Maxim Liulca - Right Angle Policy @MNAC Anexa, curated by Silviu Pădurariu


opening: Friday 24th of April 2015, 19h00

The Right Angle stands for aesthetic autonomy. Aesthetic freedom is the absence of representational constraint. The Right Angle ideology brings the three visible dimensions onto a single surface, in a simultaneous coexistence. The right angle does not archive or recover. Memory, history and inheritance are juxtaposed and cancelled out. There is no past or identitary pressure. 

The right angle is both ascending and horizontal. Its doctrine aborts the representation, reproduction and recreation of the visible. The right angle is devoid of subject or emotion. No religion, no mysticism, no ritual. Only linear gestures and expressions of a known anguish, all emerging from a continuous starting point. Each shape is the first shape.

Maxim Liulca uses the appearance of rectangular geometry to order the concerns of an individual absent from the mechanics of social policies, an individual aspiring towards emptiness and detachment from the common, the familiar. He leaves the territory of the mentality of a world dissolved in the new paradigms of globalisation. The new ideas and philosophies are a spots and surfaces abstractly intersected and overlapped, linearly fixed in a minimalist note. But the geometry is not feature of substance, but of atmosphere. The constructivist substance explores the style of the interior constructs of a digitised and technologised, desecrated reality. Formally, we are witnessing the neutral representation in a plastic manner of the design of spots and shades generated by ideology, politics, society and history on the collective memory. 

The Right Angle Policy marks an important moment in the evolution of Maxim Liulca and brings together works created and exhibited during the last four years. The visual formula defines a lucid abstraction, deprived of expression and emotion, controlled by elementary euclidian laws. This type of post-modernist abstractionism from 2010 onwards relinquishes the spell of spirituality and mysticism specific to the suprematism of the historical avant-garde or to the purification of the American abstract expressionism. What in the first part of the 20th century could be defined as the aesthetic of pure shapes can now, at the beginning of the 21st century, be reinterpreted by the laws of an aesthetic of voided shapes. Transcension is abstraction. The mysticism of the shape/colour relation has deviated to political interlinking strategies. 
Maxim Liulca’s Spots also bring forward a content critical towards the trend of figurative representation, as well as towards the curatorial discourse around it. Under its auspices are the motivations of the curatorial exercise camouflaged as a political manifesto in the form of a potential fragment of doctrine, the Right Angle policy. (Silviu Pădurariu - )

Special event NAG#9

produced by: Ephemair Association, :B A R I L Gallery
with the support of: MNAC - National Museum of Contemporary Art, Bucharest
sponsor: Raiffeisen Bank 
partners: Corcova Roy-Damboviceanu, X Design Services, Fabrik 
media partners: Europa FM, TVR, revista Arta, Unrest / Bucharest,, TV City, Zeppelin, Igloo, the Re:art, weart

the exhibition will be open between: 24.04 - 31.05.2015
visit program: Thursday - Sunday, 10h00 - 18h00


Revista Arta about Mihai Iepure-Górski’s solo show at :BARIL

Words in a Room

by Cristina Bogdan

Mihai Iepure-Gorski’s exhibition at Baril made me happy and this text is meant to tell you about this experience. Because this exhibition is like a whole, singular object, I want to spill it all out, throw it out there, just as if you would roll a pair of dice, expecting an immediate result. In fact, this is how I would sum up this exhibition – a brief, vibrant, delicate, almost absurd gesture. A playful, yet melancholic gesture. There are some sequences that make it whole. Table – trees – hands – balls – woman talking. The dice that I just played with are on the table, I rolled the dice a few times and I landed No reference to Duchamp, Nothing special, and a few others. I laughed and I understood that the artist was laughing with me, how else? If you were to make art you have to pretend you are not referencing Duchamp while you are in fact referencing the fact that you are not referencing Duchamp. The rest is a bit more subtle, there are two uprooted trees floating near the table, which I thought were a visual counterpoint, a place to rest your eyes, but then I asked the artist about them and he spoke to me about dispossession.

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Arantxa Etcheverria - Given a Random Point, solo project at Atelier 35 Bucharest

Given a Random Point

Or about the imponderability of a point


The point as a form of ultimate abstraction. Stripped of materiality or dimension.

Actually, has anyone ever seen a point?

Although it represents a basic concept of geometric analysis, when subjected to individual analysis, we realize that the point lacks any sort of content. (F. Klein, Elementary Mathematics from an Advanced Standpoint: Geometry). By the way, about the point, ever since Euclid, we know that it has no parts.

A void full of meaningful at the intersection between mathematical nominalism and idealism, between geometry and philosophy, the point is all around us and yet nowhere. If two worlds were to intersect in a single point, they could have everything or nothing in common.

Such a point can be found inside the eyeball, where the image of the world is inverted to then be projected upside down on the retina.

Situated uncertainly inside the pupil this point may glide depending on the plane of sight. This comprises two worlds – one that lies ahead of us and one beyond our sight, yet remaining outside of it.

Let’s call it the-point-in-which-the-gaze-contains-itself.

A big-bang moment inside being: in which the image of the whole gathers in a miniscule point to then explode and make all the sense we give to the world.

In this point, the entire content captured by vision acquires the same value on the same informational plan – the material blends in with its shadow, and emptiness is confused with fullness.

So here we are in a paradoxical situation: the point, lacking any content, becomes the material manifestation of a bipolar representation.

Arantxa Etcheverria creates a series of geometric situations, intercepting instances of immanence in everyday life. Forms of conjunction between light and shadow, brought together in the same bidimensional plan.

Given a Random Point functions as a waiting room for a new state of consciousness.