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Editor of the catalogue andcurator of the exhibition:Győri Csaba

Catalogue design and layout:Győri Kinga, Bertoti Péter

Authors:Botiş Enikő, Cosmin Năsui

English translation:Alina Achim, Zsuzsa Johnson

Printed in Romania by Cromatica Press, Baia Mare

All the materials from the catalogue are published with the permission of the artists and the authors.

© 2011. All rights reserved to the editor, the artists and the authors. No parts of this publication may be reproduced or distributed in any form or by any means, or stored in a data base or retrieval system, without the permission of the editor.

May - June 2011/ Baia Mare / Romania

A SIXTET WITH SIX SOLISTS

Six artist from different parts of the generational divide – Bartosz Fraczek, Dorel David Morar, Francisc Chiuariu, Füzes Gergely, Győri Csaba, Maxim Dumitraș – have one thing in common: a joint exhibition.

The different media used in the paintings and sculptures depicts how modern art itself uses other objet d'art in its creation. Even though this is a collective exhibiton, the individual artis's message comes through like the solos of classical instruments that never quite sound in unison or like an orchestra. And so the intent of this exhibition and of this catalog is presenting six individual musical virtuosos and their partitures without following a musical harmony under the baton of a single director.

Nevertheless, these six ”musicians” use the notes of figurative art each in their own manner, interpreting them more abstractly or formally in the personal keys of their partitures showing their own virtuosity.

Cosmin Năsui, art critic

EAST ART PROJECT AT BAIA MARE

The symptomatic movement, created in the contemporary art of the East and Central European space, of which most evident expression represents the reconcilable discrepancy, created somewhere between the prior and after the period of The Sovietic Bloc fall, can be described as an attempt of creating a new esthetic identity, away from the local context of art, in favor of the plastic-visual speeches similar to the formal and semantic point of view, with the standards of the cosmopolitan occidental art.

Starting with the 90's, the local artistic act and product, specific to the East-European region deals with the same intensified dynamic of its political, critical and social development, next to an exacerbation of its subversive dimension, both attitudes offering the public, still “traumatized” by the new look of art, an esthetic even more rational and more contextualized.

This way, the young East-European artists have, simultaneously, the same willing of interaction between rational and universal, with the risk of dying, sometimes in mimetic gesture of the models specific to the centre, an attitude, this way, typical for the outer

cultures. On the other side, we assist to the appearance of a new generation of artists who redefine the language East-Central European space, which until now, had an attraction for the occidental receiver, exclusively to the “post-communist condition”, if we apply to the term introduced by the philosopher and ideologist Boris Groys.

The experience of this exhibition, transposed in the Baia Mare's peripheral biotope may generate some interrogative availabilities addressed to the local artistic conscience and to the limited audience – such as: the inclusion in a consistent commercial speech or forever stuck in the memory of In the School of Baia Mare, but without being really undertaken, but only circulated in the form of recurrence clichés, the local artistic phenomenon risks the authoritarian extension that will lead to annihilation of identities? And, by extension: by refusing to treat the culture, of the contemporary art as an exclusive domain of national states, respectively the marginalization through the exclusion of The European Union construction, as a cultural project, it could avoid the involvement of multicultural society in deep crisis that today characterizes it?

Botiş Enikő, art critic

of the contemporary art of the

Bartosz Frączek was born in 1974. He graduated from the Painting Departament, the Faculty of Art at the Pedagogical University in Czestochowa (Poland). He was gain a doctorate in art at Academy of Fine Arts in Cracow. He teach painting and drawing in Jan Dlugosz University in Czestochowa,Faculty of Arts. He was given the President of Czestochowa Scholarship four times. He is the initiator, organizer and curatour of the International Biennial Of Miniature Art. His works was exhibited in 40 individual and 130 colective exhibition. He take part in plenairs and syposiums all over the world. He also take part in art fairs, the last ones are: Hamburg, Geneva, Lubeck, Antwerp, Bremen, Aix en Provance, New York, Budapest, Arnhem. His works are in collections all over the world.

Member of:Union of Polish ArtistsUnesco AIAP - ParisD. Fleiss & east-west artists Association - Stuttgart

Address: Al.N.M.P 6/2542-200 Czestochowa, Polandhttp://www.fraczek.art.plB

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yellow crocodile – acryl/canvas

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with watermelon – acryl/canvas

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www.francisc-chiuariu.ro

Born in Sibiu, 1960.In1993 he graduated The VisualArts Academy from Bucharest.

A good artist can be appreciated by the originality of the graphic language used. For today's artists it is very hard to produce such an idiosyncratic speech to reveal his identity. This is why, their attempts lay on a expansive specter which has at an end the adaption of a anachronistic visual record, which valorize the techniques used by the old masters, and at the other end the free usage of some styles and practices so actual that they still carry the label of postmodern factory.

Francisc Chiuariu is the perfect exhibitor of the last direction. The artist is aware of the importance of using a visual idiom as actual as possible because only this way the artist can represent emotions with which the contemporary man can identify himself. The emotion is the key of arch of the artist's vision who considers that art is firstly an expression.

Francisc Chiuariu is an artist with a fascinating evolution, which he describes as the transition from the manifestation of some interior faces of experience, to the elaboration and representation of the exterior, with its vicissitudes and characteristics.F

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green angel in prison – acryl/canvas

Born in Budapest Hungary 1968.Student at the Fine Arts' College, Budapest, Hungary, 1988-1992.Since 1992 member of the Association of the Hungarian Fine Artists, Budapest. Post-graduate student at the Fine Arts' College, Budapest, Hungary, 1992-1995.Member of the Hungarian Creativ Artists' National Association, Budapest, 1995.Award for draw of anatomy, Barcsay Foundation, Hungary, 1991, 1993.NKA, Hungary, art scholarship, 2002.Member of the Association of Hungarian Painters, Budapest, 2003.Member of the Mednyánszky Association, Budapest, 2003.Award of the Association of the Hungarian Fine Artists, 2007.

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The paintings of Gergely Füzes are located in the borderland of reality and abstraction. He represents gardens, interieurs and figures but varies motives without restraint. His compositions, interlaced with light and colours are held together in a geometric frame. Gergely Füzes uses wide range of expression by the time-honoured method of oil painting on canvas.

fuzesgergely@gmail.comwww.fuzesgergely.hu

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The iron statues of Csaba Gyori are monumental in their shape and their finishing, as if they were made to enrich our public spaces! The artist chose for this exhibition the title Casual Sequences, where he shows the many faces of the Woman: the Ancestor Mother, the Mistress, the source of each good and bad. The visual art of Gyori Csaba may not be approached descriptively, the understanding of his sculpture must begin by the visual expression and not at the word. The spectator as the critic must appeal on his cognitivus sensitivita when looking to these works of art. The time has stopped in these sculptures, by other words, they express the abyss through their shape and serenity. The dynamic has stocked in them, too. The artist smoothly braced the motion in iron, and transformed it into static. As if the artist rived a movement out of the world, in order to change it through hard work into infinite. It could be the perfect critic of the artist upon our world.

Csaba Gyori with this group of statues tried the possibilities of the arrowhead-shape. The arrowhead as triangle is plane,as a result the statues are linear, static; the arrowhead as an adornment, uproots a section of the space and personalizes it. This double space-definition plus the tension between the material, the iron and the graceful forms make these works of art unforgettable. By using the clear, synthesizing shape and the very basic characteristics of the woman, the artist mythologized the Woman and succeeded to redefine the Woman-archetype.

Deuten Makkai Réka, art critic

Born in â ş, , 1965. Studies: Academy of Visual Arts “Ion Andreescu” sculpture department, 1997Member of the Artist Union of Romania. Member of the Artist Group of Budapest “Mednyanszky” Curator of exposition: 2007-2011 “Kiss”, “Identity”, Baia Mare, Romania

T rgu Mure Romania

Studio: str. Petőfi nr 30, Baia Mare, Romania.www.gyoricsaba.ro

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Born on September 27th, 1958, Sângeorz-Băi, RomâniaMember of the Romanian Professional Artists Union (UAPR)Member of the International ArtAssociation Paris, France(A.I.A.P.)

Maxim Dumitraş is an artist for whom tradition and modernitynaturally blend within each contemporary aspect.

Maxim Dumitraş’s work are full of laconic forms. His sculptures are built according to the principle of “including the absence” of the space, transforming emptiness into a physical “presence”.

Because of this creative effort, his forms are constantly crossed by forces and conflicts even in their monolithic shapes. After dissolving through abstract up to the disappearance of the physical body of sculpture, he has moved into a world of ideas. Practicing ideal sculpture, or conceptual, can produce immaterial shapes which “touch the ether” suggested or induced by some visible gestures. Cosmin Năsui

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encircled absence – wood, lead

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When I started the Crucifixion Cycle, I wanted to name this works Crucifixions for the Mioritic Space. Then, while elaborating it, I started to perceive them as Crucifixions for a possible new Middle Age.

Now, when I am exhibiting them, I decided to simply name them Crucifixions or Compilation, allowing completely freedom to the worshiper or profane viewer, to taste with his look the wood, the rock and iron, the accidental color marks, the white wall and the arcades, (was at the museum)in their dumb attempt to express the joy, the hidden beauty of tragedy and human agony.

The text form the Bible: “But God chose the foolish things of the world to shame the wise; God chose the weak things of the world to shame the strong; God chose what is low and despised in the world, even things that are not, to bring to nothing things that are.” 1 Corinteni cap. 1/27-28I chose this text as a motto of the exhibition, as an argument for the material used (old iron, objects from the rural house,abandoned).

Dorel David Morar

He was born in Romania. In 1987 he graduated The VisualArts Academy from Bucharest,Romania, Sculpture Departament.He lives and works both in Spainand Romania.

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crist with blue – steel

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crist Don Quijote – steel/wood

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May - June 2011/ Baia Mare / Romania