Dot Fever. Future Memories
I’m an independent visual artist from Romania. My mediums of expression are mainly mixed media: painting, drawing, photography and video.
ada muntean, pictura, desen, instalatie, video, fotografie, arta contemporana, artist, artist contemporan, artist roman, artisti romani, corp, uman, contemporan, transgresiune, imagine, instrument, corporalitate, performanță, acțiune, deconstrucție, reconstrucție, formă, identitate, proces, suferință, durere, transumanism, postumanism, existență, existențialism, tradițional, digital, virtual, perspectivă, material, materie, spiritual, vizual, expresie, limbaj, paradigmă, modern, context cultural, social, decădere, desacralizare, dezumanizare, performance, conceptualizare, interdisciplinar, fluid, sexualitate, metaforic, intervenție, spațiu, carnație, realitate, realitate virtuală, universal, particular, ipostază, complex, analiză, experiment, viață, moarte, percepție, interpretare,ada muntean, artist, contemporary artist, romanian artist, romanian artists, painting, video, photography, drawing, installation, body, human, contemporary, transgression, image, instrument, corporality, performance, action, deconstruction, reconstruction, shape, identity, process, suffering, pain, trans-humanism, post-humanism, existence, existentialism, traditional, digital, virtual, perspective, material, matter, spiritual, visual, expression, language, paradigm, modern, cultural context, social, fall, desecration, dehumanisation, conceptualising, interdisciplinarity, fluid, sexuality, metaphorical, intervention, space, carnality, reality, virtual reality, universal, particular, hypostasis, complex, analysis, experiment, life, death, perception, interpretation
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Dot Fever. Future Memories – 2017

Dot Fever. Future Memories is a site-specific installation put together within an open studio type event and created with the purpose of offering an intense perceptive experience, almost psychedelic in its atmosphere. The reception of the installation involves an organic perception of the pieces and of the space in which they communicate visually as well as an intellectual perception of the aesthetic, temporal and conceptual connections between the works of art inside the studio.
The stake of the exhibition is to pull the spectators out of their comfort zones and the predictability of an art exhibition, thus focusing on the subjective relationship established between the setting and the works.

Dot Fever. Future Memories questions the connections between a conventional exhibition space, both institutionalized and unconventional, created contextually, of contemporary and XVIII-XIX-th century art pieces. The artist’s workshop becomes a relational setting for four pieces: two historical and two contemporary art works, creating a dialogue between old and new, official and unofficial, anonymity and known author, traditional and contemporary and last but not least the past/present an a possible future. The status of the objects and of the space in which they exist is particularly retraced through the created perceptive experience.
Dot Fever. Future Memories puts together an anonymous XIX-th century oil painting representing the portrait of a man, with an XVIII-th century engraving plate, attributed to Jacques-Firmin Beauvarlet, made after the painting La Famille du Fermier by Jean Honore Fragonard and two contemporary art works conceived in a dialogue with these historical pieces, starting from a reinterpretation of their subjects. Thus, we have the outline of an analysis and interpretations of the perception of fine art and its evolution in time, as seen through a subjective filter – that of the artist and exhibited in a deliberately improvised setting.
The purpose of the installation is to offer an alternative reception to the stereotypes about what an exhibition should be and to the rules it must obey. Dot Fever. Future Memories becomes an invitation to a visual hedonism while at the same time marks a challenge to question the relative status of a work of art.

 

 

Artists: Ada Muntean & Mathias Bar
(the two old works are part of the personal collection of Ernő Versánszky)
Open studio