To restore or how the stable structures need frail gestures/ Installation / Video 11’48’’ (2018)
Anca Poterasu Bucharest – 2018
To restore or how the stable structures need frail gestures / Installation / Video 11’48’’ (2018) - solo show - Anca Poterasu Bucharest – March- May 2018
Curated by Anca Verona Mihuleț-Kim
Series of repetitive gestures, a chronology that flows in folds and resistance spaces where a substitute for the self is searching for its status are elements delineating a conceptual universe where the mystery of things is protected. The exhibition entitled To restore or how the stable structures need frail gestures seeks that very rearranging of those states of mind and things that reveal the conceptual trajectory of Adelina Ivan, an artist that captured the restructuring of time against the critical eye of a fragmented present.
In order to substitute the body, which the artist perceives it to be more of a lost body rather than an absent one, Adelina Ivan emphasized the contact between geometry and space, seen as a secret code of communication and understanding. Therefore, the two- dimensional objects are unfolded in space and recreated – the side of a square is detached, unfurled towards the exterior, after which it is suspended above the new shape. Or the cosmetic masks set unto fabrics, collected by the artist during the last few months, are laid onto checker bricks spread over within a corner, making one meditate on the antagonism between intimate and social spaces, but also on the reproducibility of identity. On the other hand, force and frailty are put into balance, exposure and protection, transiency and permanence, illustrating the idea of rhythm and repetitive movement, but also the time that lengthens and reflects itself into gestures and materials.
Within the context of the transformation of narrative structures unto spatial structures, Adelina Ivan takes up a documentary image in which an old dress is set down in a chemical treatment at a restoration laboratory and recreates that story in the exhibition, using this time a dress that she herself has made. For the artist, the materials and the fabric retrieve the memory of the body and take on the role of preserving memory. The textile materials that Adelina Ivan uses are often accessory fabrics from the inside of the clothes, without aesthetical nuances and invisible for the ones wearing them. Clothes, with their corporeality and the simultaneous non-corporeality contain the form and the anti-form, the materiality and the immateriality.
The simulacrum of a scaffolding on which a protection mesh has been set on brings about the concept of artistic processuality and abstractisation as representation for the subconscious. Equally, the scaffolding represents a grating, a recurrent shape in her practice. The artist perceives the grating as a buffer-space between the domestic and the exterior, a way of expressing a reaction to oppression.
The most recent video of the artist is focused on such a process, on the preparation ritual and the conditioned gestures that take place before starting a project. Even if until now Adelina Ivan used to work with actors of performers for the moving image part, the artist is now the one who generates the actions and performs in front of the camera, following a mental script, in which intuition and personal experience motivate the relation with the materials and their unfolding onto a space defined by her. Adelina Ivan refers to this set of actions as geometrization, a way of expressing power on one hand, and showing vulnerability, fragility and imperfections on the other hand.
Within the exhibition, the artworks are arranged rationally, dismissing chance – there is a room dedicated to memory and its preservation, a room dedicated to the process and a non-space in which the linear spread of time is unravelled, connecting the two spaces. In this territory of presence and absence there is a conjunction between space and object, a moment when the two coordinates intertwine and merge on the principle of crystallization, generating what it is known as Punktraum [point space] – a mathematical model of a space of habitation, of sensitive connections and affinities between the directing lines that shaped this stable structure.