Semn (di) segni. Ioan Sbarciu in dialog with masters of Modern Art

Alighiero BOETTI CESAR Bruno MUNARI Hermann NITSCH A.R. PENCK

Arnulf REINER Emilio SCANAVINO Emilio VEDOVA

SEMN (DI) SEGNI

– Ioan Sbârciu in dialog with masters of Modern Art CURATORS: Ilaria Bignotti and Walter Bonomi

Correspondences. About the search of Ioan Sbârciu.

There is, in all the works of Ioan Sbârciu, a slight but incessant ringing Nature is a temple where uncertain words

of the senses: perfumes, buzz, sensations of wind and breeze, smell

murmur pillars that are alive,

of earth, singing in the distance, over the edge of a forest, in 'corner

a forest of symbols that man looks through the spokes of their familiar.

of the clearing’.

Matches made of "Semn (Di) Segni", then you might venture,

As echoes that long and far

playing with words, to define the search of Ioan Sbârciu.

tend to drive deep and dark

The works of Romanian breathe fact of relationships and dialogues

large as darkness or light sounds respond to the colors, the colors fragrances.

now intertwined with the intimacy of the artist-the most inaccessible man, now with the sense of belonging to nature which is proper to

Fresh scents like the skin of a child

all mankind still able to save themselves from the renunciation of

velvety as the oboe and green as meadows,

the earth .

More of a corrupt, triumphant wealth which tends to propagate without finely so

Translated into the pictorial, the air of abstraction, particularly that related to a certain class of signs of the Informal, it is vital lesson for

amber and musk, incense and benzoin

the works of Sbârciu which however never lose that living and fertile

to comment on the extreme sweetness of the spirit and the senses.

relationship with the language of reality. So every work of Sbârciu alludes to a landscape, a horizon, a sky and a land always lived

Charles Baudelaire, Correspondences, from The Flowers of Evil, Les Fleurs Du Mal 1857

closely by the artist himself, and then "donated" to the painting

through a process of layering materials, filaments, layers, signs.

If this is the matrix of research Sbârciu formally translates into works

now evident now latent. Here is then Alighiero Boetti, near the

often of great size, which the artist declares incessantly, covers,

Romanian artist for that use of language as a potential opportunity

sailing, reveals steps and paths of the pictorial sign, dealing with a

for the artist-shaman to "put to the world the world," as suggested

palette of colors that often consists of colors bleak, dense, velvety,

by the same Boetti, through the magic of the artistic process; There

experiencing the impalpable ash, mixtures of oil and tar sands,

are also works by Arnulf Rainer, with who Sbârciu dialogue on the

overlapping color to color, to make it almost impossible for the

ground glowing feeling, from torment to peace; Rainer, as Sbârciu,

reconstruction of the painting process; in other words, to make

becomes the mediator and director of the drama of painting, done

abstract painting place of imagination, where the man is an artist

on canvas in a total communion between the artist and the painting.

and alchemist re-creator of the earth and through the miracle of the changing nature of painting itself.

And so it is for Nitsch, whose presence confirms the ability of Sbârciu

In other cases, the paintings are open to colors more shrill, sour, and

to go into the dense forests of pain and memory, never get lost,

a sign that seems to be a whisper, a secret formula perhaps, the

saved every time the pictorial sign. There are also suggested

artist-alchemist, resonates in the field of painting, in a song where

dialogues with artists such as Emilio Scanavino, Informal teacher of

the memory is reconnected to reality . The international formation

signs, able to pierce gaps in the fields of mental spaces

of Ioan Sbârciu and his constant desire to update itself in an

monochromes of his research; spaces that resonate in those Sbârciu,

uninterrupted dialogue with European artists, is underlined by the

in an uninterrupted dialogue with the common sentiment of the art

presence in the exhibition of selected works by affinity search. The

on display, see also present works by AR Penck, Bruno Munari,

names are those of the great history of the Second World War, and

César.

the languages are compared with the work of Sbârciu in a dialogue

.

But the first, and most striking dialogue that this exhibition suggests, is between the artist and the man Ioan Sbârciu, including his identity that lays bare in his work, with the baggage that each of us has of models, conflicts , passion, and his painting that must be able to sublimate this identity, without losing its deep correspondence with the things of the world. Of these matches the research of Ioan Sbârciu is valuable experience and strong theory.

The poem follows.

Ilaria Bignotti curator

Ioan Sbârciu in color, in earth Indicating

the presence,

the desire,

the possibility of

this

transformation from the ashes and still return the powerful colors of Semn (Di) Segni. Sign of the signs, or sign and drawings. The stylistic

the skies of the east, where the smoke tries to remove all light, and

research of Professor Sbârciu stood up on signs that they want to dig

the soil is black eaten by fire. These are elements that we can find

up the identity of the territory and of the person, a message that

even more strongly in the cycle of "Black Sun at Roşia Montană."

departs from color to become the interpreter of a vibrant nature and

And in this case the desire of social protest and made the landscape

dis (done).

is associated with the dominant black, with tears of purple on the

Nature that surrounds and takes control of the territory in which the

wasteland.

works were composed. That weaves, and infuses looking for a new

A land of confrontation, that of Roşia Montană and Sbârciu recorded

presence, vital.

his mark and will be able to convey the anguish of exploitation,

It looks and is a search for identity, which connects to an opening. In

where even the sun loses its heat, loses his gold, is colored in layers

the burned forest of Sbârciu, the shades of black gray, white, scratched

of black undefined to take full possession of the canvas. Obscured

to bring the pain to the surface, a glimpse traces, fantasme who want

and obscuring, leaves on the ground only remaining shadows of

to look, they want to communicate. The forest was destroyed, ash

purple, that make up the unique landscape alienating, lifeless.

yield, the territory subjected to speculation of interest, or not preserved and neglected, takes shape in signs that they want to get out of the simple tale regional, national, but bring your own message to force a European context.

A message that wants to be outside national borders to Sbârciu, who wants to bring his research from the colors to the ground, to the regeneration given by the tragic awareness of the landscapes that he wants to describe.

In this as well as signs, you could also talk about seeds.

In the ashes, in the wilderness of Roşia Montană seeds that can allow you to recover as identity, seeds must be planted deep into the ground to form forests, which must be cared for so that they can take out of the Black Sun that wraps around the hills and

abandoned dug, mutilated, lands harnessed in innate perversity, seeds that must lead to the creation of an identity such as the works of Sbârciu known in the international language that he is proposing .

Walter Bonomi, curator

IOAN SBARCIU «padurea de cenusa» 200x100 cm oil on canvas 2013

IOAN SBARCIU «padurea de cenusa» 200x100 cm oil on canvas 2013

IOAN SBARCIU «padurea de cenusa» 200x100 cm oil on canvas 2013

IOAN SBARCIU «padurea de cenusa» 300x600 cm oil on canvas 2013

BOETTI ALIGHIERO «ammazzare il tempo» 23x24 cm textile 1979

BOETTI ALIGHIERO «attirare l’attenzione» 21x 22,5 cm textile 1985

BOETTI ALIGHIERO «dall’oggi al domani» 18x18 cm textile 1989

CESAR «Combustion d' Allumettes» 36x44 cm burned matches on cardboard 1972

CESAR «Coca, Sprite and Schweppes» 33x15x15 cm compression of metal cans 1988

MUNARI BRUNO «Negativo Positivo» 50x50 cm collage on hardboard 1991

MUNARI BRUNO «Negativo Positivo» 100x100 cm acrylic on canvas 1987

ARNULF RAINER «Eminenz» 60x50 cm Oil on cardboard mounted on wood 1983

ARNULF RAINER «Goya serie» 60x50 cm mixed technique on photo mounted on paper 1983

PENCK A.R. «Komposition mit Maennerkopf» 53x79 cm acrylic on cardboard 1982

EMILIO SCANAVINO «in memoria de cerchio» 60 x 60 cm oil on wood 19720

EMILIO SCANAVINO «Nascosto» 60 x 60 cm oil painting on hollow canvas 1972

EMILIO SCANAVINO «Lunare» 102 x 102 cm oil painting on canvas 1965

EMILIO VEDOVA «Studio per …»

32,4x22,6 cm Mixed technique on paper 1981

EMILIO VEDOVA « Oltre ’86 – 3 » 31,8x48 cm Mixed media on linen paper 1986

From an idea by Alberto Perobelli

Texts: Ilaria Bignotti and Walter Bonomi Graphic design: Burkhardt Britta Photos by: Catalin Hladi

Project manager: Walter Bonomi

Š IAGA Contemporary Art