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Time and Life/ artist: Vlad Capusan/ curator: Rares Iordache

Time and Life/ artist: Vlad Capusan/ curator: Rares Iordache

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Published by ifilosofie.ro

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Categories:Topics, Art & Design
Published by: ifilosofie.ro on Mar 13, 2012
Copyright:Attribution Non-commercial


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For a couple of minutes the young artist from Cluj, Vlad Cpu
ă ș
an suggests watching thepassing of time, through his project. Time is a recurrent theme in the artist’s projects, in aprevious work, he attempted to actually stop it (Stopping the time – Oil on canvas). How?With a Life Machine (Machine Life, project started in Torino). The artist succeeds inperforming temporal suspension, maybe in the best way while escalating the mountains,alpinism being one of his pastimes. There, time becomes amorphous; the artist istransported to another time dimension. Everything gains another meaning when going downto the daily hassle, its perception having the symptoms of an illusion, once the peak ispassed by. Now Vlad Cpu
ă ș
an suggests us to watch a corpus of installations, grouped inthe project Time and Life. The artist’s studio is the silent witness of conceiving theinstallations (a projector, the case of apples, the time box, the wall and an electricitysource).Time cannot be perceived with auniversal sense for the individual, its relativity being achieved through its simple perception.The passing of time implies precisely the feeling that it can be lost and shows degradationas the action having effect on all objects. Time does not make any distinction betweenorganic and inorganic, as it encompasses everything. The hourglass or “the box of time”(as seen in the movie) can only measure the time determined by a certain context, anexample for decontextualisation being a pendulum whose time measurement is overlappedby the intervention of music rhythm. The artists, musicians live in a different time dimensionas compared to the one measured by the pendulum, they create their own time by tappingtheir foot to the floor, in a parallel time to the one measured by the instrument. The artistbecomes more than a mere spectator of his project; he is an active participant to theobservation of organic degradation subjected to the passing of time. All is rendered on asimultaneous representation of temporal plans. The image projection on the wall is placed ina perceptive context by a situation defined in time and space, while passing through thebreaches of the flowing matrixes, as the latter are (not) subjected to time and beingprojected as images within the projected image. The third plan is the degradation of theorganic, all being watched by the artist-observer, who can only observe the loss and catch

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