Ana Maria Micu | 安娜・瑪瑞亞・米庫

安娜‧瑪瑞亞‧米庫

Ana Maria Micu

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序 Preface 李政勇 / Andre Lee

5 道常無為而不為 Nature does not hurry, yet everything is accomplished 席夢娜．納斯塔克 / Simona Nastac

9 「牆上的圖像」圖版 Plates from A Picture on the Wall

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2009-2018 精選作品 Selected Works 2009-2018

53 藝術家簡歷 Artist’s Biography

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序 李 政 勇

安卓藝術很榮幸能呈現羅馬尼亞藝術家安娜 ‧ 瑪瑞亞 ‧ 米庫在台灣的 第三次個展「牆上的圖像」，並出版米庫從 2009 年迄今的十年創作選輯。 米庫的創作環繞著她個人的生命與生活空間，透過空間與畫面裡來回游移 的凝視，和不停觀察與省思的過程，於素描和繪畫中留下平凡圖像的動人 魅力，並以時間性的流逝刻劃出空間與生命在不同當下的各種寫照。 米庫在「牆上的圖像」一展中，雖然延續其 2015 年「凝視自我」的創 作方向與主題，但她繪畫表達和組成脈絡顯然更具有信心，其中不只揭示 藝術家這些年對自我生命的深度關照，也引領觀者進入藝術家的畫室與生 活空間中，進一步地窺視這些日常的真實狀態，從中對話米庫賦予創作的 詩意和象徵。 對米庫來說，創作是一種生存的基本狀態，她選擇放棄外界的各種題 材，將繪畫世界轉向個人周遭與內在的直觀，從中演繹出一段又一段美麗 風景。而因著這樣的專注與執著，米庫的作品一如她的畫室雖然有時凌亂 卻能展露藝術家不斷追求超越的專注，也如她所堅信的：「美的定義不假 外求，但需要實際的展現，無論是誰，當你困於荒島夠久，你也能寫出一 本書。……」 而這正是米庫作品中最動人的態度和氣息，一種拋棄掉所有一切後，仍 然保有的那份對美與藝術的永恆追尋……

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Preface Andre Lee

Mind Set Art Center is honored to present the third solo exhibition of Romanian artist Ana Maria Micu: A Picture on the Wall and publishes the catalogue selecting works from 2009 to date. Micu’s creation circulates around her life and dwelling. Through gazing at spaces and images, and the process of ongoing observation and reflection, she imbues paintings and drawings with unforgettable charm. She depicts the space and captures different instances within the fluidity of time.

The formative direction and theme of A Picture on the Wall is a continuation of Self-Portrait with Indoor Plant in 2015, however, the artistic performance and the narrative in her composition has brought out more confidence. Not only does it suggest an in-depth selfcare strategy added to her life but also paves the path for audiences to wander in her studio and living space. With a glimpse of the real circumstances of her routines, the conversation between viewers and Micu gives a poetic significance to her works.

To Micu, creating is the fundamental of her survival. She chooses to put aside various themes from the outside world and direct her practices to an intuitive observation of the personal surroundings and the inner-self, rendering countless beautiful imageries within the process. Because of the keen attention and determination, Micu’s works resemble her studio that is sometimes chaotic, nevertheless, managing to reveal the artist’s constant effort at aspiring escalated concentration. Just as she firmly believes, “Based on an intuitive supposition, the need for artistic freedom and manifestation is included within this narrow list (of basic needs). No matter who you are, if stranded long enough on a deserted island, you will end up writing a book.”

And that is the most endearing attitude and character featuring in Micu’s work. One of the kind for the eternal pursuit of art and aesthetics beyond anything in this world...

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道 常 無 為 而 不 為 * 席 夢 娜 ． 納 斯 塔 克

藝術家無法預知創作時工作內容，但她的身體對於周遭充滿警覺，她接 納世界的自然秩序，也能夠察覺表面之外，事物與環境相互延伸所交織出 的深層意涵。生活即是「展開」，身體只能存在於實體空間，與事物相依、 相互纏繞，在持續定義分野的過程中成就彼此的樣態。* 安娜．瑪瑞亞．米庫的藝術創作源自對於多重現實的投入，滿懷話語卻 又無法言喻。她花費大量的勞力與時間，在作品中再現自我與所身處的世 界，不厭其煩地探索「中介性」的概念，如莫里斯．梅洛－龐蒂具有影響 力的著作中《可見與不可見》所談到的，她紀錄了身體在自由轉換看見 / 未看見的系統中，所延展的張力與可逆性。在她工作室的一角，兩件未完 成的畫作以膠帶固定於牆上，一張折疊桌上放著闔著的亮黑色筆記型電 腦，一張和藍色條紋坐墊一起倒在地上的板凳，凳腳上的乾淨調色盤，小 木櫃上擺著各種裝著液體的容器和一個倒下的銀色刷具罐，一大塊聚乙烯 膜在旁邊的黑椅子上皺成一團，長紙卷筒和無法辨識的包裝材料一起散落 在地上。太陽的光點從畫著藝術家側臉的畫布透出，映在畫著她躲在帘後 伸出雙腿的作品上。 當然，這個角落是一幅畫，一個身體佔有時間與空間的紀錄，處於如培

* 出自老子，《道德經》第三十七章

根所說的「記憶與損壞之中」。米庫的工作室一塵不染，她以最輕的筆觸 畫上薄薄的灰色和偏藍色調描繪清新的空氣。此時，藝術家處於當下，安 靜地坐在畫作之外，只有畫作裡融入空間的分割自畫像和侵入的陽光，註 記了她運用提問的能力將事物具象化的過程。一系列的直覺，上千個不求 最終解答的問題，上百個追求精確和體現特殊情境的微小調整，如事先計 畫般地出現，引領藝術家往更高的層級邁進。在一場關於《電燈…… 回 應利他的機會》(p32-33) 作品的訪談中，米庫提到洞穴裡的壁畫和古代藝 術家如何遵循岩石上自然的裂縫與紋路發現這些早已存在、休眠中、尚未 被喚醒的形狀。這是如何完成的？比起看或是觀賞圖像，古代的藝術家根 據已經存在的質地，隨之創作，依著洞穴裡的營火光影，他們的凝視變得 更富情感（例如：更溫和、更微妙、更複雜），在觀者與被觀看物之間的 共同努力下，逐漸地掌控富有詩意的眼界。這樣的情況也反映於米庫作品 的創作技法，她的繪畫在多年後精進成熟，隨著事物的展開、約定、延遲、 分解、再生或修理、隱藏與公開，米庫在孤寂中紀錄思考與繪畫之間的重 疊。 雖然大部分的時間與世隔絕，但米庫有時候也歡迎陌生的事物，比方植 物，但最重要的，是她身為超真實主義者的一面，即便被複製也永遠不會 完全相同，如作品《以我們的生命存在。...... 他探索一個》(p80-81)《夜 與水。...... 為了某些原由》(p78-79) 和近期的《內在世界’...... 它代表太陽》 (p64-65)、《機會入侵與……快樂》(p58-59）。擁有對於自己主體性有 細膩的認知，米庫像是參考 R.D. Laing 的敏感著作《分裂的自我》和他 對於正常的詮釋：所謂「正常」，是一種否認、分裂、投射、心力內投， 和經驗上其他形式的解構行為，把退出這個世界視為創作的必要條件，便 是她否認與解構的方式。同時，這些作品也能被視為對笛卡兒主義下的主 體性，也就是那句有名的「我思故我在」的批判，在這個離散、隔離、液 化的數位時代下，新唯我主義並不受用，取而代之的是藝術家對於自我社 會化本質的重申，我們必須要引介第二人稱的觀點，跳脫唯我論並以「我 和你」的角度進行思考。藝術家成為第二位造物主的崇高傳統雖然值得追 求，然而，畫像能量越強，看起來卻越脆弱。

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這些自畫像的細緻筆法與杜勒（Albrecht Dürer）和查克．克洛斯 （Chuck Close）等藝術家相呼應，細節的描繪讓我們幾乎能看見每一道 髮絲，每一個毛細孔和動態中難以察覺的膚色改變，這些細節在這個作品 中呈現出超越我們所見的質感，同時，它們也點出了身份認同的問題：到 底停損點在哪裡？真實的自我在哪裡？這或許是超真實的另一個層面：過 度追求真實讓人無法對於真實做出選擇，於是它將不斷回到「何謂真實」 的問題。同時，孤寂和放大檢視一個人物也讓我們思考：超真實是否會為 自我帶來匿名性或是未知的感覺？在人們「找尋自我」（例如藝術家自己 和動態之下與她有關的其他事件）這種延緩的行為或是延長的夢幻的前提 之下，作品有著把彼此不熟識的人，帶進一個共享、提昇的環境的效果， 讓人得以感知超越真實的情境，定義我們的存在且難以捉摸的時空生態。 在 2017 年，米庫開始以工作室內的創作過程和日常起居的影像紀錄為 參考，進行持續性的觀察素描。她的圖像宇宙向來重疊著現實的碎片， 這些現實來自多重的世界，來自建立於尋得或自製影像的情感與空間上 的親密，她運用和蒙太奇般具有組合性、相關性和間質性的邏輯，透過 Goolge 關鍵字搜尋和擷取搜尋結果中的字詞，為她的作品進行合適的命 名。然而，這些影像紀錄延展了她原本的研究領域，開啟她對於過程、時 間和改變的思考，這樣的轉變也清晰地滲透至她近期的作品。《沒有魔法 老師的學徒》(p66-69)、《把最痛留到最後》(p48-51) 兩件作品反應對於 這項概念的動力，身體永遠不是靜態的，物件也不是，它們充滿動能且在 我們之間、周圍搖擺，他們生鏽、被丟棄、被其他事物重組。如同元素、 人類的永世，它們可以巨大，如大陸、海洋、地核，或是微小，如一間房 間、一把刷子、一粒塵埃，同樣地，它們也存在於我們的身體，食物、藥 物、毒素等。在對應、模式與群組的系統中，事物在不同的階段被隱藏與 公開，當一幅素描或是油畫本身就是物質，該如何紀錄一個物質的粒子， 發現它的諧振和它化為軌跡或是消失的徹底轉變？這個問題似乎時常出現 在米庫那無倦的工作室，雖然未能有所結論，但透過檢驗生物與物件的間 質性，她達到超越再現的境地，開啟得以重整實質性與符號意義的空間。 在她和她公寓裡養的盆栽一起成長時，世界將俯拾皆是她再創作的能量。

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Nature does not hurry, yet everything is accomplished* Simona Nastac

The artist is that person who, embarking upon her task, does not know what to do.

However, her body is alert, open to the natural order of the world, aware that it does not abruptly end at the outside layer of its skin, but extends into its environment as much as the environment extends into it. To live is to spread out; the body never moves in an abstract space, but always in the middle of things, intertwined with them, reaching out and around and under and over and across, co-shaping each other in an ongoing processes of differentiation. * Ana Maria Micu’s art is rooted in this intimate engagement with the mixed realities of existence, both utterable and ineffable; she laboriously re-creates the world with her body in her work, relentlessly exploring the in-betweenness, documenting the flesh’s expansive dynamic and reversibilities in a system of free exchanges between seeing and the un/ seen, as philosopher Merleau-Ponty, thinker of the primacy of embodiment, wrote in his influential book The Visible and the Invisible (1968). A corner of her studio: two unfinished canvases up on walls, fixed with tape; a cross-legged stand supporting a shiny black laptop, closed; a stool knocked over on the floor along with its blue striped cushion, a clean palette resting on its upper legs; a small wooden cabinet bursting with various liquid-filled receptacles and a silver tin can full of brushes falling down from the shelf; a large clear polythene sheet next, crumpled on a black chair; and a long cardboard tube thrown on the floor along with other unidentifiable, discarded packaging materials scattered throughout. Spots of sunlight ooze from one canvas portraying the artist from behind, face in pro-

* ― Lao Tzu, Dao De Jing, ch.37

file, towards the other where she appears sitting down, half concealed by a curtain, only her legs visible in blue trousers, streching out as if from a photo booth.

Of course, this corner is a painting, a document of the way the body inhabits time and space, living “among the memories and the damage”, as Francis Bacon once fittingly said. Not a speck of dust in Micu’s studio though. The air is clean, thin with grey and bluish tones applied with the lightest of brushes, the artist is present, sitting in silent comfort outside of her work, only her split image and the intrusive sunlight mark her effort to displace the interrogative capacities of the perceiving body in productive ways. A series of instincts, thousands of questions that do not admit the closure of an answer, hundreds of tiny adjustments making the experience more specific and embodied in the particular, and something consistent, a presence that seems to have a plan emerges, leading the artist to her own higher ground. Speaking in an interview about this precise painting, named electric light, ..... Response to altruistic opportunities (p32-33), Micu mentions cave paintings and the way the ancient artists followed the natural fissures and patterns on the stone, unearthing shapes that were already there, dormant, unsummoned. How was this done? Rather than looking at, or seeing an image, they saw according to, or with it; and in the process, their gaze became more loving (i.e. more gentle, nuanced, complex), gradually mastering a poetic vision where the seer and seen labour in complicity, powered by light. This is reflective of Ana Maria Micu’s practice as well, throughout her work. A practice she painstakingly perfected over the years, in quiet solitude, documenting how thinking and painting overlap, fold and unfold as things expand, contract, decay, dissolve, regenerate or repair.

Despite the isolation, occasionally strangers are welcomed in: plants, but most importantly her own hyperrealist self, multiplied by two but never entirely identical, as in presence with our own lives. .... he explores one (2016, p80-81), night and water . ...... For some reason (2017, p78-79), and more recently world inside’ .... It suggests the sun (2018, p64-65), and the intrusion of chance and ... Pleasures (2018, p58-59). With a fine-grained awareness of her own subjectivity, Ana Maria Micu seems to reference R.D. Laing’s sensitive book The Divided Self and his interpretation of what we call ‘normal’: a product of denial, splitting, projection, introjection and other forms of destructive action on experience. In her case, the withdrawal from the world as the indispensable condition for creation is her chosen form of denial and destruction. At the same time, the works can be understood as a critique of Cartesian subjectivity, in which the famous phrase cogito ergo sum is rejected as a device of the new solipsism in the digital era of detachment, isolation and alienation. Instead, the artist reasserts that the self is essentially social, that we must introduce the second person and think not from the standpoint of the ‘I’ alone, but of the ‘you and I’. The venerable tradition of the artist wishing to be a second creator can be called on too; yet, the more potent the portrait, the more fragile it seems.

The meticulous execution of these self-portraits echoes Albrecht Dürer, Chuck Close and others’ techniques. The way the details are drawn or painted so we almost see every strand of hair, every

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pore and the imperceptible changes in tone of the skin according to the movements of the body, as well as the product of all these details give the works a quality that is much more than the sum of what we see. They pose an identity problem: where do you stop and where is the real self ? Perhaps this is another dimension of the hyperreal: that it permanently deflects the question of ‘where is the real?’ through its production of too much, so that one is unable to make a decision. The solitary and magnified scrutiny of the single figure also raises the following question: does the hyperreal actually make one anonymous or unknown to oneself ? By foregrounding the situation in which people find themselves (i.e. the artist and other instances of herself generated by movement) – a suspended gesture or action, or a prolonged moment of reverie - , the works have the effect of pushing these figures who do not know one another into a shared, heightened milieu, producing a sense of more-than-reality: the elusive nature of space and time that defines our very existence.

In 2017, Ana Maria Micu started an ongoing observational drawing practice using video footage taken in her studio to document both her artistic practice and domestic actions.

Her pictorial universe has always been one of overlapping fragments of reality, of worlds within worlds, of affective proximities and spatial juxtapositions built with photographic images, found or taken by herself. She employs the same combinatory, relational and interstitial logic of montage in her titles, using Google search keywords to extract returns that fit the image. But the video camera has expanded her field of research to concerns of process, time and change that permeate her recent creations even more visibly than before. The series of drawings The Apprentice with no Sorcerer (2017, p66-69) or the ones that became dynamic frames in the animation What Hurts the Most is Left for Last (2018, p48-51) are reflective of this new conceptual drive. Bodies are never static, nor are things: they are vibrant, oscillate within us, around us, beyond us; they rust, are trashed, written over by other things, by the elements, by aeons of human use. They can be massive – continents, oceans, the Earth’s core, or small – a room, a brush, dust. They are also inside us – foods, medicines, toxins. Matter folds and unfolds in various states, in systems of correspondences, patterns, and the contingent. How might a drawing or a painting record a grain of matter, discover its resonance, its metamorphosis into trace or absence, when they are matter themselves? – seems to be asking the artist in her tireless, ongoing space, the studio. There is no conclusive answer to this question, but by methodical examination of the in-between life of flesh and things, Micu has reached beyond the representational, opening up sites of refreshing materiality and signification. The world is entirely hers to recreate, as she grows together with the new plants in her apartment.

Simona Nastac

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牆 上 的

A Picture

圖 像

on the Wall

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為了效率……可能過濾或忽略

for efficiency ..... possible to filter or ignore

2018

油彩、畫布 Oil on canvas 101 × 122 cm

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是無用。……我想這個方式 is futile. ..... I think that the way 2018

油彩、畫布 Oil on canvas 187 × 135 cm

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代表……這意指存在

meaning the ... This indicates the presence 2018 油彩、畫布 Oil on canvas 80 × 60 cm

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電燈，……回應利他的機會 electric light, ..... Response to altruistic opportunities 2018

油彩、畫布 Oil on canvas 120 x 189 cm

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逐漸稀少，特別是為了……保護

increasingly scarce, especially for the ... to protect 2018

油彩、畫布 Oil on canvas 125 × 185 cm

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關注他人。……也是親密

attention to others. ... Proximity also 2018

油彩、畫布 Oil on canvas 187 × 164 cm

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完成，修改和……所有表面必須如此

finishes, trim and ... All surfaces must be 2018

油彩、畫布 Oil on canvas 187 × 124 cm

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這是冬天……所以當你努力

This Winter ... .... So while you strive 2018

油彩、畫布 Oil on canvas 76 × 89 cm

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半明亮……彷彿看見

half-light that ... seemed to see

2018

油彩、油性炭筆、畫布 Oil and oil-based charcoal pencil on canvas 174 × 116 cm

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把最痛留到最後 - 素描 1-8

What Hurts the Most Is Left for Last - Drawing 1-8 2018

炭筆、紙 Charcoal and carbon pencil on paper 67.5 × 86.5 cm each

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2009-2018

Selected Works

精 選 作 品

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長期的模仿……庇護所與當地

long-term coping ... shelter and local 2018

油彩、畫布 Oil on canvas 145 × 185 cm

現實介入。……她的聲音

realities intrude. ... her voice that 2018

油彩、畫布 Oil on canvas 125 × 185 cm

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機會入侵與……快樂

the intrusion of chance and ... Pleasures 2018

壓克力、油彩、畫布 Acrylic and oil on canvas 82 × 117 cm

冷靜，……那是模式

the calm, ... Is this pattern 2018

油彩、畫布 Oil on canvas 192 × 72 cm

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那令人安慰。……我會留意

that's reassuring. ..... I will care 2018

油彩、畫布 Oil on canvas 187 × 122 cm

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內在世界’……它代表太陽

world inside' .... It suggests the sun 2018

炭筆、色鉛筆、油彩、畫布 Charcoal pencil, colored pencil, and oil colors on canvas 160 × 104 cm

沒有魔法老師的學徒 - 素描 1-4

The Apprentice with no Sorcerer -Drawing 1-4 1-3: 2017, 4: 2018

複合媒材、紙 Mixed media on paper 1-3: 50 × 65 cm, 4: 50 × 70 cm

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沒有魔法老師的學徒 - 素描 5

The Apprentice with no Sorcerer -Drawing 5 2018

複合媒材、紙 Mixed media on paper 50 × 70 cm

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力量。……生活如常

power. ... Life has not been the same 2017

油性炭筆、炭筆、畫布 Oil-based charcoal pencil and carbon pencil on canvas 89 × 89 cm

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私密的自我遺忘。……在群體圖片中

private self-oblivion. ... In group pictures 2017

油性碳精筆、紙 Oil-based charcoal pencil on paper 46 × 60 cm

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靜止事實上是……當時並非成雙

stillness is actually ... Then non-dual 2017

複合媒材、紙本 Mixed media on paper 48 × 68 cm

夜與水。……為了某些原由

night and water . ...... For some reason 2017

油性碳精筆、紙 Oil-based charcoal pencil on paper 52 × 46 cm

78

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79

以我們的生命存在。……他探索一個

presence with our own lives. .... he explores one 2016

石墨、畫布 Graphite on canvas 71 × 111 cm

80

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81

智力……如果有不敗的必要性

intelligence ... If then there is an invincible necessity 2016

油彩、壓克力、畫布 Oil and acrylic on canvas 60 × 90 cm

82

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83

緊密相連。……無需理解 closely connected. .... It is not necessary to understand 2016

油彩、壓克力、畫布 Oil and acrylic on canvas 60 × 78 cm

84

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85

且輝煌，總是呈現……方式，並為多重性

and splendour, always presenting ... way, and it is the multiplicity 2016

油彩、壓克力、畫布 Oil and acrylic on canvas 60 × 73 cm

86

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87

88

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89

莽撞或是冷靜。……一個為其所以的狀態

bold or calm. ... A necessary condition for 2015

石墨、畫布 Graphite on canvas 69 × 69 cm

自畫像

Self-portrait

2015

複合媒材、畫布 Mixed technique on canvas 62 × 50 cm

90

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91

92

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93

於是你學會……無人

and you learn that getting ... nobody 2015

油彩、畫布 Oil on canvas 67 × 90 cm

那兒附近……然後

around which there is ... Then 2015

油彩、畫布 Oil on canvas 70 × 64 cm

94

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95

大多數人都不……我想

the majority who do not ..... I think 2015

油彩、畫布 Oil on canvas 60 × 90 cm

96

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97

不僅與我……還有它們

not only with the ... But there are also 2015

油彩、畫布 Oil on canvas 120 × 100 cm

98

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99

曾經放在那的東西，……這個任務

past placements in this location, ..... This mission 2014

複合媒材、畫布 Mixed technique on canvas 68 × 84 cm

100

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101

102

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103

可以交流。……使失效

can interact. ... to break down 2014

油彩、畫布 Oil on canvas 80 × 55 cm

104

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105

窗……無限之境

window ..... The billions on billions 2014

油彩、壓克力彩、畫布 Oil and acryl on canvas 49 × 69 cm

106

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107

窗戶在……前天晚上

window in the .... the night before last 2012

油彩畫布 Oil on canvas 131 × 195 cm

108

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109

無題

No title 2012 Oil and acrylic on canvas

油彩、壓克力、畫布 131 × 122 cm

最糟的敵人。……你一早醒來發現

worst enemy. ... you awake one morning to find that 2012

油彩畫布 Oil on canvas 90 × 130 cm

110

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111

112

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113

反諷的靈魂

irony is the very soul 2012 Oil on canvas

油彩畫布 57 × 50 cm

114

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115

輾過或是你……昇華「我得到的」……

run over or you ... sublime "what i got" ...

2012

油彩、墨水、壓克力、畫布 Oil, ink and acrylic on canvas 135 × 131 cm

116

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117

終會成真與極致狂熱。……抑或片片沙層

it will become and the greater the kick. .... or small pieces of sand 2011

油彩、壓克力、墨水、畫布 Oil, ink and acrylic on canvas 144 × 195 cm

118

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119

花上的字條寫著， ……生命本身很有價值

of flowers with a note that read, ...... life is valuable in itselff 2011

油彩畫布 Oil on canvas 131 × 195 cm

120

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121

一個問題……沒有其他版本

the question ...... however no other version 2011

油彩畫布 Oil on canvas 130 × 192.5 cm

122

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123

在生死之間……我們瞇著眼

between life and death that ... we blinked our eyes 2012

油彩、畫布 Oil on canvas 100 × 130 cm

淺層流動……有關‘自然

surface waves. ... touching upon 'Nature 2012

油彩、畫布 Oil on canvas 130 X 192 cm

124

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125

126

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127

衝突是暴力。……擁有鐵的意志：

conflict is violence. .... to have a will of iron:

2011

油彩、畫布 Oil on canvas 120 × 80 cm

欲求之痛……這很少被看到

the ache of longing ... This very little seen 2010

油彩、畫布 Oil on canvas 145 × 215 cm

128

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129

130

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131

（瞄準自我）……喔多少日夜

(Take aim at myself) ...... Oh how many nights and days 2009

油彩、墨水、壓克力、畫布 Oil, ink and acrylic on canvas 100 × 150 cm

132

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迫切渴望……而這個發現

the aching thirst for... and this discovery, 2010

油彩、畫布 Oil on canvas 130 × 153 cm

Ana Maria Micu 安 娜 •

Born in 1979, Dorohoi, Romania; lives and works in Botoșani, Romania

瑪 瑞 亞

EDUCATION 2002 – 2004

M.A., Visual Arts, University of Art and Design of Cluj-Napoca, Ro-

•

mania

米 庫

2004

3 months scholarship, Socrates-Erasmus Program, Athens School of Fine Arts, Greece

1997 – 2002

B.A., Fine Arts/ Painting, University of Art and Design of Cluj-Na-

poca, Romania SOLO EXHIBITIONS 2018

A Picture on the Wall, Mind Set Art Center, Taipei, Taiwan

2015

Self-portrait with Indoor Plant, Mind Set Art Center, Taipei, Taiwan

2012

Tender Heart, Keep Still! C-Space Gallery, Beijing, China

2007

Ideal Spleen, Anaid Art Gallery, Bucharest, Romania

2006

Bloom, Anaid Art Gallery, Bucharest, Romania

SELECTED GROUP EXHIBITIONS 2019

Speaking About the Unknown, residency project installation, Mind Set Art Center, Taipei, Taiwan

2017

Self-Portrait, Mind Set Art Center, Taipei, Taiwan

2016

The Road Not Taken Ch.2, Mind Set Art Center, Taipei, Taiwan

2015

The New Wave of Realism, Kirk Gallery, Aalborg, Denmark

2012

A Conscious Choice For Temporary Blindness, a dual show by Ana Maria Micu & Cătălin Petrişor, Mind Set Art Center, Taipei, Taiwan

2011

Colouring the Grey – State of Mind, curator Cosmin Năsui, Artists’ House Tel Aviv, Israel Post Humanism, curator Cosmin Năsui, V-Art Gallery, Moscow, Russia Colouring The Grey, The Second wave of the contemporary Romanian artists, curator Cosmin Năsui, Special Projects Section of The Fourth Moscow Biennale of Contemporary Art, Art Play, Russia

134

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135

2010

Impermanence, Hendershot Gallery, New York, USA Tales of the Unexpected, off-side show Art Rotterdam, curated by Maria Rus Bojan & Radek Váňa, Dek 22, Rotterdam, The Netherlands

2009

Fast Forward, curator Maria Rus Bojan, C-Projects, The Hague, The Netherlands Understatement (together with Cătălin Petrişor), curator Maria Rus Bojan, C-Space, Beijing, China ....Expectations, curator Maria Rus Bojan, temporary space, Dé is Ka & de Verzameling, Barbara Strozzilaan 314-316, Amsterdam, The Netherlands

2008

Strategies for Concealing, curator Maria Rus Bojan, C-Space Gallery, Beijing, China

2007

BP Portrait Award, National Portrait Gallery, London and on tour, at Laing Art Gallery, Newcastle upon Tyne and in 2008 at Scottish National Portrait Gallery, Edinburgh, United Kingdom

2006

BP Portrait Award, National Portrait Gallery, London and on tour, at Aberdeen Art Gallery, Aberdeen and in 2007 at Royal West of England Academy, Bristol, United Kingdom

WORKSHOPS 2014

Abstract Circle, a mobile painting workshop 22 - 29 July, daily 8-11 and 17-20, held together with Cătălin Petrişor in different areas of Brestei neighborhood, Craiova, Romania

2012

5. ART:aussee workshop, Altaussee, Austria

PERFORMANCE 2014

Installing the Image, 20 – 23 May, curator Igor Mocanu, Allegra Nomad Gallery, Sala Tipografia, Bucharest, Romania

RESIDENCIES 2016

Can Serrat, El Bruc, Barcelona, Spain

2014

my art, (finissage project: How to Mend Unbroken Things, work-inprogress duo show with Cătălin Petrişor), Vienna, Austria

2012

my art, ( finissage project: Production as Tableau Vivant, co-signed with Cătălin Petrişor), Vienna, Austria

2008

În construcţie - 2, International Centre of Contemporary Art, Bucharest, Romania

COLLECTION Fontys Art Collection, Tilburg, Netherlands

牆上的圖像 A Picture on the Wall 2018.12.15 - 2019.1.12

著者

安娜．瑪瑞亞．米庫、席夢娜．納斯塔克

發行人

李政勇

主編

劉冠伶

翻譯

郭書瑄、劉冠伶

校訂

朱倢瑢、郭朝淵、葉彥廷

設計

Marco Liu

發行處

安卓藝術股份有限公司 106 台北市大安區和平東路一段 180 號 7 樓 tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com

印刷

崎威彩藝有限公司

定價

新台幣 1,200 元

出版日期

中華民國 108 年 5 月

版權所有，未經許可不得刊印或轉載 Author

Ana Maria Micu

Co-Author

Simona Nastac

Publisher

Andre Lee Mind Set Art Center 7F., No.180, Sec. 1, Heping E. Rd., Da’an Dist., Taipei City 106, Taiwan tel: +886-2-23656008 fax: +886-2-23656028 www.art-msac.com / info@art-msac.com

Editor

Amy Liu

Translator

Jessie Kuo, Amy Liu

Proofreader

Queena Chu, Dean Kuo, Tony Yeh

Designer

Marco Liu

Printed by

Kiwi Printing Co., Ltd.

Price

NTD 1,200

Copyright © 2019 Mind Set Art Center.

All images © of the artist.

All essays © of the authors.

All rights reserved.

Printed in Taiwan, May, 2019.

ISBN

978-986-94868-7-3

國家圖書館出版品預行編目 (CIP) 資料

安娜．瑪瑞亞．米庫 安娜．瑪瑞亞．米庫（Ana Maria Micu），席夢娜．納斯塔克著 臺北市，安卓藝術，民 108.05，136 面 ; 210×29.7 公分 ISBN 978-986-94868-7-3( 精裝 ) 1. 油畫 2. 素描 3. 畫冊 948.5

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