Memories from the depths of the Thetys Sea, 08 Sep 2016 — 30 Oct 2016
Exhibitions

Memories from the depths of the Thetys Sea

Within the framework of the six-part curatorial project “The White Dot and The Black Cube” which started out in November 2015 and will conclude in January 2017, Mihuț Boșcu Kafchin’s exhibition initializes the final section, dedicated to solo shows. So far, the exhibitions were grouped according to the curatorial method that was employed, respectively, and revolved around the investigation of essential exhibition formulae: two group shows, two “dual” exhibitions, and two solo exhibitions. Each of these formulae was heightened through the dialogue between the two curators and the exchanges with the artists as well as with the institution of the museum. The premise of this series of interrelated exhibitions was an experimental curatorial stance, both intense and dynamic, in which the research hypothesis is counterposed to a “unity” of opposites, by means of a network of paradoxes and a co-existence of polarized ideas. This, in turn, is based on the theories of duality according to which the confluence of opposites constitutes the basis of knowledge and creation. The final episode of this series will start in November 2016 and will attempt a contextualization of video works produced by Irina Botea during the past few years.

The exhibition “Memories from the depths of the Thetys Sea” is constructed according to the principle of an exacerbated, eclectic visuality, characteristic of the universe created by Mihuț Boșcu Kafchin. The agglomeration of images and the different media – paintings, objects, installations and drawings – constitute  a technological and organic workshop in which two distinct worlds collide in order to make room for a ruin made up of a few disparate cabinets: The Cabinet of Cold Heat, The Cabinet of Fortune, The Cabinet of Will, and The Atomic Cabinet. This post-apocalyptic vision draws on the aesthetic, not only on the scientific dimensions, and thus proposes a huge machinery of live tissue, which successively impregnates mechanical structures with human sentiment and beings with an appetite for self-destruction. The horror vacui scenography alternates with a baroque elegance, garnishing the space of the exhibition with a new identitary layer, in which fortune and will are gambled for at the same table. Visitors will be able to choose between the parcours of reading the works and the paths to follow in this prehistoric chaos bound to human existence, cut out from the period in which the artist was working in his studio in Cluj.

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