Eugen Rosca | Tranzit
Inscribed to figuration a manner which, as we see, has a strong return in recent years, Eugen Roșca’s works can be specifically located to a magical realism aesthetics, which we are accustomed today to attribute rather to the literary context, although it was originally used in the visual arts field to describe a deviation of realism into metaphysics, simultaneously in Germany and USA in the interwar period. Specifically, magical realism contains categorical dichotomies such as urban and rural, Western and indigenous, where most often the presence of the supernatural is linked to a primitive or magical “native” mentality that exists in opposition to an European Cartesianism. With a special quality of rendering the space in a flattened perspective în angular compositions, as the artist himself states the mistake is as far removed from the process as possible. Clement Greenberg stated that flatness, or bidimensionality, is an essential and desirable quality in recent painting, a criterion that implies the rejection of pictoriality or impasto. This omniscient property of the works is reinforced by an almost uniform lightning, as if coming from a source placed somewhere above and perpendicular to the compositional plane, which is authoritarian in the sense of omnipresence, but non-discriminatory and with a saturated palette in the case of paintings that place the works in the category of the Apollonian with his objective imperative – Cartesianism.
The atmosphere is one where time is frozen, where stillness is “the next important step to take”, specific to the religions of Eastern space, whose symbols are often used by the artist. Compositional collages that contain biographical references, stances from a positivist objectivity, images of mass culture or references of both modern and medieval art, Eugen first makes a digital drawing which he then follows canonically, pixel-by-pixel in its rendering to the painting medium. If reality works on classical principles based on causality, an action – an image, the type of process mentioned is more specific to the constitutive mechanisms of language learning, in which the action contains in its informational code specific data of the context inscribed often with external sources stored subconsciously. It is also the organising principle of Luciferic knowledge in the sense given by Lucian Blaga, central to the hesychastic doctrine – that infiltrated the eastern space in all its structures – a deepen of he mystery, rather than revealing it, in order to receive an intuitive revelation, not only a concrete, eyelid image of truth.
If magical realism seeks to define the paradox of the union of opposites, in the case of Eugen’s works the mechanism underlying the composition is part of the basic principles of logic,namly the non sequitur principle. Even if we speak of an argument that describes a logical error where the premises are true but the conclusion is false, this is one of the most specific mechanisms of our everyday language.
But, more than that, I think that what outlines this type of transposition of the discourse as an incipient state is that it shows precisely the principle of nonlocality from the essential Planck world, the surprising specificity of the elementary particles to produce effects simultaneously in distant systems, without apparent connection with the one from were they came. In a super deterministic universe, in which everything begins with a singularity when all the mass distributed later in the universe exists at first in a single energetic point, hyperconnected, even if the time constant removes the constituent parts in space, they always carry the matrix and the initial vectors.
Curator and Cultural Manager
Author curatorial text
Concept & Mise-en-scene
Founder @Synapse @Halucinarium
Redeeming the Time
Synapse Talks | 1 | 22nd of June
