"Del cielo a casa" (From Heaven to Home) is an exhibition at the Museum of Latin American Art (Malba) that proposes a crossover between design and industrial objects that appeal to the nostalgia of young Argentines. The exhibition presents an overview of Argentina's material culture, from the early 20th century to the present, in dialogue with the political, social, and emotional imaginary.

Ciprian Ciuclea (b. 1976 in Timisoara) is a visual artist based in Bucharest, interested in interdisciplinary projects that focus on the conceptual features of reception. The themes he explores are closely related to the social aspects of communication, interpretation of messages, astrophysics and theoretical physics, contemplation and supervision, placed in relation to the scientific aspects of human existence.

He is president of Experimental Project Association for Contemporary Art and founding member of Romanian Society for Ophthalmogenetics - SROGEN. Between 2000-2017 he was the director of IEEB (International Experimental Engraving Biennial in Bucharest). He has a PhD in visual arts at the National University of Arts in Bucharest with a theme on the optical interpretation of mediated reality through technology.

The artist explores the relationship between art, science and technology, seeking the application of advanced forms of thinking from scientific knowledge in the artistic field.

His new project, INTERVALS OF AN INFINITE LINE, presented at Aparte Gallery (UNAGE Iași), is "a poetic reflection on the space of knowledge that mathematics produces starting from the physical universe. The diagrams, notations, graphs, symbolic actions made by the artist are mappings of the abstract mental space generated by the intersection between the mathematical structures realized in the artist's mind and the surrounding reality. Reflecting on the theory of sets, Ciprian Ciuclea tries to find correspondences between groups of elements with common properties and objects in the surrounding reality. The abstract semiotic layer is placed over the image of an infinite reality. The artist's actions documented by the camera are metaphors of the limits of rational knowledge and, according to his words, "the consistency of the mathematical universe is hidden in every fraction of infinity, in multitudes, abstractions, repetitive logical structures, in the poetry of existence", pointed out visual artist and UNAGE professor Matei Bejenaru.

On this occasion, also took place the launch of Ciprian Ciuclea's book, THE PARTICULAR LANDSCAPE, at the Faculty of Visual Arts and Design Iași. 

A project by "George Enescu" National University of Arts Iași, the Doctoral School of Visual Arts, the Multidisciplinary Research Institute in Art from UNAGE Iași, the Contemporary Photography Center Iași.

"La Metamorfosis del Rubi" (The Metamorphosis of Rubi) is a powerful installation by Daniel Basso, designed to create a dialogue with the works in the collection of the Federico Klemm Foundation. Located in the heart of the city of Buenos Aires, this exhibition space gathers one of the most important collections in Latin America, with exclusive works by Andy Warhol, and Joseph Beuys, among others. The foundation was created in honor of Federico Klemm, the emblematic pop artist, also known as the Argentine Warhol.

"La Metamorfosis del Rubi"

Participating Artist: 

The Ukrainian artist of Romanian origin Ciprian Tokar completed his undergraduate studies in specialization Mural Art and Painting at the Faculty of Visual Arts and Design of the "George Enescu" National University of Arts in Iași. Currently, he is a PhD student in the same faculty, investigating the theme "The artistic image between document and monument: representations of recent history in contemporary art". The artist has been part of several group exhibitions and was selected in Borderline Art Space's Graduation Highlights 2018. The current project, part of his doctoral project, is an interpretation of the global crisis generated by the conflict in Ukraine. Thus, he publicly presents his first personal exhibition, in the form of a pictorial installation, called "The Black Box of the Crisis in Ukraine", and his paintings are based on photographs from the mass-media. The exhibition is ongoing at Borderline Art Space Iași, between March 2-26.

"This pictorial installation is like a black box of an airplane that preserves the evidence of the tragedy", Ciprian Tokar explained at the opening, for radioiasi.ro: "the crisis in Ukraine, in its complexity, hides information that was probably transmitted of the official speeches, but not entirely, and somehow I try to bring some alternative information about these events that happened in Ukraine, about the revolution, about the war. I took some images from the internet, from the mass media, from social networks that I processed, I manipulated them pictorially, so as to turn them into a painted image. I actually tried to adapt some photographic images in the pictorial medium".

Curator Cristian Nae offers more details about the concept behind this artistic approach: "One year after the beginning of the war in Ukraine, Ciprian Tokar is developing an artistic research (...) focusing on the relationship between the divergent interpretations of historical facts and the politics of collective memory that accompany the circulation of images both in the mass media and in social media. It thus opposes the authoritarian position assumed by modern historical painting, revealing the carefully orchestrated interplay between the subjectivity of the performer and the ideological constraints of artistic discourse.

His research process can be framed as experimental journalism defined by theoretician Alfredo Cramerotti as a way of critically examining the aesthetic means of journalism used to support the claim of objectivity of the report or the veracity of the documents. Artistic research of this kind can thus contribute to undermining the phenomenon of "fake news" by demanding increased attention regarding the multiple perspectives from which a historical fact can be read and mediated.

One of the fundamental convictions of this investigation is that, under the conditions of the democratization of access to image recording and communication technologies, painting has become an expanded artistic medium, in an indissoluble relationship with the other media that produce and transmit images, such as photography and the moving image – in other words, a "networked" painting or "painting 2.0", according to David Joselit.

Ciprian Tokar breaks down into fragments photographic images of the Euromaidan revolution circulated on various media channels and transposes them into new pictorial compositions (...). In some of these, the photographic image is manipulated like a historical allegory. In others, he combines multiple temporalities and uses the subjective filter of personal memory to examine the construction of collective memory, exposing the uncertainty that continues to loom over the future of an yet unfinished historical process. The resulting pictorial installation thus proposes a laboratory for collective reflection on the processes of forgetting and remembering, of involuntary camouflage and forced re-signification (...) of this crisis", stated Cristian Nae in the curatorial speech.

The exhibition is organized by AltIași Cultural Association and is part of the "Post-human escapes" project, co-financed by AFCN.