AFTER HAVING MY FILL. I HEAR NOISE UNDER MY BED.

AFTER HAVING MY FILL. I HEAR NOISE UNDER MY BED. 

Consumer Logic Visual Product – more!
The best employee of the month individualism hooks up with the fauve – pop - american hiperrealism tradition.
A painting with everything that’s good for your cultural health.




Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

ALL THE LIGHT-BULBS ARE YELLOW

ALL THE LIGHT-BULBS ARE YELLOW

More Gulf Clubbing! – visual product.
A man with a hat destroying all the available light sources with a long, straight tool having a metal ending.
Visually speaking this means that a low-concept technique is always used for health-related reasons.
Virtual art collector materializes in front of his favorite VR Gallery.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

BLUE SKIES OVERHEAD WITH GREAT HUNGER UNDERNEATH

BLUE SKIES OVERHEAD WITH GREAT HUNGER UNDERNEATH



Ivy League Educational Product – Oval Bureau version.
Homeless bum, actually a dharma guru teaches roadside politics.
Proletkult dynamics mixed with CBGB attitude.



Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

CHIPMUNKS KEEP AN EYE ON ME SOMETIMES

CHIPMUNKS KEEP AN EYE ON ME SOMETIMES


GPS Road Movie product – the CGI version.
Ready made Ice Age FX with top of the art upholstery.
The perfect combination of soothing functionalism spiced with hyper-realist prehistoric household pets.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

EATING MEETING

EATING MEETING

Dinner Party product – the free bar tour version.
A free meal of post-impressionist deep fried canvas with high-fiber content.
The last intake before the post-global takeover.
Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

FROM TIME TO TIME CARS GET GREEN

FROM TIME TO TIME CARS GET GREEN.

Visual Border Town Product – happy peons version.
A stylistic remix after abstract expressionism lingering in corporate bureau’s owned by the Californian Orange Farm lords with green card constructivism in the mix.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

GOTTA BE OUTA HERE. TREBUIE SA PLEC. POATE MA REPET

GOTTA BE OUTA HERE. 
TREBUIE SA PLEC. POATE MA REPET

 
Subway Terminal Product – the full stop version.
Contemporary jay-walking trough the
inverted value system.
Keg-drinking, chain-smoking androgynous art critic get’s wicked.

 
Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

GRAND PRIX REMIX

GRAND PRIX REMIX

Visual family & Friends Collection Product – for a motorbike owner.
A thanx to:

Giuglan, Neagu, Stefanica, Angela, Emil, Raluca, Bubu, Gelu, Natalia, Mircan, Jenia, Pepi, Luca, Mircea, Viana, Megatronu’, Popescu, Roolytoons, Anca, Guta, Alina, Floe 26, Mami, Anastasia, Szobotka, Ruxx, Oro, Marcel, Luminita, Chelu, Stoicescu, Virgil, Doamna Cocolici, Cami remix.

Go baby go!

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

I DO LIKE GREEN BUT GREEN IS SPARSE THESE DAYS . SINT ZILE CIND IMI PLACE VERDE. SI NU E NICAIERI

I DO LIKE GREEN BUT GREEN IS SPARSE THESE DAYS . 
SINT ZILE CIND IMI PLACE VERDE. SI NU E NICAIERI




Tijuana Tourism Board Product.
The Big Apple high-rise gets a chance South of
Phoenix, Arizona.
The Pueblo art collective recovers lost ground against their mortal enemies – the Cobra movement.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

LOST IN TRUCKER’S PARADISE

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LOST IN TRUCKER’S PARADISE
Trucker’s Home Product.
Keep on trucking out of the Feminist Hell into the Love Motels.
Action painting on the Lost Highway going back to the modernist whole-sale markets; dodgy interpretations on the Learning Channel.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

MY EYESIGHT IS GETTING BETTER

MY EYESIGHT IS GETTING BETTER
Flashy Visual Product – for the PR person.
Pink Cadillac gestualism meets insectoid gliders attack!
It’s the best of movie-land with a bit of fruity, heat-resistant, downtown situationism.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog). Photo: CATALIN RULEA Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004. Medium: Acrylic & oil on canvas Size: 120 x 110 x 3 cm Year: 2004

PUSH THE BUTTON! START RECORDING! BUTONEAZA, BUTONEAZA, CA CEVA TOT O SA RAMINA.

PUSH THE BUTTON! START RECORDING! BUTONEAZA, BUTONEAZA, CA CEVA TOT O SA RAMINA.
Emmerich’s 4th of July – home broadcasting version.
A suprematist remix after 48 hours of non-stop TV experience.
The red-eye after-effects taking over the Central Processing Unit.
Cinemascope carnival remix after Bahtin.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 55 x 60 x 2 cm

Year: 2004

SOME DAYS I’M A COUCH LOVER

SOME DAYS I’M A COUCH LOVER
Interior Beauty Product – luxurious household version.
Modernist city penthouse mix with a cat.
The best example of interior design magical realism in today’s summer-houses.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 55 x 60 x 2 cm

Year: 2004

SOMETIMES AFTER THE RAIN, WATER POODLES ARE TOO BIG

SOMETIMES AFTER THE RAIN, WATER POODLES ARE TOO BIG
Zapatista on a bicycle riding to catch the fishing season in Acapulco.
From a curatorial viewpoint Romanian Neo-Mexicanism is the hottest trend.
Strong colors, hot moods, fat sub-bass and tequila take care of the rest.
Universidad de Guadalajara rulez!
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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic on canvas
Size: 55 x 60 x 2 cm
Year: 2004

SOMETIMES ALL AROUND ME FEELS LIKE WEDNESDAY

SOMETIMES ALL AROUND ME FEELS LIKE WEDNESDAY .
Vincent Van Gogh Russian catalog copy with a little twist – always good for an anniversary
(….)

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Oil on canvas

Size: 150 x 100 x 3 cm

Year: 2004

SOMETIMES I MISS THE BUS. SINT ZILE CIND SCAP AUTOBUZUL

SOMETIMES I MISS THE BUS. SINT ZILE CIND SCAP AUTOBUZUL.
Visual Consumer Product – home friendly version.
Downtown Manhattan, Santa Fe palms, Brooklyn water tanks, I.M.G.B. metallic structure, man with a hat(we will talk about that later) and a Piata Sudului School bus remix.
Stylistically speaking it’s about subway freezine aesthetics, popneodada, infrared vision and German neo-expressionism (that’s a bit over the top), applied on a sudden cargo-cult mood.
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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic on canvas
Size: 55 x 60 x 2 cm
Year: 2004

SOMETIMES I SPELL IT RIGHT

SOMETIMES I SPELL IT RIGHT
Neon Light Chowder – primary colors advert.
Traffic-light formalism with street corner semiotics gets the golden treatment.
Billboard serialism is taking a U-turn.
Passengers ask for the next stylistic bus-station.
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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic on canvas
Size: 55 x 60 x 2 cm
Year: 2004

SOMETIMES I THINK MAUVE IS ALL RIGHT WITH ME

SOMETIMES I THINK MAUVE IS ALL RIGHT WITH ME.

Visual Shampoo Consumer Product – mid city shower version.
The Woody Allen finally gets rid of the Oedipal complex in the Sonora Desert with a vision by Carlos Castaneda after eating peyotl planted by the NY City Council on the 5th Avenue for aesthetic purposes remix.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic & oil on canvas

Size: 55 x 60 x 2 cm

Year: 2004

THE BIKE NEVER RESTS

THE BIKE NEVER RESTS
Chrome-plated Visual Product – let it shine!

Hot rod dynamics bound for the next futurist parking lot.
Translucid cityscape with Sonny Barger Harley Davidson conceptualism.
Showing the styllistic difference between the Hells Angels Motorcycle Club and the American Motorcycle Association.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 120 x 110 x 3 cm

Year: 2004

THESE HORSES DO NOT MOVE UP AND DOWN

THESE HORSES DO NOT MOVE UP AND DOWN
Horsepower Consumer Goods – childhood memories.
National Velvet jockey with Liz takes a hayride with Merry-go-round romanticism.
Impressionist technique is matched only by the standing ovations.
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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic on canvas
Size: 120 x 110 x 3 cm
Year: 2004

THEY WHERE WAITING FOR ME

THEY WHERE WAITING FOR ME
Gangland is cool – doggy dog vision.

Prohibition era art deco with a touch of Flemish city after dark, when they bust the joint.
Mexican tacos spiced with Chilly surrealism.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 120 x 110 x 3 cm

Year: 2004

TRAVEL CHANNEL SAMBA SI TRABAJO NO

TRAVEL CHANNEL SAMBA SI TRABAJO NO
Pacific Guadalajara Vision – sea resort thirdworldism.
Mariachi op art with a hammock attitude.
Global relaxation in blue with sun-tanned gestaltism.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 110 x 120 x 3 cm

Year: 2004

WHEREVER I GO I FEEL LUCKY

WHEREVER I GO I FEEL LUCKY
Instant Inner Light & Happiness and other FX.
Naboo Neo-Byzantinism with contemporary visions of Latino role-models.
Illegal Emigrants mannerisms keep the juice flowing.
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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic on canvas
Size: 120 x 110 x 3 cm
Year: 2004

SOMETIMES CONTRADICTIONS CHILL OUT IN THE PARKING LOT

SOMETIMES CONTRADICTIONS CHILL OUT IN THE PARKING LOT. Visual Consumer Product – bad trip in Las Vegas/Nick Cage version.
Hot remix featuring the Time Square with being broke in front of the Flamingo Hotel, Las Vegas/ Nevada.

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Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).

Photo: CATALIN RULEA

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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

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Medium: Acrylic on canvas

Size: 55 x 60 x 2 cm

Year: 2004

WRONG TRAFFICATOR

WRONG TRAFFICATOR
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Photo: CATALIN RULEA
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Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version), curator Stefan Tiron, National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.
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Medium: Acrylic & oil on canvas
Size: 120 x 110 x 3 cm
Year: 2004

YELLOW CATS RULE THE CITY

YELLOW CATS RULE THE CITY
Golden Roadside Boy Product – good luck charm.
Neo Pagan Tiki prays for you and your family while selling the last edition of the local morning newspaper.

Text: STEFAN TIRON (from GRAND PRIX REMIX exhibition catalog).
Photo: Catalin Rulea.

Grand Prix Remix (Visual Shampoo Consumer Product _ mid city shower version ), curator Stefan Tiron, , National Museum of Contemporary Art, Etaj 3/4 Gallery, Bucharest, Romania, 2004.

Medium: oil on canvas
Size: 120 x 150 x 3 cm
Year: 2002






A COMPILATION OF CITYSCAPES BY NICOLAE COMANESCU


This is an exhibition with cityscapes and about common city trademarks.
It is an exhibition with paintings literally resulting out of a mix of different city perspectives. The perspectives of the city dweller such as you and me, of Nicolae Comanescu the city artist, of everybody who enjoys an active live in the middle of a modern metropolis such as Bucharest, New York, London, Berlin or Paris.

We have always painted, bought, exhibited paintings with city-inspired subjects or city-forged ideas; in fact it is impossible not to notice or depict the presence of our immediate architectural surroundings. Still, this time Nicolae Comanescu creates a kaleidoscopic urban mix uniting inside a single frame the actual and the past city, the cinematic and the future city. Nicolae’s exhibition is part of a larger trend that identifies the city as the major influence in image-production. We invest in our daily life in the city that surrounds us, while we help create its outer signs – neon signs, huge advertising billboards and lettered messages announcing new trends, labels and popular icons.
The city is more than a background while we go about our daily job routines, while we invest into our future prosperity. The city abounds in many shapes and colors and inspires its citizens with its ever-expanding energies. Inside the city art has become concrete reality; architectural blueprints, constructive ideas are shaped into visible, tangible, habitable bureau’s, flats, homes, hotels and cinema’s. Inside the city art has rediscovered its entertainment value.
Nicolae Comanescu’s paintings exhibit the omnipresence of the city and the need for its facilities and modern delights.
The biggest and heaviest entertainment producers such as the cinema and the video game industry also proclaim the presence of the city; the place where the film studio’s and the actor’s homes are at, the place where the postproduction lab and game designers daily universe is based. It is beyond all a world familiar to all of us. A place so familiar that we feel it’s natural to see it in our homes, in our working places and on our screens.

In the end Nicolae Comanescu’s paintings act as re-combinatory windows.
Mirroring the city, these paintings offer glimpses as to the modern planetary city, spanning over the whole earth. These cities are the direct result of common aims, common traits and hundreds of years of constructing the first social and political global centers.
The lavish chic interiors and the general passion for fast, slick and smart car designs is well known to us. Car designs and prize motorcycle models always offer us a view of the future cities. The curves and Fiberglas materials are all the testing sites of future developments influencing both architecture and/or the newfound comfort of the home appliance industry. Fordism and post-Fordism still remains a styling index as to our most prized goods and these paintings are proudly and joyfully declaring the visual preeminence of hot rods and upswept tail fins in our shopping culture.

Cities are vertical growing structures with ever-expanding margins, and Nicolae Comanescu’s paintings reach out over the horizon, enabling a 360 degree rotation; a free turning in search of new vistas. This should be the representation of free enterprise in action searching for new markets and the jagged graphics of the monetary index.


Stefan TIRON



NICOLAE COMANESCU PREZINTA: O COMPILATIE DE PEISAJE URBANE


Aceasta este o expozitie de peisaje urbane si de insemne specifice oraselor. Este o expozitie cu picturi care rezulta dintr-un mix de perspective urbane diferite. E vorba de perspectiva locuitorilor din oras, ca mine si ca tine, de perspectiva lui Nicolae Comanescu, artistul din oras, si de perspectiva tuturor celor care se bucura de o viata activa in mijlocul unei metropole moderne precum Bucuresti, New York, Londra, Berlin sau Paris.

Noi am pictat, am achizitionat si expus picturi cu subiecte inspirate de oras sau cu idei create in oras; de fapt, e imposibil sa nu surprinzi sau sa nu reprezinti prezenta imediata a mediului arhitectonic urban care ne inconjoara. Dincolo de asta, Nicolae Comanescu creeaza un mix urban caleidoscopic, unificind in interiorul aceluiasi cadru orasul actual si orasul trecut, orasul cinematic si orasul viitor. Expozitia lui N.C. este parte dintr-o tendinta mai larga de identificare a orasului ca influenta majora in productia de imagini. Noi investim viata noastra de zi cu zi in orasul care ne inconjoara, in timp ce participam la crearea insemnelor sale exterioare – reclame de neon, panouri publicitare uriase si mesaje cu litere imense, care anunta noi tendinte, label-uri si icon-uri deja populare.
Orasul este mai mult decit un fundal din spatele rutinei noastre de la serviciu, in clipele cind muncim si investim in prosperitatea noastra. Orasul acesta, plin de forme si culori, isi inspira direct cetatenii cu energiile sale in expansiune permanenta.

In interiorul orasului, arta a devenit realitate concreta; planurile arhitectilor si ideile constructive sint transformate in birouri, case, hoteluri si cinematografe vizibile, tangibile si locuibile. In oras, arta si-a redescoperit valoarea de entertainment. Picturile lui N.C. expun omniprezenta orasului si declara nevoia de facilitati si distractii moderne oferite numai de el.Cei mai mari producatori de entertainment, precum industria filmului si a jocurilor pe calculator, proclama si ei prezenta orasului, locul unde sint studiourile de film si casele actorilor; locul unde sint situate studiourile de postproductie si unde se afla universul designerului de jocuri. Este, inainte de toate, o lume familiara pentru noi toti. Un loc atit de familiar incit simtim ca e natural sa-l vedem in casele noastre, la serviciu si pe ecranele care ne inconjoara.

In final, imaginile lui N.C. functioneaza ca niste ferestre re-combinatorii.
Oglindind orasul, aceste picturi ofera privelisti ale orasului planetar. Orasul este rezultatul direct al telurilor noastre comune, al trasaturilor noastre comune si al sutelor de ani de munca, care au dus la construirea primelor centre sociale si politice globale.
Luxul sic al interioarelor si pasiunea noastra pentru design-ul de masini rapide si inteligente este binecunoscut. Design-ul de masini si modelele motocicletelor de curse au oferit intotdeauna o viziune a oraselor viitorului.
Curbele sinuoase, materialele de fibra de sticla de aici sint toate niste locuri de testare a viitoarelor transformari care influenteaza arhitectura si/sau noile facilitati ale tehnologiei uneltelor casnice. Fordismul si post-fordismul ramin inca un index stilistic pentru bunurile noastre de consum cele mai cautate, de aceea aceste picturi afirma cu tarie preeminenta vizuala a design-ului de masini in cultura noastra.

Orasele sint structuri verticale cu margini in plina expansiune, si picturile lui N.C. merg dincolo de orizont, oferind o rotatie libera de 360 de grade – o orientare libera in cautarea de noi perspective. Aceasta trebuie sa fie reprezentarea entreprizei libere in actiune cautind piete noi, o reprezentare legata intim de grafica in zig-zag a indicelui financiar.

Stefan TIRON

Text de catalog al expozitiei Nicolae Comanescu – Grand Prix Remix, MNAC/Etaj 3/4, 2-21 aprilie 2004.

Text aparut in Observatorul Cultural Nr:220


SINT ZILE CIND TOATE PISICILE SINT GALBENE

Viorica BUICA

Sint zile cind ma trezesc dimineata in paradisul basculantelor, dupa ce am cumparat ce trebuie. Aud zgomote sub pat. Motocicletele nu se odihnesc. Peste tot e bine unde ajung, dar trebuie sa plec. Poate ma repet. Butoneaza, butoneaza, ca ceva tot o sa ramina.
Sint si eu, ca (si) artistul Nicolae Comanescu, un locuitor prins in circulatia oamenilor si a vehiculelor, a bunurilor si a marfurilor sau chiar a ideilor din aceasta metropola in care m-am nascut. Admir in fiecare zi strada, spectacolul inepuizabil al fetelor si fatadelor, al publicitatii, pina la urma al suprafetei semnificante. Iata de ce nimic nu mi s-a parut mai potrivit pentru a face o marturisire autobiografica decit a realiza un colaj din titlurile lucrarilor lui Nicolae Comanescu.

Expozitia de la Galeriile 3/4, al carei curator este tinarul Stefan Tiron, mixeaza cu dezinvoltura peisaje urbane, in cautarea unei relatii afective si de identificare totodata. New York-ul, Bucurestiul, Londra, Berlinul sau orice alta metropola moderna se supun unui proces de semnificare personala, in linia a ceea ce antropologii numesc „identitate urbana“. Nu este insa un demers lucid, rece, ci o cufundare in individualitatea orasului, in tot ceea ce inseamna efectul narcotizant al acestuia. Reclame, semafoare, autobuze, firme luminoase, masini in viteza, panouri publicitare uriase si, inainte de toate, o arhitectura specifica, o „arhitectura ca anestezic“ al vietii cotidiene, se combina si se re-combina intr-o incercare continua de a pune in scena spatiul public asa cum este el perceput de trecatorul grabit si nu numai.

Originalitatea acestui proiect ce pune in evidenta existenta urbana, in toate formele ei halucinante, se extinde si la nivel stilistic, artistul intrind in dialog cu cele mai variate curente ale secolului XX, de la impresionism si neo-impresionism la realizarile gruparii Cobra, de la expresionism la pop-art si de la suprarealism la hiperrealism. O explozie de culoare, asezata fie in tuse largi, dinamice, fie pe suprafete intinse, vag transparente, insoteste intreaga incursiune in „teatrul urban“, animata permanent de icon-uri specifice. Orasul devine astfel un loc al stimularii vizuale continue, un loc in care individul poate sa se ascunda sau, din contra, sa se afirme prin propria atitudine.

Strada, asa cum o prezinta Nicolae Comanescu, nu este un simplu spatiu de trecere, o componenta intrinseca a rutinei cotidiene. In acest proces prin care oamenii observa si sint observati, strada poate oferi oricind posibilitatea evaziunii. Imaginile au, astfel, de cele mai multe ori, o nota de realism magic, chiar de onirism, daca amintim numai rasturnarile de perspectiva de 360 de grade sau cadrele dinamice ce induc senzatia de virtej.

Text aparut in Observatorul Cultural Nr:218



ZILE CU SOMBRERO PRIN BUCURESTI

Aceasta cronica are mai multe inceputuri… unul ar fi o transmisiune in direct (ca tot se apropie 1 mai) – Dragi telespectatori, tovarase artist Nicolae Comanescu… suntem cu totii aici pe taramul de vis al Galeriei 3/4 din cadrul Teatrului National. Ne aflam striviti la propriu si la figurat de admiratie in mijlocul miilor de fani ai artei contemporane romanesti, adunati aici… cu prilejul vernisajului expozitiei dumneavoastra de pictura, intitulata „Grand Prix Remix". Suntem coplesiti de lucrarile de pe simeze…

Sau, ca sa nu intelegeti ca fac misto (chiar nu fac)… iata un altul, mai de tara post comunista (care a intrat in NATO)… Ma plimbam zilele acestea pe unul dintre bulevardele Bucurestiului, cand am zarit un afis cu Ibrahim Ferrer, solistul formatiei Buena Vista Social Club. Mi-am amintit astfel, ca tocmai auzisem acordurile batranilor cubanezi la un vernisaj. Era al lui Nicolae Comanescu… Cel care a facut oficiile de gazda alaturi de artistul insusi a fost Stefan Tiron. El a fost DJ si curator in acelasi timp. Atunci am auzit Buena Vista ... Al treilea si ultimul inceput ar fi o relatare dinautrul/despre expozitie(i). Atentie… Imaginile povestite sunt acompaniate de cuvintele artistului in ghilimele, cuvinte care sunt titluri de tablouri si/sau inserturi cu propriile lui aprecieri despre lucrari. Apasam pe play…. Parca ar fi vorba despre mine, „Sunt zile cand ma gandesc doar la canapea". O pisica, pe fond rosu, cu o planta de apartament in stanga… „Cel mai bun exemplu de design interior gen realism magic in casele de vara ale zilelor noastre". Si pentru ca se intampla… „Sunt zile cand ploua prea mult". Atunci mintea o ia razna, spatiul se invarte si el, nu mai stii unde e sus si unde e jos. Cladirile, strazile de Bucuresti se dau peste cap cu tot cu orizontala sau cu verticala. In peisaj, un nene pe bicicleta, cu palarie, se scalda in baia de culori puternice. Random printre lucrari… „Dupa ce am cumparat ce trebuie. Aud zgomote sub pat". Stridente cromatice cu aroma de capitalism, ce mai… vorba artistului, „traditia fauve-pop-hiperrealism american". O masina cool de MTV, cateva pachete de tigari, aici cuplul albastru – rosu bate la ochi, adica place. Si pentru ca „Sunt zile cand toate pisicile sunt galbene", cred ca este bine sa luam aminte. Altfel, riscam sa avem si noi de-a face cu un peisaj gen – sombrero si proprietar de sombrero (mexicane, normal…) galbene, tufis galben de atmosfera, masini laterale… de data aceasta violet… Si nu numai violet, alt tablou, „Sunt zile cand toate masinile sunt verzi". Atunci, si cerul este verde. Este un fel de „remix stilistic dupa urmatoarele curente: expresionism abstract trecut prin birourile corporatiilor care monopolizeaza comertul de citrice pe piata californiana si green card constructivism". Aici ne potrivim: „sunt (multe) zile cand scap autobuzul" (de Berceni). Asta este chiar o tragedie! Cand o mai veni altul? Ca atare, natura este in concordanta cu eroul actiunii, cerul este iarasi verde, uzinele, biserica, pasajul de trecere s-au inrosit… de furie. Asta ca asta, dar sa vedeti cand „Sunt zilele alea de vezi mai clar". Atunci, dupa o cura de halucinogene, incepi sa vezi musca mare, mare peste oras, peste masina cu numar de Aristita, peste cladirile rosii. Ce sa mai… Grozavie ca la carte! Seria de mexicani (cu sombrero) continua, tot bantuie prin lucrarile lui Nicolae. Unul din ei, de exemplu, spune ceva in genul… „Trebuie sa plec. Poate ma repet". El se afla la Universitate, la unul din pasajele de la metrou, bea bere si este in rosu… In tot cazul bautura este ca „Mersul pe rosu contemporan prin sistemul de valori inversate". Artistul este in acelasi timp „critic de arta bautor de bere la halba si fumator ca sarpele si ca turcii, s-a jmecherit". Era sa uit, de cele mai multe ori asa se intampla… „Sunt zile cand in jurul meu se face miercuri". In fata, avem o ecuatie pictata cu doua necunoscute, in care X = Grand Prix cu motociclist in actiune iar Y = chiparosul lui Van Gogh in cerul tremurand albastru (marca deja inregistrata). Rezultatul ii apartine lui Nicolae. Inteleg abia acum multimea de fani care se imbulzea… Vezi inceputul!

Marius Stefanescu

Articol aparut in "Cotidianul" 8 aprilie 2004, "Actualitatea culturala", Cronica plastica



GRAND PRIX REMIX

La Galeria Etaj 3/4 a Muzeului National de Arta Contemporana din Bucuresti (Bd. Balcescu nr. 2) s-a deschis recent expozitia artistului Nicolae Comanescu. Plonjeul sau intr-o estetica a reprezentarilor urbane vadeste un interes viu catre socialul imediat si, prin retorica plastica, tanarul artist demonstreaza faptul ca trendul postmodern influenteaza din plin evolutiile actuale. Citatul constituie un element care vine sa ii ancoreze, referential, discursul plastic intr-o zona a cotidianului pe care, din pacate, de multe ori nici nu-l mai remarcam din pricina implicarii noastre in rutinele de zi cu zi. Ochiul lui Comanescu surprinde momentul, il extrage din contextul de zi cu zi si, plasandu-l pe panza, il recontextualizeaza prin tusa. Apeland uneori la hiperrealism - ca mijloc de comunicare -, Nicolae Comanescu expediaza mesajul intr-o sublimare a dialogului ce nu mai are granite temporale ori spatiale. Culori neon - trimitere spre un sintetic al confortului modern, motociclete dinamice - expresie a grabei de a trai, camioane - prezente prin tot ce inseamna consumerism. Expozitia lui Nicolae Comanescu poate fi vazuta pana pe 21 aprilie.

Un articol de Bogdan Iorga

Articol aparut in "Romania libera" Miercuri 14 Aprilie 2004


ON / WITH COMANESCU


I was speaking the other day to an acquaintance of mine on the state of contemporary art in Romania, especially regarding the young artists there. Contextualising what’s happening at the present time, I suddenly remembered what was happening in 1998-99.

Well, – some people might say – there were plenty of things going on at the time, etc etc. Well, no, not really: I remember only one thing of the young contemporary Romanian art scene: Rostopasca.

Those not familiar with the term Rostopasca are either a) in touch with the Romanian art landscape since 2002 only; or b) were not interested in the above mentioned phenomenon in 1998-99, missing some cool bits of culture. In very few words, Rostopasca was a young artists’ group, whose members were Angela Bontas, Alina Buga, Nicolae Comanescu, Gorzo, Alina Pentac, Floe Tudor and Mona Vatamanu. The group was active between 1998-2002.

Although I take the risk of offending my friend Comanescu (who, being a friend, will not be offended, surely), I will tell you that, in my opinion, Rostopasca were alike the young gentlemen with some education, friends of the venerable I H Radulescu*. They were listening, around 1830, to the indefatigable man-of-culture’s rallying cry: “write on, my boys, write on!”. It did not really matter what the fine young men were writing, but the fact they did so: with the passing of time, among those of great willingness were some writers, proved by the test of time. Ok, there’s a difference in this comparison: Rostopasca were the only people doing something in 1998-99 – if I’m wrong, please let me know, but I only remember them. And no, ‘Cutter’** group are not counted here.

From the great apathy of the studios in the Arts Academy (sorry, I can’t bring myself calling it ‘University’– it’s an Academy) Rostpasca were those people who embarked on a discovery journey, having with plenty of attitude and I’m not sure how many precise ideas, leaving the others to work in advertising. The black princes who were coming to sweep us away*** (sorry, Maestro Heliade Radulescu) with all kinds of ludicrous art stuff – from tapes with the group talking about almost anything, to literally assassinating the ‘Nice’ category – grew up and became even more surprising.

I couldn’t tell a lot on all the Rostopasca people, unfortunately. I’m not that aware what they all do. I do know that Gorzo paints on and on, Floe works for the MNAC (see the Painting Museum) and Nicolae – or Mr Comanescu to you – is painting as well, in a completely surprising manner. I am kind of away from home for some years, so please forgive me if I’m not really aware what other painters from Bucharest do, as is the case with Suzi Dan, Alex Radvan, or Ancutza Benera do... I saw their works in catalogues and the on the internet, but I will talk about Nicolae because we’ve been in touch almost constantly by internet. The Nicolae I knew from 1998 was the person who came up with ideas such as 24 hours non-stop painting (Atelier 35****, 1-2 June 1998). He changed from the pirate of Romanian art magazines (see Tura_Bar, the parasite art magazine) into a painter admired in Romania and abroad. What made him shift from Tura_Bar, NoFocus and digitally manipulated photos***** to works with Dacia cars, motor bikes and prehistoric squirrels? I don’t really know, but I do have some ideas (and if you’re nice children, I will tell them to you, as well).

Part 2

My opinion as an art historian and critic (having two degrees under the belt, I can bloody well call myself that without blushing too much) on the state of contemporary art is that some artists have begun, slowly but surely, to grow tired of the art which ‘could be done by anyone, but also tired of the art no-one understands – in some cases not even the artists themselves. In English there is a very nice expression – to be up one’s own bum – that tries to explain why some people hold some beliefs so strongly so they can’t see anything else.

I also think some artists really are in this situation and the explanatory volumes hanged near the artworks (sometimes there are only explanatory volumes on show, because a physical work of art is not that necessary) don’t make any sense at all – but what is there to make sense? Sometimes, after an art show, I think that it really is a pity the artist has decided to have an explanatory text near their work – the wise guy has managed to ruin my good opinion of the displayed artwork!

I have recently seen at Tate Modern a display of works by the architects, Herzog & de Meuron. It was a very interesting show, showing the train of thought and the thinking that goes into architecture. It is seldom that the public can see how an architect thinks, and this exhibition was actually offering an intimate landscape of the creative mind. I do have a small objection to rise: near the model of a new university building, from somewhere in Germany or the States, there was a fortunately small text in which the two architects were telling us that the tower of the building – a real masterpiece – connects the university and the nearby town in a psychological/metaphysical/and-so-on manner. Come on... My problem was not that the scale model came with a text, but the language employed in the text, an idiom that was trying to confer a neo-conceptual art spirit to a perfectly valid object, architecturally speaking. OK, the architecture show was at Tate Modern, and this already gave a whiff of there-is-no-distinction-between-the-arts. Don’t get me wrong, though: I am one of those who believe architecture is art, even if it is more precise and has some rules that are harder to bend than other arts. A building is supposed to be a building, after all, and it should perform as such.

The art object doesn’t perform a definite role for quite a long time. It can be more things in the same time: a display on the wall, decorative or not, is a proof of the tormented (or not) genius of the artist. The art object is perceived as a species of archaeological object, a testimony of the times when it was produced. I think Warhol would be a good example to illustrate this idea. Of course, any art object is a communication, a specific product of the environment where the communication was made. Let’s not be obtuse and expect, as zealous revolutionaries, every work to be an unmovable politic-social-cultural statement, a critic of the system, a philosophy, and so on.

There is, in England, a group of artists called the Stuckists (the first Remodernist art group) who have given up the minimalist/conceptualist/found-object way of expression. Instead, they decided to start painting, trusting the ability of painting to be as artistic and critic as an unmade bed, a shark in formaldehyde, or voices coming from speakers screaming ‘work work work’ ad nauseam. The Stuckist sobriquet comes, or so the legend tells us, from Tracey Emin. She once said about her former boyfriend, Billy Childish (founding member) that “he’s stuck in the past”. If you would like to learn more, you could go here: http://www.stuckism.com/

But let us return to Comanescu. I wouldn’t write about him if I didn’t like what he’s been doing, that’s clear. I’ve known Mr Comanescu since he was about to leave the Art Academy. He used to paint then, as well, but as I was saying above, I was not quite aware what he wanted to express. I did admire his vivacity and the fact he’s got plenty of humour (really!). I am not sure, even now, what is his ultimate goal, but I do know a thing: Mr Comanescu has clear vision, bearing his head on his shoulders, not stuck-up somewhere else. He shows there are things to be said on art, Romania, society, intellectuals and others even if you do express yourself in colours on canvas. I would go that far as to name Comanescu a brave representative of Romanian Stuckism (although he is not connected wit the Stuckist groups, as far as I’m aware of), alongside other artists such as Gorzo, Gili Mocanu, Alex Radvan, Suzi Dan and countless others (if someone’s not content of being included here, drop me a line).

To your good health, comrades! Great successes and moments of true artistic inspiration for exceedingly exceptional works!

Mihai Risnoveanu in Mihaitza's Blog