Part of Generation Y, I grew up in precariously improvised Communist Romania, at a time when “The People’s House” was erected. The construction of the building forever changed my attachment to form, as it has been largely the direct expression of Ceausescu’s body language. I have been engaged in working from within personal narratives when studying painting to thereafter going through physical theatre to spark a constant interest in the position of things, in form as a loss of form. I was schooled in three countries but none had greater influence than the institution of poetry. It has also become a constant presence in my current work, which foments, alongside an interest in philosophy and design, instruments to punch clean the discussion of closure and of how the space after something ends is orchestrated. All are tactics to access the gestalt of the hot realm, of which the collaboration with philosopher Graham Harman and Swedish design agency Söderhavet are a part. Most recently ontological design calibrates the work to be performed in the upcoming Venice Bienniale as part of the Romanian representation.
I made a collective which includes a hyper-object — namely myself at 29 – and often operates within its structure. The collective's modus operandi is retroactive irony.
Alex Mirutziu has been lecturing in performance and theatre focused institutions from Royal College of Arts, London, to Von Kraal Theatre, Estonia, Konstfack, Stockholm, and collaborated with various artists, among which Grit Hachmeister (DE), Paul Devens (NL), Elias Merino (ES), Graham Foust (US), Graham Harman (US). His most recent projects have been hosted by IASPIS, Stockholm, ZDB, Lisbon, Power Plant, Toronto, The Glass Factory Lab, Boda, Mucsarnok Kusthalle, Budapest, the Center for Contemporary Art, Warsaw, and the National Museum, Warsaw.