Eastwards Prospectus

About

Founded in 2014 by Andrei Breahnă, cultural manager, art dealer and art collector and Raluca Şoaita, architect and art collector, EASTWARDS PROSPECTUS is one of the fewest contemporary art galleries and institutions which proudly defines its activity on the international art market, focusing on the contemporary artistic production from (and upon) Eastern Europe. Our choice is inspired by the artistic potential of this multicultural area which reflects plural contexts, mentalities, histories and local artistic languages.

EASTWARDS PROSPECTUS canvasses the artistic production from (and upon) Eastern Europe in order to identify the artists from this area whose practice preserves its singularity, its aesthetic and discursive power of fascination at an international level.

MARILENA PREDA SANC – BUT IT GOT TOO COLD / SEBASTIAN MOLDOVAN /AND/ YOU NEVER KNOW WHAT’S OFF

Marilena Preda Sanc has created a unique research system of visual abstraction. In defense of a modernism where nature provides the exterior substance and the idea generates the context, MPS demonstrates that abstract art, especially geometric art, remains cutting edge. The demonstration has somewhat of a logical diversion: are the works good because they are groundbreaking or are they groundbreaking because they are good. MPS works with a repertoire of elementary forms and with a set of rules activated in the field of vision. The drawings have a controlled liberty. The minimalism operates under an additive methodology. The elements are difficult to isolate. These are the same qualities that isolate a line of poetry from a line of prose. It is only emotion / as a state of the mind / that explains how interesting a triangle, a sphere, or a square can be. Creativity remains in the memory like a repository of images.

The Spartan rigor and the geometric rules favor smooth images. Bright colors transform in opaque white and emotion becomes cold, exposed to the wind. An abstraction devastated by winter. The clear image is produced by the passing of the substance of nature in the nature of memory.

The drawing becomes a physical object. The colors bring intimacy like a cold shade, evasive silver, warm greyish pink. Somewhere close MPS introduces an element of time. A luxurious wager with the experiment.

A state of mind, a sensation, a sound transforming into color. The color becomes a line. The line shapes narrative structures/spaces/abstractions with soul. I do not perceive abstraction as a rigor but as a symbolic metalanguage to which I have access sometimes.

‘art is art beyond art now’

MPS

SEBASTIAN MOLDOVAN /AND/ YOU NEVER KNOW WHAT’S OFF

Sebastian Moldovan works with light and definite space, with broken structures of the art system. He practices a personal, sincere and uninvolved modernism. The image is always out of context. He has eccentric notes and consistent principles.

Something subjective and anonymous influences his visual mechanisms. It adds a necessary seduction.

The topics he covers are places and objects made by man: constructions, houses, rooms, doors, gardens.

The spatial elements have a monumental peacefulness but sometimes they induce pressure and isolation.

Sebastian Moldovan has an enigmatic connection with the house and the garden; just as mysterious, his plants and objects receive the inevitable references of acute technologies. A liminal zone between the material and the optical. There is always a fine line between dense materiality and a translucent imagination.

One clear side and some metaphors.

RAZVAN ANTON – MNEMONICS / STEFAN BOTEZ – BETWEEN THE FOREST AND THE SEA

RAZVAN ANTON – MNEMONICS

The strong visual identity of Răzvan Anton’s exhibited works resides in his determination to develop and apply a methodical and personal practice in treating the graphic medium. Rather than letting himself be influenced by a visual model for his practice, Răzvan seems to have a musical model. Though the visual motifs collected in his works reverberate the contemporary sound-track, he structures their development into a baroque score. The results of this particular methodology exudes a very caring and non-contemporary approach in dealing with contemporary main issues of persistent impressions of isolation and bleak reality.

The exhibition in itself shows the same special orchestration of multiple graphic media – ranging from charcoal drawings to animations – coming together into a visual concerto pervaded entirely by Răzvan’s real concern about the way memory absorbs and preserves reality.

STEFAN BOTEZ – BETWEEN THE FOREST AND THE SEA

I find myself at the entrance of the long marble hall. On each side the stone blocks of The Prisoners, still trying to escape, lead towards the giant sculpture bathed in both artificial and natural light.

“This place is better than the original.” I remember myself thinking, while walking towards the naked adolescent whose strained body was caressed by the shadows of clouds passing by. The boy is staring into the void next to me, and I can read fear in his stare, as his left hand reaches for the slingshot.

A boy afraid of becoming a man, a man afraid of becoming a king.

Facing his nemesis, David is forced to change. His veins are pumping blood, his body is set in motion. A motion that will turn a boy into a man, a man into a king, a motion that can only lead to decay. He knows it, and that is what he fears, not the giant.

Like beauty, masculinity is pure plasticity, and thus subjected to change, to culture, to education, to exercise. But what really interests me is that specific moment, when boys become men and men become kings, when places become images and images fade into memory.