Apor – Nimbert Ambrus
Curator Liviana Dan
25 09 2020 – 24 01 2021
Sculptures can be impeccable sculptures suggested by nature. Yet, as an intellectual exercise, reality has never stimulated such a scenario. For a long time, sculptures have functioned between a civic function and a sacred vocation. Marble, monument, power, politics. You could see the sculpture as an image of the plan – the structure – elevation. Sculptures had to stand up against the language, they had to cope with a metaphorical and image criticism. Each handicap had to be transformed into an advantage.
Considered literary, limited and primitive, the sculpture aims to have a complex role in the figurative, modern and minimalist ideas and fantasies.
The paradigm of sculptures – too much materiality, too much corporality, too much ambiguity – has provided and supported a lot of thoughts regarding the installation of some theories referring to sculpture.
The visual is replaced by the tactile as tactility has become a systematic theory evaluated by means of esthetic criteria. / Herbert Reed / The incorporation of the optical spirit / Clement Greenberg / develops the open, linear, optical sculpture which is not affected by pictorial effects.
Sculptures transcend in materiality in order to offer a pure experience.
The Krauss / Rosalind Krauss moment/ considers the sculpture in an expanded field, an independent object of art directly connected with the space, the environment and the assemblage itself.
The dissolution of the notion of sculpture, the contamination of the sculpture with the installation, the domination of the organic materials double the visual experience with a sensorial one. / Alex Potts / The sculptural imagination determines the re-interpretation of spaces, outskirts – center, and disturbs the reason of bi-dimensional images. / Julie Reiss /
The radical transformation is completed by several theorist artists obsessed by sculpture such as Robert Smithson, Eva Hesse, Bruce Nauman and Richard Serra. How can we define the long history of sculpture from a contemporary viewpoint? The myths regarding marble collapses. The autonomy of forms and the commitment of matters are contaminated by the rules of installation. The two positions, the anti-monument and the anti-pedestal, become recurrent topics. Each material can be replaced with another material without changing the intention.
Recently, there are more and more surprising works seen as sculptures: immense photos and video films documenting the ocean, the vegetation, the ice, the human body, the molecules, the silver plants, the clouds, the tunnels of light, and the performance posting up the technical grid, which is provided with theatrical sensibility…
Is there a certain meaning? Is there a visual prejudice?
Sculptures are connected to their own truth.