua activitate diurnÄ pe care o Ãndeplinesc Âeste transportul deartÄ. E normal, sunt galerist din estul Europei cÄruia ÃncÄ-i place sÄ punÄumÄrul Ãn activitÄÈile mai musculare. ÂDacÄ eÈti atent, pÃnÄ Èi aici sepot revela multe lucruri subtile despre felul cum funcÈioneazÄ arta. PoÈidetecta Ãn momentul Ãn care transporÈi un tablou cÄ lumea nu trece indiferentÄpe lÃngÄ el. DacÄ-l Èii de Èasiu cu imaginea Ãn lateral dreapta, sÄ zicem, Èite intersectezi cu un trecÄtor care vine spre tine frontal, deÈi Ãn mod naturaltrecÄtorul te poate ocoli prin stÃnga ta fÄrÄ sÄ poatÄ vedea lucrarea, reacÈianeaÈteptatÄ Èi foarte ÃntÃlnitÄ este contraintuitivÄ, omul doreÈte sÄ vadÄ ce epe panoul pictat, face tot ce poate sÄ te depÄÈeascÄ prin dreapta numai ca sÄarunce o privire. ExistÄ o fascinaÈie a picturii, a tabloului, a planuluibidimensional Ãn care se aflÄ o imagine fixÄ. CÃnd transportam o sculpturÄ sauorice alt tip de artÄ tridimensionalÄ curiozitatea era mult diminuatÄ. Ãn modevident pictura Ãntr-un cadru bidimensional funcÈioneazÄ ca un pai Ãn ochi Ãnmomentul Ãn care e plimbatÄ dincolo de cubul alb al galeriei sau al muzeului.ÂSculptura e mai concretÄ Èi ea se acomodeazÄ mai bine cu realitatea, emai aproape de chip cioplit Èi mai greu de ÃmpÄcat cu idealul. Pictura ÃnsÄintroduce derutÄ Ãn real. Pe acest tip de Èoc funcÈioneazÄ Èi panourilepublicitare, ele agaÈÄ privirea mai degrabÄ decÃt vreun construct publicitartridimensional. De ce? De ce panoul pictat e mai atractiv, de ce fascineazÄ el,unde-i misterul? ÂMisterul e deschis, el trebuie elucidat cu fiecareaventurÄ picturalÄ, eu nu am decÃt o simplÄ ipotezÄ legat de subiectul acesta.Consider cÄ factorul principal este stranietatea oricÄrei imaginibidimensionale. Ea este fixÄ Èi diferÄ din punct de vedere al statutuluiontologic de existenÈa cotidianÄ. Nu devine, nu se miÈcÄ, ci eventual doarsugereazÄ miÈcarea, nu vorbeÈte ci sugereazÄ, povesteÈte totul dintr-un foc,Âe aproape de visul filosofic dintotdeauna - Universalul concret.ÂOrice cercetare de atelier va ajunge mai devreme sau mai tÃrziu sÄ ia Ãncalcul natura imaginii pictate Èi posibilitatea ei de a deveni imagine sacrÄ,icoanÄ. Marin Gherasim a pÄstrat Èi intensificat acest deziderat pe parcursulÃntregii sale cariere artistice. Scopul este pÄstrarea unei memorii asfinÈeniei originare. Temele Èin de sacru Èi credinÈÄ â absida, scutul, cupacristicÄ, turnul de veghe, luntrea psihopompÄ, poarta Èi pragul de trecere.Acest tip de teme sacre nu poate fi tratat Ãn cheie picturalÄ frivolÄ, culoareae privitÄ ca material al zidirii Èi nu ca un artificiu prin care seduci.ÂSubstanÈele uleioase vor avea âpondereâ, impasto-ul e necesar pentruconstrucÈie Èi nu este un artificiu cu funcÈie esteticÄ. ÂÃn mod logic ÈicompoziÈia lucrÄrilor va urmÄri simplitatea, de cele mai multe ori sentimentulde centralitate e predominant, temele sacre vor fi privite âde-a dreptulâ.Perspectiva este minimalÄ, idealul nu are puncte cardinale. Marin GherasimrÄmÃne unul dintre seniorii artei romÃneÈti, un cÄutÄtor al idealului sacru, unconstructor Èi arhivator al memoriei, un pictor al interioritÄÈii imuabile. (Dan Popescu)

Thefixed image
About five years ago, I realised that my second most important daily activitywas art freighting. It's normal, I'm an Eastern European gallery owner whostill likes getting his hands dirty with heavier work. If you're careful, eventhis much can outline subtle facts about the way art works. You can notice,when transporting a painting, that people don't just pass by unaffected. If youwere to hold it to your side by the framework, having the image on the right,someone walking towards you might just go left around you and miss the paintingaltogether. The common and largely unexpected reaction is, however,counterintuitive. They want to see what the painted panel shows, they dowhatever they can to move to your right side just so they can steal a glimpse.There is a fascination of painting, of the canvas format, of the two-dimensionalplane where a fixed image resides. When I was moving a sculpture or any otherkind of three-dimensional art, curiosity was much lower. Obviously,two-dimensional painting works like a thorn in the side when taken away fromthe white cube of the gallery or museum. Sculpture is much more concrete andmeshes better with reality, it's closer to a carved idol and harder toreconcile with the ideal. Painting, though, sows confusion into reality. Thiskind of shock is what advert panels play on, they are more likely to catch theeye than any three-dimensional advertising construct. Why? Why is the paintedpanel more attractive, why does it fascinate, where is the mystery? The mysteryis open, it must be solved with each painterly adventure, I have but one simplehypothesis on the subject. I believe the main factor is strangeness of anytwo-dimensional image. It is fixed and differs ontologically from theday-to-day existence. It does not become, it does not move, merely sometimesoutlines the movement, it does not speak, but suggests, tells the entire storyin one go, it's close to that eternal philosophical dream - the concreteUniversal. Any workshop research will, sooner or later, come to take intoaccount the nature of the painted image and the possibility of it becoming asacred image, an icon. Marin Gherasim has kept and intensified this wish duringhis entire artistic career. The goal is preserving a memory of the originalholiness. The themes are pertain to sanctity and faith - the apsis, the shield,the christic cup, the watch tower, the psychopomp raft, the gate and the still.This type of sacred theme cannot be painted frivolously, colour is buildingmaterial, not seductive artifice. Oily matter will have 'measure', the impastois needed to construct, and not to serve as aesthetic artifice. Logically, thecompositions will keep to simplicity, most of the time the feeling ofcentrality is dominant, the sacred themes are 'looked in the eye'. The perspectiveis minimal; the ideal has no cardinal points. Marin Gherasim remains one of theseniors of Romanian art, a seeker of the sacred ideal, a constructor andarchiver of memory, a painter of immutable interiority. (Dan Popescu)

www.hartgallery.ro+40722248744021 310 83 39
https://www.facebook.com/events/1537411503170437/Strada C.A. Rosetti, nr. 25, et 5, Bucuresti
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