I`d rather not say hello, but something else instead
7 Iunie 2018
Andreea Anghel // Alexandra Mocan
[Visiting the exhibition after the opening event requires reservation. You can contact us on our page or at the following number: 0746 469 034.]
Ship me from a place to another until meanings are lost.
When the curtains fall, no one remembers. When hands are raised, we expect something. When we can`t understand, we deny in entertainment. Build me up a shiny statue and my hands will prey under its horizon until I will be able to buy it. When hands are raised, someone pays.
Tasting comprehension could take a long run so be prepared to unzip, un-code, reveal; un-zip, un-code, reveal – over and over again. From this point of view, there is a blade. From this other point of view, someone winks at you while you are having your ordinary breakfast. Who is the author? Who is giving things a meaning? Could painting request its own authorship? Or could a neon commercial do this? Coated things get a higher value, and value and answers are not for everyone. You`ll just have to build and dig in order to get them.
There are not enough fences in this room. When hands are raised, someone wants to ask questions.
It`s all about the double meaning which comes after un-wrapping things, un-wrapping our realities – like stepping into a room after you have opened its door: once you get in, the door, which played an important role in getting there, might be forsaken (while some might remain in front of the door, if this hypothetical door happens to be beautiful and considered enough, for instance). Not saying `Hello` is an allusion for other important things we are losing from our sight while being consumed interacting with the immediate things which come first in our lives and distract us. It` s sort of an attitude which reflects on what we may miss while not skipping social bullshit, for example. There are so many things around us which no one responds for, and they still have a meaning and come from somewhere, and sometimes, no one seem to wonder what they are or could be. Two types of dialogue are blended here in this common attitude, one reflecting upon a collective consciousness which is blurred in rejection by flashy commercials and the illusion that we can be happy in alienated denial – no one answers for what no one asks, and no one asks because it`s never a good moment to ask-, while the other point of view is rather an invitation to introspection which questions errors, reality versus imagination or perception, authorship, re-makes, and the need of expanding language by playing a subtle irony under the interaction of objects and symbols.
Born and raised in Romania in the 90’s, Andreea currently lives and works in Wroclaw, Poland. While her work varies in terms of style from one show to the next, the underlying themes tend to aggregate around subverting standard formal preconceptions that might have already colonized the viewer’s expectations, mixing ready-mades with time-consuming manual and emotional labour. Oh, and there’s irony, lots of irony and cynicism.
Having fun playing with words, puzzling and putting their sense in various allusive contexts, she detached for a while from painting, her first acknowledged medium of expression, experimenting more with what could be called a relation between objects and painting, or between objects and what they can hide. Sometimes serious, sometimes treating all this as an inside-joke ready to be spelled. Her preoccupations are in a continuous search and searching is exactly what she doesn`t want to miss from her works, where the process of pre-making plays an important role.