Mihai Zgondoiu | The Artist’s Golden Hand

  • afis The Artists Golden Hand 2013THE ARTIST’S GOLDEN HAND

    Mihai Zgondoiu

    Aiurart Contemporary Art Space (the 05th of April – the 22nd of April)

    Curator: Olivia Nițiș

    Opening: Friday, the 05th of April 2013, starting at 19.00 hours, @Aiurart, (Lirei 21, Bucharest)

    www.mihaizgondoiu.ro

    The Artist’s Golden Hand

    In the movie The Baby of Macon, Peter Greenaway captures a sick, sterile society ready to deify the beautiful child, dead and sanctified, from his wild undressing of clothes and ornaments up to his dismemberment in the irrational passion for a holy piece. Beyond the corrupted individuals’ reaction to the many manipulating facets of the body fragment, beyond social hysteria, Mihai Zgondoiu seeks, above all, a reference to himself through amusement and ironic detachment. The Artist’s Golden Hand is not only a scan of a facet of contemporary reality, but also a healthy approach of self irony in a world where the value balance strongly influenced by political, economic, psychological… factors it’s hard to keep.

    Olivia Niţiş, curator

    “The Artists’s Golden Hand / Mâna de aur a artistului” is a direct irony on the artist’s social status and, in particular, on the way in which this status is conditioned by the abilities of its forearms. Craftsmanship, viewed as a primary requirement enabling artistic creation is what actually transforms the visual artwork, as told by King Midas’ legend, into a precious and noble metal – gold.

    The project’s paradox lies with the optical and mental substitution of the work of art for the artist’s forearm overemphasizing the egotistical discourse in a light-hearted, self-parody manner. Thus, we are able to see for ourselves the artist’s very own identity ideally owned up to via a brilliant bit of self-irony. Mihai Zgondoiu – an ideal artist facing up to artistic practices as well as its more traditional craftsmanship.”

    Mihai Zgondoiu

    Organizer: Aiurart Contemporary Art Space

    Parteners: Fundația HERCZEG, Experimental Project

    Media Parteners: Radio România Cultural, Senso TV, Cultura, Zeppelin, Tataia, All Hallow, Sapte Seri, TV City , Modernism, Metropotam, ArtClue, ArtAct Magazine , Agentiadecarte.ro.

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    The contemporary artist watches permanently. He is looking for visual and conceptual solutions in the closeness of things, and also in the expression of the accidental, of the daily self-referential phenomenon. Mihai Zgondoiu uses the accident in postmodern key applying the theory of fragmentation on his own body. The hand, arm and namely the artist’s forearm is the tool of irony towards the status and identity of the contemporary artist, that trendy artist, well marketed and enveloped in an aura of inaccessibility. Western-centric contemporary society imposed rules of quantitative value, measured in gold, expensive cars, precious stones or Swarovski crystals. The Star concept is equivalent to material values and insurance systems are prepared to cover the cost of a desired torso, a foot or a well-trained arm. On the one hand, society preserves in formalin anatomical oddities, and on the other hand, the fragment, in its purest anatomical sense, is valued for centuries, due to religious dogmatism imposing the relic as the blessed miracle-working remainder and, therefore, able to determine the fanatics adulation hysteria. In this light, the fragment of the human body in the right context, becomes an instrument of power that relies on the dependence of the fragment without which it would lose its status as a whole, but also the dependence of the fragment containing in itself the miraculous whole. In  marketing matters the identity of the one wearing the expensive watch on the wrist, and in religion matters the identity of the one whom the relics belong to. One is addressed to consumerism, and the other seems to address the spiritual side, although the border between the two is very thin with the same effect of submission to two different powers. Mihai Zgondoiu turns his wounded hand into an artifact, into an object worthy of aesthetic contemplation, an object which went through all stages of transformation, like in alchemy, towards the revealing gold. The photographs, the objects, the video-performance, the whole installation capture very well the almost fetishized nature of the hand, but also a narcissistic game he offers directly. The ironic comment of the artist accompanies us along the polishing process and suggests either a way of detachment from this contemporary icon, or a fall into the trap.

    In the movie The Baby of Macon, Peter Greenaway captures a sick, sterile society ready to deify the beautiful child, dead and sanctified, from his wild undressing of clothes and ornaments up to his dismemberment in the irrational passion for a holy piece. Beyond the corrupted individuals’ reaction to the many manipulating facets of the body fragment, beyond social hysteria, Mihai Zgondoiu seeks, above all, a reference to himself through amusement and ironic detachment. The Artist’s Golden Hand is not only a scan of a facet of contemporary reality, but also a healthy approach of self irony in a world where the value balance strongly influenced by political, economic, psychological… factors it’s hard to keep.

    Olivia Niţiş, curator


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