Andreea-Lorena Bojenoiu (ALB), Silvia Amancei & Bogdan Armanu, Andrei Nacu, Adi Matei, Gili Mocanu, Robert Pal Koteles

Variations. Again and the same

January 21 - March 16, 2018

The act of repetition often describes a unique sequence of events, distinguishable only in relation to generality. In art, repetition plays a central role, as no artistic use of an element is ever truly identical to another. Pop Art, for instance, pushes repetition to its limits by aligning the process of artistic production with the rhythms of capitalism, while Net Art obliterates the notion of the copy in favor of identity. Similarly, Borges’ story about Pierre Menard’s verbatim reproduction of Don Quijote gains its mystique by being relocated across different times and places, transforming repetition into a magical act of recontextualization.

The exhibition “Variations. Again and the Same” invites viewers on an artistic and philosophical exploration of repetition and difference through six distinct situations. Conceived as a curatorial journey, the project begins within the gallery and extends beyond its physical confines, drawing connections between the iterative nature of artistic practice and its broader conceptual implications.

The journey begins with Silvia Amancei and Bogdan Armanu’s “Artists Using Painting to Fly” (2013), a performative act that plays with metaphor and paradox. The artists attempt to fly down a ski trail in Iași using two paintings—canvases bearing sketches of the performance—as makeshift flying devices. The act is repeated within a timeframe arbitrarily chosen by the artists (1979–1983), splitting the flight into two thematic versions: "normal" and "dramatic." These are captured through a series of images documenting moments before and after the symbolic "take-off," offering multiple layers of interpretation.

ALB’s “Black Ground” (2017) embodies a prolonged act of repetition that pushes physical limits to the point of collapse. Over an indefinite period, the artist adheres to a meticulously devised schedule, applying thick layers of acrylic paint onto an oversized canvas until the accumulation causes the surface to peel. This act of overloading transforms repetition into a powerful commentary on endurance, process, and the breaking point where repetition itself creates rupture.

Robert Pal Koteles explores similar themes in his series “Mater” and “Field”. His works use a monochrome paste and the whiteness of the canvas as a backdrop, but the "form" expressed within these works dissolves into abstract lines that vary across canvases. These variations emerge through subtle shifts in size, tone, and color. Here, the indeterminate and the determined fuse into a single field, producing difference within a framework that feels unified and consistent.

Gili Mocanu’s “Avan, Retro” (2015), part of the “Double” series, delves into the idea of repeating The Same. However, rather than reproducing an original image, the work reflects the concept of The Resembling—something that has never physically existed. This approach displaces the notion of an "original" and creates a memory effect of a past that has never been present, exploring the interplay between imagined origins and the traces they leave behind.

In “I reflect: ‘It’s very strange to be going through this change / With no idea of what it’s all been about / Except in the context of time…’” (2017), Andrei Nacu reconfigures repetition through geography and action. Using Google Earth, the artist observes a 3-kilometer loop in the river Prut near the Sculeni customs, at the Moldovan border. At its base, the river narrows to 160 meters. Nacu uses this natural shortcut to transfer water upstream to downstream in a bucket, attempting to accelerate the river's flow and disrupt its rhythm. The action, captured by a drone, highlights the poetic futility and meditative quality of repetitive gestures within natural and political landscapes.

Adi Matei’s “White and Slightly Cold” (2017) challenges the gallery space and its representational boundaries. The title itself is a description of the physical gallery wall. By transgressing the curatorial theme, Matei takes the exhibition beyond the gallery's confines. Using illusory devices, the artist creates a prearranged walking itinerary accessible via a mobile app, inviting viewers to experience the exhibition as an expansive journey that blends physical and virtual spaces.