• SABOT
  • plot
  • who
  • where

• creators
  • Răzvan Botiș
  • Stefano Calligaro
  • Aline Cautis
  • Radu Comșa
  • Camilia Filipov
  • Joe Fletcher Orr
  • Lucie Fontaine
  • Nicolás Lamas
  • Daniel Moldoveanu
  • Pepo Salazar
  • Alice Tomaselli
  • Alexandra Zuckerman

• past
  • NATALIA LAZURCA | waters/lusters/gems
  • PEPO SALAZAR LACRUZ | Reinforcement of Good...
  • STEFANO CALLIGARO | Glitterature
  • DANIEL MOLDOVEANU | The Whatever Moment
  • RĂZVAN BOTIȘ | the Ceramist
  • CLUJ afterSCHOOL#3 | George Semeniuc
  • ALEX MIRUTZIU | The unnerving inches of being
  • PEPO SALAZAR | W I N
  • NICOLÁS LAMAS | Liminality
  • CAMILIA FILIPOV | Surface Actually
  • ALINE CAUTIS | Searchers
  • VLAD NANCĂ | In the natural landscape...
  • CLUJ afterSCHOOL#1 | Anca Brânzaș
  • ALEX MIRUTZIU | Dignity to the unsaid
  • STEFANO CALLIGARO | Petanqfuck
  • JOE FLETCHER ORR | A Flamingo...
  • MIKOŁAJ MOSKAL | Bones
  • PEPO SALAZAR | Belong anywhere. Meat floating job position
  • Künstlich, natürlich!
  • RĂZVAN BOTIȘ | Cashmere thoughts
  • RADU COMȘA | Naked and drawing with a compass
  • DANIEL JACOBY & GERARD ORTIN et al. | Tofu Absorbs Flavour
  • NONA INESCU | Hands don't make magic
  • OBJECTS OF DESIRE
  • NOA GUR | Ways of making visible
  • ALEXANDRA ZUCKERMAN | The Dreaming House
  • STEFANO CALLIGARO | All-Yo! Crypto-Phylo-s'
  • MIHUȚ BOȘCU KAFCHIN | Fraction of lightnings, plants, and synapses
  • NICOLÁS LAMAS | The value of formlessness
  • ALINE CAUTIS | something for/from everyone
  • RĂZVAN BOTIȘ | Going Twomblysh, Woolish, Foolish
  • GEORGE CRÎNGAȘU | The Ocean and the Friendly Shore
  • ALEX MIRUTZIU | Each thought's an instant ruin with a new disease
  • ALICE TOMASELLI | Fracas in a brothel
  • VLAD NANCĂ | Garden of Mary
  • GAUDEL DE STAMPA @ Sabot
  • &
  • LUCIE FONTAINE | i-n-v-e-n-t-o-r-y
  • PAUL BRANCA| L'origine de l'espace privé &&&
  • ALEX MIRUTZIU | Film program
  • SABOT @ Pies | New Nomenclature
  • SABOT @ Gaudel de Stampa | Play Dice Would Be Nice
  • DIMITRIOS ANTONITSIS | Sarmale with Ketchup
  • COLLECTOR | A collective assemblage by amt_project
  • RADU COMȘA | Things As They Are
  • STEFANO CALLIGARO | For not turning all my nothing into something
  • ALINE CAUTIS | With, For, and Against Each Other
  • ŁUKASZ JASTRUBCZAK | Mirage
  • MIHUŢ BOŞCU KAFCHIN | A prologue to vanity and self-adoration
  • VALENTINA MIORANDI / See you!
  • VLAD NANCĂ | Works
  • MAJA BORG | Construction work: the pornography of world peace
  • YLVA OGLAND | In any weather, at any hour of the day or night
  • RADU COMŞA | Being Radu Comşa
  • ALICE TOMASELLI | Mihai
  • ALEX MIRUTZIU | Manifest of flaw

• .

VLAD NANCĂ

Works

October 8th - November 13th, 2010

SABOT is pleased to present Works, an assortment of ‘daily obstructions’ by Romanian artist Vlad Nancă.

For his show at Sabot, Nancă turns to reality and this time the reality he addresses is that of the last few years in Romania, characterized by sudden prosperity and exaggerations. Because of the total absence of references from art history, the show resembles a contemporary version of Dürer’s 'Melencolia'. The space is enriched by a series of objects, each of them with a specific meaning and place (yes, like a rebus!): a large box, a collection of funnels, two pairs of wooden portals, a tripod, a cement bag and a mattress. The artist describes the deliberate assortment of odd things as “‘beautiful’ works. However un-political I might try to be, I think there is politics in everything and I think there is also a critical discourse in this exhibition.” Beauty is nothing without depth. At the same time, Nancă’s melancholia (he uses the word “poetic”) is an attempt to make something that elevates ordinary domestic life to an aesthetic Olympus: the common becomes precious. While many contemporary artists use such a strategy, Nancă envisions the life of such objects in space and their connection with the artistic genre of melancholia opens up new avenues and new channels for interpretations. (excerpt from Marcel Janco’s Two or three things I know about Vlad Nancă)

Vlad Nancă's recent works disclose a distinct interest in objecthood of the exhibits and sculptural forms, sometimes with direct references to the minimalist legacy. Yet, this aestheticism does not convey a withdrawal from the social. The objects he employs and reconstructs are either modelled from objects of the quotidian life or taken in fully as ready-mades -a strategy, which allows Nancă to construct networks of meaning through the social codes these objects harbor. (from Erden Kosova’s Objects of possession)

With an immaculate design, simple and clean, almost precious in the precision of details, with neutral amorphous material qualities used for their painterly virtues, with an inner playful nerve that does not exclude functionality but dislocates it, these ingenious devices manage to turn the ordinary object into a singular object. (...) Nancă's objects are deviated through manufactured malformations applied to containers, city’s functional cables, cement sacks or to interdiction barriers. (from Mica Gherghescu’s Pieces of Landscape)
.
A printed matter, published as part of the show, will be issued in an edition of 500: 8 pages, b&w, English.