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Whatever others may feel, we feel at home in our Museum. We feel good here, we like to look around the rooms with painted walls, full of beautiful, surprising or simply familiar objects. We feel closer to our parents and know there are stories here to share with our children. Working together everyday, we sometimes feel like a big family. Do you hesitate to believe us? Come to the Peasant Museum and see for yourself…




Ballad of Escape / 5 august - 5 octombrie 2021, Sala MNȚRplusC




Featured artists: Piotr Armianovski, Olimpiu Bandalac, Marinette Dozeville, Sorin Florea, Halász Glória, Frédéric Liver, Santiago Reyes, Stanca Soare.
Curator and program coordinator: Ilina Schileru
Exhibition design: Mircea Tancău

Due to the pandemic triggered in January 2020, therapeutic practices are beginning to gain ground mainly over those that directly engage the body in physical actions. Society is looking for the easiest forms of escapism, which require minimal effort, and which can be practiced from inside of your own enclosure. The prolonged isolation caused by the pandemic wave led to alienation and demanded the tensioned the individual resistance to the maximum. Unlike our predecesors who confronted similar tryings, humanity today has been able to express itself in the social network environment, where information spreads instantly. But the multitude of tools we have at hand did not miraculously save us from depression and anxiety, as would be expected. After all, everyone was responsible for their own capacity for crisis management.
"Les Quatre Milles Coups" (37') takes the form of an experiment by Frédéric Xavier Liver (FR), where the artist aims to survive the pandemic challenge by learning Maurice Béjart's choreography on Ravel's Bolero. Having met Marinette Dozeville (FR) ]n 2016, Frédéric Xavier Liver explores the transgressive methods between art and society, in terms of the two's concerns with the relationship between commitment, play and performance. "Breaking the backboard" (10'33") is a choreographic utopia that transforms sports training (simulating the beating of the basketball) into a collective dance by circulating the energies and bodies of female basketball players who turn into performers.
Piotr Armianovski's work (AU), "A Ballade of Escape" (3'12''), deals with the relationship between the soul and the body, in a pre-pandemic green enclosure near Il Giardini (2019), while participating within the Venice Biennale and exhibiting, mong others, in the Ukrainian Pavilion. Constructed on the lyrics of a poetry by Hrytsko Chubay, which also inspires the title of this exhibition, Armianovski offers his interpretation on the condition of escape, as described by the great Ukrainian poet.
In addition to these two pre- and mid-pandemic instances, Olimpiu Bandalac (RO) participates with a double-screen breathing exercises in a film made in 2002 ("Respiro" - 8'52 ''), and Stanca Soare ( RO), a young artist just established in Bucharest after finishing her master's studies in Paris, choreographs the movement of the weaving machine (war machine, in a mot- à mot translation) used for centuries in traditional households, in an attempt to link the object onto body and decor items. ”Cu «I Made War» (6’40’’), mă concentrez pe interacțiunea indirectă dintre corp și obiect. Iau ca subiect principal războiul de țesut, al cărui vocabular textil devine pretext al unei compoziții poetice. Un joc cu sensurile multiple ale cuvintelor îmi permite asta: "shuttle" (șuveică) , "shaft" (urzeală), "horses" (ratieră), "beam" (sul), "warp" (ițe). "Naveta", "raza", "caii" nu mai sunt unelte în frazele arătate, ci subiectele unei povești sugerate. Faptul că unealta de țesut se numește în română "război" dă titlul video-ului.”
With "I Made War" (6'40 ''), I focus on the indirect interaction between body and object. I take as a main subject the Weaving Machine (machine war, in Romanian), whose textile vocabulary becomes a pretext for a poetic composition. A game with multiple meanings of words allows me this: "shuttle" (șuveică) , "shaft" (urzeală), "horses" (ratieră), "beam" (sul), "warp" (ițe)."Shuttle", "radius", "horses" are no longer tools in the sentences shown, but the subjects of a suggested story. The fact that the weaving tool is called "war" in Romanian gives the title of the video."
Sorin Florea (RO) describes the current relatively good status, in terms of emotional choice: "... but it's my choice", in the montage "Catch" (19').
Santiago Reyes (CO), a Colombian artist who lives and works in France, documents a performance he made in 2014: “Ce qui est dansé personne ne me l'enlève” (50'22 ''), where he describes a performative dancing journey starting from his studio in Noisy-le-Sec up to the Museum of Contemporary Art in the Val-de-Marne department, Mac Val. Along the route, which lasts about an hour, Reyes travels by bus and subway dancing in front of passers-by and passengers who are amused or intrigued by the staging of a choreographic performance in Parisian rush-hour.
The eighth film, "Three Dances" (1h15 ') is a feature film production, a documentary made by Hungarian director Glória Halász (HU) that monitors the careers of three emerging dancers who are training themselves for a professional career. The film reveals the immeasurable efforts involved in training, failure and success.
The concept of the exhibition revolves around dance as a practice and the integration of the human body in methods of experimental therapy or the artistic act. Being also an important component of shamanic acts, dance is closely related to the human condition and transcends language and cultural barriers, being complementary to music, another field that communicates directly to any human being without the need of a translator. Using dance as a tool in visual art is intrinsically linked to the performative act and encompasses a multitude of representations of movement that involve, totally or partially, the presence of the body. In the current unbalanced socio-political context, the theme of an escapist ballad through therapies involving both the body and the psyche becomes almost inherent.

Expoziția se poate vizita la Sala MNȚRplusC, până pe 5 octombrie 2021, prin programare pe email la ilina.schileru@gmail.com sau prin telefon: 0726.343.263. În perioada 13-25 august expoziția va fi închisă.
Acces din strada Monetăriei 3.

Parteneri: Institutul Cultural Maghiar București / Magyar Kulturális Intézet Bukarest. Policolor, Aqua Carpatica și Crama Licorna


 




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