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Ulise al lui Alexandru Rãdvan

retractilitãþii ironic-parodice nu este decât vag activatã în context. Confruntarea cu

Existã un timp al lui Ulise, în lecturile ºi

adversitãþile, antrenamentul sportiv

imaginarul nostru. Pentru unii, mulþi,

dezvoltã un “discurs” care devine o

fereastra cãtre eroul lui Homer, zis ºi

pledoarie pentru robusteþea corporalã a

Odiseu, se deschide ºi se închide în

atletului antic, iar prin extensie, a celui

copilãrie/adolescenþã. Pentru alþii, puþini,

dintotdeauna. Imaginea acestei

Ulise devine un tovar㺠de drum pe

corporalitãþi triumfãtoare este esenþializatã

termen lung. Este vorba despre acei

ºi, în fapt¸ sporitã de un calculat

oameni, creatori de text/imagine, pentru

“primitivism” al structurãrii formale.

care Odiseu se transformã în simbolul

Ulise apare în ipostaze ºi din unghiuri

Drumeþului cãutãtor al Cunoaºterii,

diverse, identitatea facialã este variabilã.

Învingãtorul prin forþa inteligenþei dar ºi

Sunt însã destule cazuri când percepem o

prin cea fizicã, dacã o cer circumstanþele...

siluetã vãzutã din spate, cel mult cu capul

Ulise împinge limitele dialogului cu lumea,

întors în profil... Odiseu devine aºadar un

pe diversele ei paliere, luptã pentru a

personaj generic, un reper uman tipologic.

garanta constanþa unor calitãþi umane.

Chiar ºi reprezentãrile frontal-faciale ating

James Joyce a demonstrat cã mitul rezistã

un grad sporit de generalitate. Ceva

ºi în modernitate, cã Ulysses nu se

încãlzeºte, totuºi, aceste portrete

rãtãceºte nici în secolul XX, dimpotrivã.

paradoxal depersonalizate: uneori un soi

Alexandru Rãdvan transformã unul din

de exaltare modularã a trãsãturilor, alteori

reperele sale preferate de lecturã, de

“cuibul” haºurilor colorate care definesc un

întoarcere la Antichitate ºi la mit, într-un

chip – aceste observaþii privesc mai ales

adevãr pluriform al artei contemporane.

lucrãrile realizate în 2012 în pastel gras.

Lumea lui Ulise îl ademenea încã din anii

În contextul datelor stilistice de

studenþiei. Ea a revenit în prim-planul

ansamblu, în opinia noastrã, specificitãþile

sensibilitãþii ºi atenþiei sale spre finalul

de “vocabular” imagistic ale lui Alexandru

primului deceniu al noului mileniu.

Rãdvan provin ºi din inspirata confluenþã a

Regãsirea acestui Erou se traduce si prin

unor “ecouri” diferite între ele. Acestea se

(re)descoperirea reprezentãrii genuine a

“topesc” într-un coerent ton

atributelor masculinitãþii. Nuanþa

particularizant, fãrã ca elementele care îl


compun sã fie, fiecare, neapãrat, brand

de sintezã formalã pe care o etaleazã în

new. În cazul universului tematic Ulise, cel

operã Alexandru Rãdvan, pentru

puþin în ce priveºte desenele în pastel, ne

sensibilitatea artistului faþã de textura

gândim mai ales la ecouri ale

materialului în care lucreazã ºi abilitatea

Transavanguardiei hrãnite ºi de exemple

de a o pune în valoare.

greceºti ºi romane antice. Pictura propriu-

Alexandru Rãdvan îmi mãrturisea cã

zisã confirmã dimensiunea

agreeazã din ce în ce mai mult lucrul în

neoexpresionistã (cu posibile “ingerinþe”

volum ºi “lupta” cu materialul; faptul

italiene).

plastic devine un fel de picturã/desen în

Pe de altã parte, “portretele” grupate în seria transformabilã în instalaþie, de

3D... Fragmentele narative care se ataºeazã

monotipuri în tuº pe calc (“Oamenii lui

“marii povestiri” dedicate lui Ulise, i se

Ulise”, 2011), sunt la rândul lor

reveleazã artistului ºi se transformã în

tulburãtoare: aceste chipuri, cu expresii

imagini în împrejurãri cel mai adesea

diverse, se înfãþiºeazã ca niºte “amprente”

nespectaculoase. Inspiraþia se

ale unor diferite stãri ale umanului,

declanºeazã, nu rareori, în mediul familial.

reprezentãri neoexpresioniste ºi ele,

În definitiv, nu înseamnã Odiseea

configurate prin intermediul petelor de

“întoarcerea acasã” în orice limbã a

culoare. Par, totodatã, glose pe tema

planetei?

raportului între prezenþã ºi absenþã. Sculpturile realizate cu ajutorul armãturii metalice, pânzei ºi pigmenþilor, se afirmã ca exemple accentuat neoexpresioniste (unele), pornind de la deja identificata tipologie a primitivismului, cãreia i se adaugã date ale unei “arheologizante” viziuni de tip body in pieces. Intervenþiile picturale potenþeazã “spectacolul” atitudinal. Reliefurile în lemn sau în ciment depun ºi ele mãrturie pentru capacitatea de sintezã formalã pe care o etaleazã în

Adrian Guþã


Alexandru Rãdvan Ulyssese

évtizedének vége felé újra visszatért érzékenysége és figyelme középpontjába.

Olvasmányainkban és képzeletünkben

Ennek a hõsnek az újrafelfedezését többek

Ulyssesnek külön ideje van. Egyesek, elég

között úgy fordítja mûvészetté, hogy

sok ember, a Homérosz Odüsszeusznak is

(újra)felfedezi a maszkulinitás

nevezett hõsét csak gyerek- és

tulajdonságainak zsigeri ábrázolását. Az

kamaszkorukban ismerik: az elsõ

ironikus-parodikus visszahúzódás

idõszakban találkoznak vele, a másodikban

árnyalatát csak vázlatosan mûködteti. Az

elbúcsúznak tõle. Mások, kevesen, hosszú

ellenfelekkel és nehézségekkel való

lejáratú barátságot ápolnak vele. Azokról a

küzdés, a sportos edzés olyan “diskurzust”

szöveg- vagy képalkotókról van szó, akik

fejleszt ki, amely az ókori atléta, s

számára Odüsszeusz a Megismerést keresõ

kiterjesztés révén a mindenkori atléta

Vándor jelképévé válik, az intelligencia, de

dicséretévé válik. Ennek a diadalmaskodó

ha a körülmények azt kívánják, a fizikai

testiségnek a képét a lényegre egyszerûsíti

erõ révén is Diadalmaskodóvá… Ulysses

és “felgyarapítja” a formális struktúra

tovább feszíti a világgal való párbeszéd

átgondolt “primitivizmusával”.

korlátait, a világ különbözõ “emeletein”

Ulysses különbözõ helyzetekben és

gyakorolja kíváncsiságát és értelmét, azért

szögekbõl ábrázolódik, arca is változik.

küzd, hogy bizonyos emberi kvalitások

Elég gyakori azonban, hogy hátulról látjuk,

tartós mivoltát biztosítsa. James Joyce

legfeljebb profilból… Odüsszeusz tehát

bebizonyította, hogy a mítosz a

általános, tipikus emberi személyiség lesz.

modernitásban is aktuális, hogy Ulysses a

Még a szembõli ábrázolások is nagyfokú

XX. században sem téved el, éppen

általánosságot hordoznak. Valami

ellenkezõleg.

mégiscsak melegíti ezeket a paradox

Alexandru Rãdvan nem tesz mást, mint

módon elszemélytelenedett portrékat:

hogy egyik kedvenc olvasmányát, mely

olykor a vonások eltúlzása, máskor a

által visszatér az Ókorhoz és a mítoszhoz,

színes satírozás “fészke”, amely

a kortárs mûvészet sokféle és számtalan

meghatároz egy arcot – ezek a

formájú igazságává változtatja. Ulysses

megfigyelések elsõsorban azokra a

világa már diákéveitõl kezdve

mûvekre vonatkoznak, melyek 2012-ben

foglalkoztatta, és az új évezred elsõ

készültek darabos pasztellszínekkel


megfestve.

hangsúlyozottam expresszionista

Ami most már az általában vett stilisztikai

vonásokkal telítettek, s a primitivizmus

adatokat illeti, véleményem szerint

immár azonosított tipológiájából indulnak

Alexandru Rãdvan képi “szókincsének”

ki, melyhez body in pieces-típusú

sajátosságai abból is származik, hogy

“régészeti” látásmód jegyei járulnak. A

ihletetten egybedolgozott bizonyos

festõi beavatkozások az attitûd-beli

egymástól különbözõ “hatásokat”. Ezek

“elõadást” teszik lehetõvé. A fából és

egy mindent partikulárissá tevõ tónusban

cementbõl készült dombormûvek szintén

“olvadnak össze”, anélkül, hogy a

arról a formális szintézisképességrõl

különbözõ összetevõk mindegyike

árulkodnak, amelyet Alexandru Rãdvan

feltétlenül mai lenne.Az Ulysses tematikájú

mûve tanúsít, a mûvész érzékenységérõl

univerzum esetében, legalábbis, ami a

annak az anyagnak a textúráját illetõen,

pasztellrajzokat illeti, elsõsorban a

amellyel dolgozik és arról a képességérõl,

Transavanguardia hatására gondolok,

amellyel mondani tud valamit általa.

melyeket görög és római példák is

Alexandru Rãdvan bevallotta nekem, hogy

befolyásoltak. Maga a festés módja

egyre jobban szereti a nagy tömegû

expresszionizmust is hordoz (olasz

anyagot s a vele való küzdelmet; a

“fuvallatokkal”).

plasztika egyfajta 3D-ben megalkotott

Másfelõl az installációra váltható

festménnyé-rajzzá válik…

portrésorozat, a pauszpapírra rajzolt

Az Ulyssesnek szentelt “nagy

monotípusok (Ulysses emberei, 2011) a

elbeszéléshez” tartozó narratív részletek

maguk során szintén felkavaróak: ezek a

“megjelennek” a mûvész elõtt és

változatos kifejezést hordozó arcok úgy

legtöbbször kevéssé látványos

jelennek meg, mint különbözõ emberi

körülmények között alakulnak át képekké.

állapotok “ujjlenyomatai”, expresszionisták

Az ihlet nem is ritkán családi körben “indul

ezek is, a színfoltok révén felvázoltak.

be”. Végsõ soron mit jelent az Odüsszeia a

Ugyanakkor a jelenlét–hiány közötti

világ bármely nyelvén, ha nem azt:

viszony margójára rajzolt etüdöknek

“hazatérés”?

tûnnek. A fém, vászon és festékanyag segítségével

Adrian Guþã

megformált szobrok közül néhányan

Fordította: Demény Péter


The Ulysses of Alexandru Rãdvan

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 – and

friendship with him. I am talking about the

by extension – 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 – if it's required – 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 Rãdvan does nothing else but

portraits: sometimes the exaggeration of

turns his favourite reading – by which he

features, sometimes the 'nest' of color

returns to the antiquity and myth – into

shading which determines a face – 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

Rãdvan'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 Rãdvan, 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 Rãdvan 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 Guþã Translated by Elõd Márton


Alexandru RÃDVAN Date and place of birth: May16th 1977, Bucharest, Romania www.radvanpainting.blogspot.com Education: 1996 – 2000 Bucharest University of Art Solo shows: 2011 - “The Heart”, installation at Abbaye de Neumünster, Luxembourg, curated by Didier Damiani 2011 - “Christ”, Anaid Art Gallery, Bucharest 2009 - “Wond'ring aloud”, Anaid Art Gallery, Bucharest 2008 - „Zeus & Europa”, Calina Gallery, Timiºoara 2008 - „Huldigung des Judas & der Kreuzfahrer ”(Hommage to Judas & The crusaders), LWL – Industriemuseum Westfaliches Landesmuseum fur Industriekultur Henrichshutte, Hattingen, Germany 2007 – “Memories of Constantine”, Anaid Art in collaboration with Cluj-Napoca Art Museum, Cluj-Napoca Art Museum, Cluj-Napoca 2007 – “Cancer”, Anaid Art Gallery, Bucharest 2007 – “Memories of Constantine”, Curtea Veche, Bucharest 2006 – “Sol Victus”, U.A.P. Gallery, Bistriþa 2006 – “Sol Victus”, Casa Matei Gallery, Cluj-Napoca 2005 – International Action Art Center / UNESCO, Athens, Piraeus, Greece 2005 – “Soma”, Anaid Art Gallery, Bucharest 2005 – “Taurobolii”, Palatele Brancovenesti Culture Centre, Bucuresti 2003 – “Imperatores. Fragments”, H'Art Gallery/ UNA Gallery, Bucharest 2003 – “Drawings for Petronius”, Posibila Gallery, Bucharest 2001 – “Heroes”, UNAgaleria, Bucharest 2001 – “12 images told by Alexandru Radvan”, ArtJazz Club, Bucharest 2000 – “Anatomy of the landscape”, 35 Atelier, Bucharest


Lista lucrarilor / List of the artworks Seria Atletice I., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series I., oily pastel on paper, 72x51cm, 2012 Seria Atletice II., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series II., oily pastel on paper, 72x51cm, 2012 Seria Atletice IV., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series IV., oily pastel on paper, 72x51cm, 2012 Seria Atletice V., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series V., oily pastel on paper, 72x51cm, 2012 Seria Atletice VI., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series VI., oily pastel on paper, 72x51cm, 2012 Seria Atletice VII., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series VII., oily pastel on paper, 72x51cm, 2012 Seria Atletice VIII., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series VIII., oily pastel on paper, 72x51cm, 2012 Seria Atletice IX., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series IX., oily pastel on paper, 72x51cm, 2012 Seria Atletice III., pastel gras pe hârtie, 72x51cm, 2012 Athletic Series III., oily pastel on paper, 72x51cm, 2012

Oamenii lui Ulise I., monotipie (tuº pe hârtie de calc), 42x30cm, 2011 People of Ulysses I., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise III., monotipie (tuº pe hârtie de calc), 42x30cm, 2011 People of Ulysses III., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise IV., monotipie (tuº pe hârtie de calc), 42x30cm, 2011 People of Ulysses IV., monotype (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise V., monotipie (tuº pe hârtie de calc), 42x30cm, 2011 People of Ulysses V., monotype (ink on tracing paper), 42x30cm, 2011 Alexandru Rãdvan - Oamenii lui Ulise, instalatie 45 de monotipii (tuº pe hârtie de calc), 42x30cm, 2011 Alexandru Rãdvan - People of Ulysses, installation of 45 monotips (ink on tracing paper), 42x30cm, 2011 Oamenii lui Ulise VI., monotipie (tuº pe hârtie de calc), 42x30cm, 2011 People of Ulysses VI., monotype (ink on tracing paper), 42x30cm, 2011 Peºtera lui Polifem, acrilic pe pânzã nepreparatã, 277x154cm, 2012 Cave of Polyphemus, acrylic on unprepared canvas 277x154cm, 2012 Ulise ºi Sirenele, tehnica mixtã: armaturã metalicã; pânzã ºi pigmenþi, 2011 Ulysses and the Sirens, mixed technique: metal armatures, canvas and pigments, 2011 Troia, tehnica mixtã: armaturã metalicã; pânzã ºi pigmenþi, 2009-2011 Troy, mixed technique: metal armatures, canvas and pigments, 2009-2011 Fãrã titlu, lemn de brad pictat cu culori vinilice, 2011 Untitled, pine wood painted with vinyl color, 2011


Radvan Alexandru  

art, figurative art , Ulysses

Radvan Alexandru  

art, figurative art , Ulysses

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