Ulise al lui Alexandru RĂŁdvan
retractilitĂŁĂŸii ironic-parodice nu este decĂąt vag activatĂŁ Ăźn context. Confruntarea cu
ExistĂŁ un timp al lui Ulise, Ăźn lecturile Âși
adversitĂŁĂŸile, antrenamentul sportiv
imaginarul nostru. Pentru unii, mulĂŸi,
dezvoltĂŁ un âdiscursâ care devine o
fereastra cĂŁtre eroul lui Homer, zis Âși
pledoarie pentru robusteĂŸea corporalĂŁ a
Odiseu, se deschide Âși se Ăźnchide Ăźn
atletului antic, iar prin extensie, a celui
copilĂŁrie/adolescenĂŸĂŁ. Pentru alĂŸii, puĂŸini,
dintotdeauna. Imaginea acestei
Ulise devine un tovarĂŁÂș de drum pe
corporalitĂŁĂŸi triumfĂŁtoare este esenĂŸializatĂŁ
termen lung. Este vorba despre acei
Âși, Ăźn faptž sporitĂŁ de un calculat
oameni, creatori de text/imagine, pentru
âprimitivismâ al structurĂŁrii formale.
care Odiseu se transformĂŁ Ăźn simbolul
Ulise apare Ăźn ipostaze Âși din unghiuri
DrumeĂŸului cĂŁutĂŁtor al CunoaÂșterii,
diverse, identitatea facialĂŁ este variabilĂŁ.
ĂnvingĂŁtorul prin forĂŸa inteligenĂŸei dar Âși
Sunt ĂźnsĂŁ destule cazuri cĂąnd percepem o
prin cea fizicĂŁ, dacĂŁ o cer circumstanĂŸele...
siluetĂŁ vĂŁzutĂŁ din spate, cel mult cu capul
Ulise Ăźmpinge limitele dialogului cu lumea,
Ăźntors Ăźn profil... Odiseu devine aÂșadar un
pe diversele ei paliere, luptĂŁ pentru a
personaj generic, un reper uman tipologic.
garanta constanĂŸa unor calitĂŁĂŸi umane.
Chiar Âși reprezentĂŁrile frontal-faciale ating
James Joyce a demonstrat cĂŁ mitul rezistĂŁ
un grad sporit de generalitate. Ceva
Âși Ăźn modernitate, cĂŁ Ulysses nu se
ĂźncĂŁlzeÂște, totuÂși, aceste portrete
rĂŁtĂŁceÂște nici Ăźn secolul XX, dimpotrivĂŁ.
paradoxal depersonalizate: uneori un soi
Alexandru RĂŁdvan transformĂŁ unul din
de exaltare modularĂŁ a trĂŁsĂŁturilor, alteori
reperele sale preferate de lecturĂŁ, de
âcuibulâ haÂșurilor colorate care definesc un
Ăźntoarcere la Antichitate Âși la mit, Ăźntr-un
chip â aceste observaĂŸii privesc mai ales
adevĂŁr pluriform al artei contemporane.
lucrĂŁrile realizate Ăźn 2012 Ăźn pastel gras.
Lumea lui Ulise Ăźl ademenea ĂźncĂŁ din anii
Ăn contextul datelor stilistice de
studenĂŸiei. Ea a revenit Ăźn prim-planul
ansamblu, Ăźn opinia noastrĂŁ, specificitĂŁĂŸile
sensibilitĂŁĂŸii Âși atenĂŸiei sale spre finalul
de âvocabularâ imagistic ale lui Alexandru
primului deceniu al noului mileniu.
RĂŁdvan provin Âși din inspirata confluenĂŸĂŁ a
RegĂŁsirea acestui Erou se traduce si prin
unor âecouriâ diferite Ăźntre ele. Acestea se
(re)descoperirea reprezentĂŁrii genuine a
âtopescâ Ăźntr-un coerent ton
atributelor masculinitĂŁĂŸii. NuanĂŸa
particularizant, fĂŁrĂŁ ca elementele care Ăźl
compun sĂŁ fie, fiecare, neapĂŁrat, brand
de sintezĂŁ formalĂŁ pe care o etaleazĂŁ Ăźn
new. Ăn cazul universului tematic Ulise, cel
operĂŁ Alexandru RĂŁdvan, pentru
puĂŸin Ăźn ce priveÂște desenele Ăźn pastel, ne
sensibilitatea artistului faĂŸĂŁ de textura
gĂąndim mai ales la ecouri ale
materialului Ăźn care lucreazĂŁ Âși abilitatea
Transavanguardiei hrĂŁnite Âși de exemple
de a o pune Ăźn valoare.
greceÂști Âși romane antice. Pictura propriu-
Alexandru RĂŁdvan Ăźmi mĂŁrturisea cĂŁ
zisĂŁ confirmĂŁ dimensiunea
agreeazĂŁ din ce Ăźn ce mai mult lucrul Ăźn
neoexpresionistĂŁ (cu posibile âingerinĂŸeâ
volum Âși âluptaâ cu materialul; faptul
italiene).
plastic devine un fel de picturĂŁ/desen Ăźn
Pe de altĂŁ parte, âportreteleâ grupate Ăźn seria transformabilĂŁ Ăźn instalaĂŸie, de
3D... Fragmentele narative care se ataÂșeazĂŁ
monotipuri Ăźn tuÂș pe calc (âOamenii lui
âmarii povestiriâ dedicate lui Ulise, i se
Uliseâ, 2011), sunt la rĂąndul lor
reveleazĂŁ artistului Âși se transformĂŁ Ăźn
tulburĂŁtoare: aceste chipuri, cu expresii
imagini Ăźn ĂźmprejurĂŁri cel mai adesea
diverse, se ĂźnfĂŁĂŸiÂșeazĂŁ ca niÂște âamprenteâ
nespectaculoase. InspiraĂŸia se
ale unor diferite stĂŁri ale umanului,
declanÂșeazĂŁ, nu rareori, Ăźn mediul familial.
reprezentĂŁri neoexpresioniste Âși ele,
Ăn definitiv, nu ĂźnseamnĂŁ Odiseea
configurate prin intermediul petelor de
âĂźntoarcerea acasĂŁâ Ăźn orice limbĂŁ a
culoare. Par, totodatĂŁ, glose pe tema
planetei?
raportului Ăźntre prezenĂŸĂŁ Âși absenĂŸĂŁ. Sculpturile realizate cu ajutorul armĂŁturii metalice, pĂąnzei Âși pigmenĂŸilor, se afirmĂŁ ca exemple accentuat neoexpresioniste (unele), pornind de la deja identificata tipologie a primitivismului, cĂŁreia i se adaugĂŁ date ale unei âarheologizanteâ viziuni de tip body in pieces. IntervenĂŸiile picturale potenĂŸeazĂŁ âspectacolulâ atitudinal. Reliefurile Ăźn lemn sau Ăźn ciment depun Âși ele mĂŁrturie pentru capacitatea de sintezĂŁ formalĂŁ pe care o etaleazĂŁ Ăźn
Adrian GuĂŸĂŁ
Alexandru RĂŁdvan Ulyssese
Ă©vtizedĂ©nek vĂ©ge felĂ© Ășjra visszatĂ©rt Ă©rzĂ©kenysĂ©ge Ă©s figyelme közĂ©ppontjĂĄba.
OlvasmĂĄnyainkban Ă©s kĂ©pzeletĂŒnkben
Ennek a hĂ”snek az ĂșjrafelfedezĂ©sĂ©t többek
Ulyssesnek kĂŒlön ideje van. Egyesek, elĂ©g
között Ășgy fordĂtja mĂ»vĂ©szettĂ©, hogy
sok ember, a HomĂ©rosz OdĂŒsszeusznak is
(Ășjra)felfedezi a maszkulinitĂĄs
nevezett hÔsét csak gyerek- és
tulajdonsĂĄgainak zsigeri ĂĄbrĂĄzolĂĄsĂĄt. Az
kamaszkorukban ismerik: az elsĂ”
ironikus-parodikus visszahĂșzĂłdĂĄs
idÔszakban talålkoznak vele, a måsodikban
årnyalatåt csak våzlatosan mûködteti. Az
elbĂșcsĂșznak tĂ”le. MĂĄsok, kevesen, hosszĂș
ellenfelekkel és nehézségekkel való
lejĂĄratĂș barĂĄtsĂĄgot ĂĄpolnak vele. AzokrĂłl a
kĂŒzdĂ©s, a sportos edzĂ©s olyan âdiskurzustâ
szöveg- vagy képalkotókról van szó, akik
fejleszt ki, amely az ókori atléta, s
szĂĄmĂĄra OdĂŒsszeusz a MegismerĂ©st keresĂ”
kiterjesztés révén a mindenkori atléta
Våndor jelképévé vålik, az intelligencia, de
dicséretévé vålik. Ennek a diadalmaskodó
ha a körĂŒlmĂ©nyek azt kĂvĂĄnjĂĄk, a fizikai
testisĂ©gnek a kĂ©pĂ©t a lĂ©nyegre egyszerĂ»sĂti
erÔ révén is Diadalmaskodóvå⊠Ulysses
Ă©s âfelgyarapĂtjaâ a formĂĄlis struktĂșra
tovĂĄbb feszĂti a vilĂĄggal valĂł pĂĄrbeszĂ©d
ĂĄtgondolt âprimitivizmusĂĄvalâ.
korlĂĄtait, a vilĂĄg kĂŒlönbözĂ” âemeleteinâ
Ulysses kĂŒlönbözĂ” helyzetekben Ă©s
gyakorolja kĂvĂĄncsisĂĄgĂĄt Ă©s Ă©rtelmĂ©t, azĂ©rt
szögekbÔl åbråzolódik, arca is våltozik.
kĂŒzd, hogy bizonyos emberi kvalitĂĄsok
Elég gyakori azonban, hogy håtulról låtjuk,
tartĂłs mivoltĂĄt biztosĂtsa. James Joyce
legfeljebb profilbĂłl⊠OdĂŒsszeusz tehĂĄt
bebizonyĂtotta, hogy a mĂtosz a
åltalånos, tipikus emberi személyiség lesz.
modernitĂĄsban is aktuĂĄlis, hogy Ulysses a
MĂ©g a szembĂ”li ĂĄbrĂĄzolĂĄsok is nagyfokĂș
XX. szåzadban sem téved el, éppen
ĂĄltalĂĄnossĂĄgot hordoznak. Valami
ellenkezÔleg.
mĂ©giscsak melegĂti ezeket a paradox
Alexandru RĂŁdvan nem tesz mĂĄst, mint
módon elszemélytelenedett portrékat:
hogy egyik kedvenc olvasmĂĄnyĂĄt, mely
olykor a vonĂĄsok eltĂșlzĂĄsa, mĂĄskor a
ĂĄltal visszatĂ©r az Ăkorhoz Ă©s a mĂtoszhoz,
szĂnes satĂrozĂĄs âfĂ©szkeâ, amely
a kortårs mûvészet sokféle és szåmtalan
meghatĂĄroz egy arcot â ezek a
formĂĄjĂș igazsĂĄgĂĄvĂĄ vĂĄltoztatja. Ulysses
megfigyelések elsÔsorban azokra a
vilåga mår diåkéveitÔl kezdve
mûvekre vonatkoznak, melyek 2012-ben
foglalkoztatta, Ă©s az Ășj Ă©vezred elsĂ”
kĂ©szĂŒltek darabos pasztellszĂnekkel
megfestve.
hangsĂșlyozottam expresszionista
Ami most mĂĄr az ĂĄltalĂĄban vett stilisztikai
vonĂĄsokkal telĂtettek, s a primitivizmus
adatokat illeti, véleményem szerint
immĂĄr azonosĂtott tipolĂłgiĂĄjĂĄbĂłl indulnak
Alexandru RĂŁdvan kĂ©pi âszĂłkincsĂ©nekâ
ki, melyhez body in pieces-tĂpusĂș
sajĂĄtossĂĄgai abbĂłl is szĂĄrmazik, hogy
ârĂ©gĂ©szetiâ lĂĄtĂĄsmĂłd jegyei jĂĄrulnak. A
ihletetten egybedolgozott bizonyos
festÔi beavatkozåsok az attitûd-beli
egymĂĄstĂłl kĂŒlönbözĂ” âhatĂĄsokatâ. Ezek
âelĂ”adĂĄstâ teszik lehetĂ”vĂ©. A fĂĄbĂłl Ă©s
egy mindent partikulĂĄrissĂĄ tevĂ” tĂłnusban
cementbĂ”l kĂ©szĂŒlt dombormĂ»vek szintĂ©n
âolvadnak összeâ, anĂ©lkĂŒl, hogy a
arról a formålis szintézisképességrÔl
kĂŒlönbözĂ” összetevĂ”k mindegyike
ĂĄrulkodnak, amelyet Alexandru RĂŁdvan
feltĂ©tlenĂŒl mai lenne.Az Ulysses tematikĂĄjĂș
mĂ»ve tanĂșsĂt, a mĂ»vĂ©sz Ă©rzĂ©kenysĂ©gĂ©rĂ”l
univerzum esetében, legalåbbis, ami a
annak az anyagnak a textĂșrĂĄjĂĄt illetĂ”en,
pasztellrajzokat illeti, elsÔsorban a
amellyel dolgozik és arról a képességérÔl,
Transavanguardia hatĂĄsĂĄra gondolok,
amellyel mondani tud valamit ĂĄltala.
melyeket görög és római példåk is
Alexandru RĂŁdvan bevallotta nekem, hogy
befolyåsoltak. Maga a festés módja
egyre jobban szereti a nagy tömegû
expresszionizmust is hordoz (olasz
anyagot s a vele valĂł kĂŒzdelmet; a
âfuvallatokkalâ).
plasztika egyfajta 3D-ben megalkotott
MåsfelÔl az installåcióra våltható
festmĂ©nnyĂ©-rajzzĂĄ vĂĄlikâŠ
portrĂ©sorozat, a pauszpapĂrra rajzolt
Az Ulyssesnek szentelt ânagy
monotĂpusok (Ulysses emberei, 2011) a
elbeszĂ©lĂ©shezâ tartozĂł narratĂv rĂ©szletek
maguk sorån szintén felkavaróak: ezek a
âmegjelennekâ a mĂ»vĂ©sz elĂ”tt Ă©s
vĂĄltozatos kifejezĂ©st hordozĂł arcok Ășgy
legtöbbször kevéssé låtvånyos
jelennek meg, mint kĂŒlönbözĂ” emberi
körĂŒlmĂ©nyek között alakulnak ĂĄt kĂ©pekkĂ©.
ĂĄllapotok âujjlenyomataiâ, expresszionistĂĄk
Az ihlet nem is ritkĂĄn csalĂĄdi körben âindul
ezek is, a szĂnfoltok rĂ©vĂ©n felvĂĄzoltak.
beâ. VĂ©gsĂ” soron mit jelent az OdĂŒsszeia a
Ugyanakkor a jelenlĂ©tâhiĂĄny közötti
vilåg bårmely nyelvén, ha nem azt:
viszony margĂłjĂĄra rajzolt etĂŒdöknek
âhazatĂ©rĂ©sâ?
tĂ»nnek. A fĂ©m, vĂĄszon Ă©s festĂ©kanyag segĂtsĂ©gĂ©vel
Adrian GuĂŸĂŁ
megformĂĄlt szobrok közĂŒl nĂ©hĂĄnyan
FordĂtotta: DemĂ©ny PĂ©ter
The Ulysses of Alexandru RĂŁdvan
and attention at the end of the first decade of the new millenium.
Both in our readings and in our
He transforms the rediscovery of this hero
imagination, Ulysses has different periods
into art by (re)discovering of the visceral
of time. Some of us, most of the people
depiction of masculinity. He operates the
know the hero of Homer named Odysseus
shade of the ironical-parodical withdrawal
in their childhood and in their adolescence:
only schematically. Struggling with
they meet him in the first, the say
opponents and other difficulties, this
goodbye to him in the later. Others, only a
athletic training develops a 'discourse' that
few, tend to keep a long-running
becomes the praise of the ancient â and
friendship with him. I am talking about the
by extension â the universal athlete. He
text and image-creators for whom
simplifies the image of this triumphant
Odysseus becomes the Wayfairer seeking
corporeality to its substance and he
Cognition and a Triumphant through
'upgrades' this with the deliberate
intellect and â if it's required â through
'primitivism' of formal structure.
physical strength... Ulysses keeps straining
Ulysses is depicted in different situations
the barriers of the dialogues with the
from different angles, his face changes
world, he practices his curiosity and
constantly. However, we frequently see
intellect on the different 'levels' of the
him from back or at most in a profile
world, he fights to ensure the durability of
view... and so Odysseus becomes a
some human qualities. James Joyce
general, typical human personality. Even
proved that myth is actual even in
his frontwise depictions carry a great deal
modernity and that Ulysses doesn't get
of generality. Nevertheless, something
lost in the 20th century, on the contrary.
warms these paradoxically impersonified
Alexandru RĂŁdvan does nothing else but
portraits: sometimes the exaggeration of
turns his favourite reading â by which he
features, sometimes the 'nest' of color
returns to the antiquity and myth â into
shading which determines a face â but
the many-sided and many-formed truth of
these observations can be related to the
contemporary art. He was interested in the
works he made in 2012 using lumpy pastel
world of Ulysses in his student years and
coloring.
this returned to the center of his sensibility
Considering the general stylistical data, I
think that the nature of Alexandru
associated with the features of this body in
RĂŁdvan's pictorial 'vocabulary' derives
pieces-like archaelogical view. The
from the fact that he inspirationally
interventions of the painter make the
combined some completely different
attitudical 'presentation' possible. The
'effects'. These effects are merged in a
reliefs made of wood and cement also
tone that makes everything particular,
reveal that formal capability for synthesis
even if not all its components are modern.
that is testified by the whole artwork of
In case of the Ulysses-universe,
Alexandru RĂŁdvan, the sensibility of the
concerning the pastel drawings, I am
artist concerning the texture of the
thinking here to the effect of
material that he is working with, and the
Transavanguardia, which was influenced by
ability of saying something by the use of
Greek and Roman examples, even the
material.
mode of the painting carries the influence
Alexandru RĂŁdvan once admitted to me
of expressionism (with Italian
that he likes the material of great mass
'impressions').
and the struggle with it more and more;
On the other hand, the portrait series that
plasticism becomes a kind of a painting-
can be viewed as an installation, the
drawing created in 3D...
mono-types drawn on tracing paper (The
The narrative details dedicated to Ulysses
men of Ulysses, 2011) are also disturbing
and belonging to 'the great narrative' just
in their own way: these faces with diverse
happen to 'appear' in front of the artist
expressions are depicted as 'fingerprints'
and they transform into images not under
of different human conditions, these are
very spectacular circumstances in most
also expressionists outlined by colorspots.
cases. So many times, inspiration is
They seem to be etudes drawn on the
'turned on' in a family environment. After
margin of the relationship between
all, what does Odyssey mean in any
presence and absence.
language of the world, if not
Out of the sculptures created with the use
'homecoming'?
of metal, linen and paint, some are saturated with emphasis with expressionist features and they start from the already identified typology of primitivism which is
Adrian GuĂŸĂŁ Translated by ElĂ”d MĂĄrton
Alexandru RĂDVAN Date and place of birth: May16th 1977, Bucharest, Romania www.radvanpainting.blogspot.com Education: 1996 â 2000 Bucharest University of Art Solo shows: 2011 - âThe Heartâ, installation at Abbaye de NeumĂŒnster, Luxembourg, curated by Didier Damiani 2011 - âChristâ, Anaid Art Gallery, Bucharest 2009 - âWond'ring aloudâ, Anaid Art Gallery, Bucharest 2008 - âZeus & Europaâ, Calina Gallery, TimiÂșoara 2008 - âHuldigung des Judas & der Kreuzfahrer â(Hommage to Judas & The crusaders), LWL â Industriemuseum Westfaliches Landesmuseum fur Industriekultur Henrichshutte, Hattingen, Germany 2007 â âMemories of Constantineâ, Anaid Art in collaboration with Cluj-Napoca Art Museum, Cluj-Napoca Art Museum, Cluj-Napoca 2007 â âCancerâ, Anaid Art Gallery, Bucharest 2007 â âMemories of Constantineâ, Curtea Veche, Bucharest 2006 â âSol Victusâ, U.A.P. Gallery, BistriĂŸa 2006 â âSol Victusâ, Casa Matei Gallery, Cluj-Napoca 2005 â International Action Art Center / UNESCO, Athens, Piraeus, Greece 2005 â âSomaâ, Anaid Art Gallery, Bucharest 2005 â âTauroboliiâ, Palatele Brancovenesti Culture Centre, Bucuresti 2003 â âImperatores. Fragmentsâ, H'Art Gallery/ UNA Gallery, Bucharest 2003 â âDrawings for Petroniusâ, Posibila Gallery, Bucharest 2001 â âHeroesâ, UNAgaleria, Bucharest 2001 â â12 images told by Alexandru Radvanâ, ArtJazz Club, Bucharest 2000 â âAnatomy of the landscapeâ, 35 Atelier, Bucharest
Lista lucrarilor / List of the artworks Seria Atletice I., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series I., oily pastel on paper, 72x51cm, 2012 Seria Atletice II., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series II., oily pastel on paper, 72x51cm, 2012 Seria Atletice IV., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series IV., oily pastel on paper, 72x51cm, 2012 Seria Atletice V., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series V., oily pastel on paper, 72x51cm, 2012 Seria Atletice VI., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series VI., oily pastel on paper, 72x51cm, 2012 Seria Atletice VII., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series VII., oily pastel on paper, 72x51cm, 2012 Seria Atletice VIII., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series VIII., oily pastel on paper, 72x51cm, 2012 Seria Atletice IX., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series IX., oily pastel on paper, 72x51cm, 2012 Seria Atletice III., pastel gras pe hĂąrtie, 72x51cm, 2012 Athletic Series III., oily pastel on paper, 72x51cm, 2012
Oamenii lui Ulise I., monotipie (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 People of Ulysses I., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise III., monotipie (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 People of Ulysses III., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise IV., monotipie (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 People of Ulysses IV., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise V., monotipie (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 People of Ulysses V., monotype (ink on tracing paper), 42x30cm, 2011 Alexandru RĂŁdvan - Oamenii lui Ulise, instalatie 45 de monotipii (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 Alexandru RĂŁdvan - People of Ulysses, installation of 45 monotips (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise VI., monotipie (tuÂș pe hĂąrtie de calc), 42x30cm, 2011 People of Ulysses VI., monotype (ink on tracing paper), 42x30cm, 2011 PeÂștera lui Polifem, acrilic pe pĂąnzĂŁ nepreparatĂŁ, 277x154cm, 2012 Cave of Polyphemus, acrylic on unprepared canvas 277x154cm, 2012 Ulise Âși Sirenele, tehnica mixtĂŁ: armaturĂŁ metalicĂŁ; pĂąnzĂŁ Âși pigmenĂŸi, 2011 Ulysses and the Sirens, mixed technique: metal armatures, canvas and pigments, 2011 Troia, tehnica mixtĂŁ: armaturĂŁ metalicĂŁ; pĂąnzĂŁ Âși pigmenĂŸi, 2009-2011 Troy, mixed technique: metal armatures, canvas and pigments, 2009-2011 FĂŁrĂŁ titlu, lemn de brad pictat cu culori vinilice, 2011 Untitled, pine wood painted with vinyl color, 2011