Haunting Monumentality II

Haunting Monumentality II

Club Electroputere Craiova invites us on 11 April, 7pm, to the opening of the exhibition Haunting Monumentality II:
Artists: Mihuţ Boşcu Kafchin, Igor and Ivan Buharov, Csaba Kis Róka, Svätopluk Mikyta, Beatrix Szörényi, Ádám Ulbert
Curator: Áron Fenyvesi

Haunting Monumentality was a group exhibition which premiered in Galeria Plan B, Berlin in 2012. Since its first edition it emerged to become a long-term curatorial research project, or minimum a circle, rather a saga of exhibitions, now coming to its second stage of evolution in Club Electroputere, Craiova. The first exhibition examined the relation of contemporary object-based conceptual art practices and monumentality and tackled different forms of documentarism which first seemed to be revolutionary tools, but as years passed by, they simply became prisoners of the didacticism of white cubes. The second edition summarises and synthetases the outcomes of the first, but walks even more towards the edge of the razor.

The exhibition-series analyzes the function of memory through the art practices of the exhibitors and how their, our cognitive abstraction becomes manifest in space. The first edition questioned the existence of a collective memory based on consensus, the second already negates such a possibility and rather declares the impossibility of any collective and total consensus which can be mediated through instruments of contemporary art. Within the frame of this exhibition the pieces all are interpreted as symbols of the hysteria of history.

The Club Electroputere edition of Haunting Monumentality features works of emerging artists from the Central-Eastern-European region, which are as less static as and as ecstatic as possible. The non-referential or maximum alchemist background of the presented artworks, which all can be understood as personal, private, sometimes even psychedelic ephemeral monuments, all try to have a sensual approach on their viewers. Thus they become a new type of ghostly presence, which reenact the function of the monument in an age when we don’t have much clear and definiable knowledge left about truth and moral as a society, and the potential of new utopias on the rise are exiled to the desert of the private.

Photo credits: Ádám Ulbert: A thixotropic experience (detail), 2012. mixed media, dimensions variable. courtesy of Trapéz, Budapest. photo: Péter Puklus