David Nolan Gallery is very pleased to announce the opening of Ciprian Muresan’s first one-person exhibition in New York featuring films, drawings, and installations. A reception for the artist was on Thursday, July 7.
Ciprian Muresan’s (b. 1977, Romania) quietly subversive work reflects upon many themes, using the platform of art as a mode of critique and intervention. The ensuing political and social restructuring of Romania has profoundly impacted the way in which its artists question artistic production in a post-utopian era.
In a classically postmodern manner, Muresan reinvents canonical literary, cinematic, and artistic works in order to demystify them, to destroy their auratic presence. He has produced his own versions of iconic works such as the play Rhinocéros by French-Romanian Eugene Ionesco, the famous photograph by Yves Klein entitled Leap into the Void, and the film Andrei Rublev by the Russian filmmaker Andrei Tarkovsky.
In a sly twist, Muresan will be revisiting arguably the most famous work of the greatest appropriationist and prankster of recent years, Martin Kippenberger, by creating drawings and a video animation after the 1994 installation of The Happy End of Franz Kafka’s ‘Amerika’ at the Museum Boijmans van Beuningen in Rotterdam. Amerika is one of Kafka’s unfinished novels, and Kippenberger’s huge, bewildering installation was designed to to evoke the atmosphere of the concluding chapter where the European protagonist visits America and attends an employment recruitment center of enormous proportions.
Books have long played a role in Muresan’s art making. The question of the original and its duplicate is explored in a humorous video by Muresan of monks dutifully transcribing text and images from exhibition catalogs on famous artists such as Joseph Beuys, Elaine Sturtevant, Susan Hiller, and Piet Mondrian.
More informations about Ciprian Muresan’s work and other exhibitions we can read on the ICRNY site.
