Artist: Alexandru Rădvan
Curator: Diana Dochia
16.05.2005 – 16.06.2005
Opening: 16.05.2005 at 07:00 p.m.
A Season in Labyrinth
From beneath the Carpathian arch, from our “Isarlak”, let us spread the rumour, that a young painter is given the gift (and to him is dear) to revisit nowadays the founding myths of the European imaginary. An artist whose aim is far from collecting exhibitions, because he is too absorbed by the rushing demands to fix images of his “free passing” to the archetypical. Alexandru Rădvan is exhibited, is proposed for spaces where he arranges in an inevitably truncated speech, selections from a graphical work and incipient tri-dimensional production, which as a whole is an exceptional case of Romanian creators for the generation of under ’30s. Having the picassian fluency of design, in an unwonted page setting, that is lapidary and to a monumentalized evolutionary scale, on huge dimensions from 7 to 700 cm, figurative Rădvan has become a true archipelago in progress of densification. We know names of some “islands” like: Imperatores, Chevalier, Battles, Song of Songs, Leda, Europe Kidnapping.
For two years, this precious example of creativity passes literally through the Labyrinth probe which is the knowledge way with fatal obstacles, danger of getting lost and mangle, rout of crossroads and of recurrent way, collision with the monster mix. Assuming the poetic air of his own Sun Sign, Taurus, strongly marked by a journey to Crete, Rădvan has slipped lonely in the Labyrinth through the lived in Corridor with Europe born physically from the erotic of Song of Songs. These stops in the thematic fields and the subtle passages among them, set in such an order like shells of power (hero, warrior, pontifex), then telluric feminine sexuality, get in conflict now in tanathyc, sacrificed body, impure, destructive throb. Sacrifice of Taurus represents to Jungians School the will of spiritual lifting, defeat of lower impulse, an initiation that sets the universe equilibrium. Testing evil, assuming it, by understanding damnation that artist can emphatically practise; bring unbelievable enrichments to the effigy of Minotaurus. Borges had already talked about the innocence in evil in monstrous of Queen of Crete son created by the obsessive union of a Taurus from the sea, who was hidden in the Labyrinth and turned into a devouring through social concord. Rădvan creates a hypostasis of a self punitive Minotaurus, sympathetic, a rebel of destiny, an athlete, a Kuros touched by anatomical contaminations of Taurus. Torture of own body, forgiving through acceptation of condition, self mutilation as a release of curse, devouring as a metaphysic victim, are the turnovers of Labyrinth through which figurative interrogation of Rădvan has passed.
Great recent paintings and modular groups of cloth co-work, through pictorial effects, trough complexity of transparency made in acrylic, for the strange lightly regime and for naturalistic details of monster. Fur peeled with skins and capillary vessels, hooves, piercing horn, tri-dimensional academically reproduced are covered in cold, wet, reptilian air. The painter, through many other probing episodes of horror for you to explore the criminal in yourself, has put in scene the final golden light image, to which he goes back and in which the athlete-Taurus, the one who has realized own destiny, is lost.
Aurelia Mocanu, art critic