__MAIN_TEXT__

Page 1

Aurel Vlad


A rémület

Aurel Vlad, a nyolcvanas nemzedék jelentõs szobrászmûvésze, az utóbbi évtizedekben az egyik legkoherensebb és legfontosabb mûvészi program képviselõje. A határhelyzetekbe került ember viselkedése érdekli, ezért aztán mûvei olyan izgalmat s gyakran nyugtalanságot árasztanak, amely valósággal megszólítja a nézõt. Egy Aurel Vlad szobor elõtt nem maradhatsz közömbös, muszáj reagálnod, muszáj megkérdezned magadtól, kik vagyunk és honnan jövünk. Az Esszé a tisztánlátásról-ban José Saramago ezt írta: „Amikor megszületünk, amikor a világra jövünk, az olyan, mintha egész hátralévõ életünkre nézve aláírtunk volna egy szerzõdést, de eljön a nap, amikor feltesszük a kérdést: Ugyan ki írta alá a nevünkben?” A szerencsecsillag vezérelte Zarándokok az Istent keresik, ám ahhoz, hogy megtalálják, elõbb önnön félelmeiket kell leküzdeniük. A félelem, az ijedtség, a nyugtalanság, a szorongás a legkevésbé megjósolható reakciókat hívja elõ az emberbõl. A Daidalosz és Ikarosz címû szobor esetében Ikarosz szeretne felemelkedni, de megállítja a félelem, amely az apján eluralkodott. Daidalosz karjai visszaállítják Ikaroszt – nem más ez, mint a szülõi félelem, nehogy történjen valami a szeretett fiúval. A félelem a leginkább általános és a legijesztõbb emberi érzések egyike. Az a félelem ez, mely az ismeretlentõl való félelemként köszön vissza a Napfogyatkozásban, az önmagunk megismerésének lehetetlenségeként a Nárciszban vagy az ész hatalmától való félelemként a Rémálomban. A félelem, nehogy átadd magad a gyilkos ösztönöknek – ez a Kutyaember lényege, s a halálfélelem jelenik meg a Feltámadásban. A folyamatos kérdezés – ez az, ami elindítja az emberi drámát. A Góliátot sirató Dávid az egyik legerõsebb értelmezés a román nemzet kortárs történelme margójára. Dávid, a román nép


jelképe, legyõzi Góliátot, a hõn szeretett vezetõt, de még két évtized sem telik el a gyõzelem után, s Dávid máris siratja Góliátot. Dávid rémületének oka az, hogy a szörny újjászületik, méghozzá éppen azok szívébõl, akik legyõzték. Ebben a munkában Aurel Vlad az emberi lélek mélyén rejlõ sötétséget és elõreláthatatlanságot vizsgálja, a dolgok láthatatlan aspektusát. Aurel Vlad expresszionista mód gesztikus szobrászmûvészete felkavarja és elvarázsolja a nézõt ugyanakkor. A hiteles mûvész mágiával és miszticizmussal teli utalásokat használ, az emberi élet mulandóságát kutatja. Aurel Vlad szereplõi a világot jelképezik, egy olyan világot, melybõl hiányoznak a vonatkoztatási pontok, amely csupán egyféleképpen gyõzedelmeskedhet: ha kellõ mértékben megismeri önmagát. A rémület határoz meg bennünket, ugyanakkor a rémületnek köszönhetõen kerülünk vissza az emberiséghez. Aurel Vlad szobrászmûvészetét megfejteni – nos, ez nem más, mint tudatosítani azokat a nyugtalanságokat, melyeket õ egész mélységükben megértett. Diana Dochia kurátor Fordította: Demény Péter


Spaima

Sculptorul Aurel Vlad, reprezentant de seamã al generaþiei anilor 1980, dezvoltã în ultimele decenii unul dintre cele mai coerente ºi importante programe artistice. Interesat fiind de o sondare atentã a comportamentului uman aflat la limitã, sculptura lui Aurel Vlad dezvoltã o emoþie ºi adesea o neliniºte, ce interpeleazã activ privitorul. În faþa unei sculpturi de Aurel Vlad nu poþi sã fi nepãsãtor, nu poþi sã nu reacþionezi, nu poþi sã nu te întrebi cine suntem ºi de unde venim. Jose Saramango în „Eseu despre luciditate” scria: „Când ne naºtem, când venim pe aceastã lume, este ca ºi cum am fi semnat un contract pentru tot restul vieþii noastre, dar vine o zi în care ajungem sã ne întrebãm, Oare cine a semnat în numele nostru”. Cãlãuziþi de steaua norocoasã „Pelerinii” lui Vlad cautã divinitatea, dar pentru a o întâlni ei trebuie sãºi învingã spaimele. Frica, teama, angoasele, momentele de slãbiciune ºi neliniºte trezesc în om cele mai nebãnuite reacþii. În „Dedal si Icar”, Icar doreºte sã se înalþe, dar este oprit de teama care pune stãpânire pe tatãl sãu. Braþele lui Dedal îl opresc pe Icar, este spaima pãrinteascã de a nu se întâmpla ceva rãu copilului iubit. Spaima este unul dintre sentimentele cele mai comune ºi totodatã cele mai înfricoºãtoare ale omului. Este spaima datã de lipsa cunoaºterii în „Eclipsa”, spaima de autocunoaºtere în „Narcis” sau de puterea minþii în „Cosmarul”. Este spaima de a nu te lãsa pradã instinctelor ucigaºe, de a nu lãsa instinctul animal sã te stãpâneascã în „Omul câine” sau spaima de moarte, care reconfirmã umanitatea prin „Înviere”. Interogarea continuã este cea care declanºeazã drama umanã. „David plângându-l pe Goliat” este în acest sens una dintre cele mai puternice comentarii la adresa


istoriei recente a poporului roman. David reprezentat de poporul roman îl înfrânge pe Goliat, conducatorul mult iubit, însã la nici douã decenii de la înfrângere, Goliat este regretat de David. Spaima lui David este datã de ideea cã monstrul renaºte, chiar din inima celor care au distrus monstrul. Aurel Vlad sondeazã în aceastã lucrare întunericul ºi neprevãzutul din adâncul fiinþei umane, faþa nevãzutã a lucrurilor. Sculptura expresionist gestualã a lui Aurel Vlad tulburã ºi în acelaºi timp seduce privitorul. Artistul autentic foloseºte aluzii ºi metafore pline de magie ºi misticism, cautã ºi interogheazã efemerul vieþii umane. Personajele lui Aurel Vlad reprezintã lumea, o lume lipsitã de puncte de referinþã, care doar prin puterea de sondare a sinelui se poate izbãvi. Spaima este cea care ne defineºte, dar ºi cea care ne redã umanitãþii. A descifra sculptura lui Aurel Vlad înseamnã a activa o conºtiinþã a angoaselor pe care el le-a pãtruns pânã în adâncuri. Curator: Diana Dochia


The Fear

The sculptor Aurel Vlad, an outstanding representative for the generation of the 1980's, developed in the last decades one of the most coherent and major artistic project. Showing his interest regarding a careful investigation of human being behavior on the edge, Aurel Vlad's sculpture develops an emotion and often anxiety that actively questions the viewer. When you view a sculpture made by Aurel Vlad you cannot remain indifferent, you cannot stop yourself to react, you cannot stop asking yourself who we are and where did we come from. Jose Saramango in “Essay on Lucidity” wrote: “When we are born, when we come into this world, it is as if we have signed a contract for the rest of our lives, however there comes a day when we will ask ourselves who signed on our behalf ”. Guided by the lucky star, Aurel Vlad's “Pilgrims” seek divinity, but to meet it they must overcome their fears. Fear, nervousness, anguishes, weakness and anxiety moments raise in the human being the most unexpected reactions. In “Daedalus and Icarus”, Icarus wants to heighten, but he is stopped by the fear that overpowers his father. Daedalus's arms stops Icarus, it is about that paternalistic fear of something bad happening to his beloved child. The fear is for the human being one of the most common feelings and at the same time the most frightening. It is the fear given by the lack of knowledge in "Eclipse", the fear of self-knowledge in "Narcissus", or given by the power of mind in "Nightmare". It is the fear to abandon yourself to the homicide instincts, the fear of letting the animal instinct to overpower you in “The Dog Man” or the fear of death that reconfirms the humanity through "Resurrection". The continuous enquiry is the one that triggers the human drama. Regarding that, “David mourns over Goliath” is


one of the strongest comments in respect to the recent history of the Roman people. David being represented by the Roman people defeats Goliath, the beloved leader, but in less than two decades after the defeat Goliath is regretted by David. David's fear raises from the idea that monster resurrects exactly form the hearts of those who destroyed it. Aurel Vlad questions in this work the darkness and the unexpected in human's inmost beings, the unseen things. The Expressionist gesture sculpture of Aurel's Vlad disturbs and at a same time seduces the viewer. The genuine artist uses phantasms and metaphors full of magic and mysticism, searches and questions the ephemeral of human life. Aurel's Vlad characters represent the world, a world without reference points, and a world that only through the power of self-questioning can redeem. Fear is what defines us and also what re-humanizes us. Deciphering the sculpture of Aurel Vlad means that the viewer activates a consciousness belonging to anguishes that he pervaded to the depths.

Diana Dochia


Aurel Vlad

(born 1954) is a graduate of Nicolae Grigorescu Institute of Fine Arts in Bucharest, Sculpture Department, in 1984. Starting with the year of 1990 he teaches at the Sculpture Department of the National University of Arts in Bucharest. He currently is a lector at the university, Ph.D. in visual arts. During 2008 and 2012 he was the Dean of the Faculty of Fine Arts within UNArte Bucharest. He has a great exhibition activity and many awards:

2011: Diploma of Excellence and the Award for Culture of the International Center of Culture "George Apostu" in Bacau, Romania; 2009: Constantin Brâncuºi Award - Painting and Sculpture Biennial, Arad, Romania; 2003: Third Prize at the International Symposium of Sculpture from Fuente Palmera, Spain; 2000: Romanian Academy Award for Sculpture; 2000: National Order of Merit with the rank of Commander; 1998: Grand Award of Art Salon; 1990: U.A.P Sculpture Award.


Lista lucrãrilor / List of the artworks

Înãlþarea, - h – 270cm, lemn / The Ascension, - h – 270cm, wood2008 Stãpânul fiarei, 19,5x13cm, tu? / The Master of the Beast, 19,5x13cm, ink 2012 Pelerini - h – 270cm, lemn / Pilgrims - h – 270cm, wood, 2004 David plângându-l pe Goliat – h – 50 cm., lemn / 2013 David plângându-l pe Goliat – h – 50 cm., lemn / 2013 Dansul omului cãine – h- 90cm, lemn, (detaliu) / 2013 Dansul omului cãine – h- 90cm, lemn / 2013 Încle?tarea – 21x15cm, tu? / 2013 Foamea – 30x30cm, tu? / Hunger – 30x30cm, ink 2009 Judecata – 30x30cm, tu? / Judgement, – 30x30cm, ink, 2009 Eclipsa - h – 150 cm., lemn, (detaliu) / Eclipse - h – 150 cm., wood, 2009 Narcis – h – 63 cm., lemn, (detaliu) / – h – 63 cm., wood, (detail) 2013 Narcis – h – 63 cm., lemn / Narcissus – h – 63 cm., wood, 2013 Dedal ?i Icar – h – 120 cm., lemn / Daedalus and Icarus – h – 120cm., wood, 2013 Dedal ?i Icar – h – 120 cm., lemn, (detaliu) / Daedalus and Icarus – h – 120cm., wood, (detail) 2013 David plângându-l pe Goliat – 30x30cm, tu? / 2009 Spaima III – h – 24 cm., lemn / Fear III., – h – 28 cm., wood, 2013 Spaima I - h – 28 cm., lemn / Fear I., – h – 28 cm., wood, 2013 Teama – 19,5x13cm, tu? / Fear, 19,5x13cm, ink, 2012 Co?marul – h – 47 cm., lemn / Nightmare, – h – 47 cm., wood, 2007


Profile for Uj Kriterion Galeria

Aurel Vlad Spaima  

art, sculpture

Aurel Vlad Spaima  

art, sculpture