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Crossing Worlds

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Scanning the public and the private through the lends of a woman artist such as Marilena Preda Sânc reveals aspects that deal with emotional memory as well as rational analysis, local aesthetics and identity as well as with an extended perspective on a larger city scape. In other words the most private landscape is always followed tightly by the problematic of the public space and the engagement in the criticism of public policies and political scene. Marilena Preda Sânc has been crossing worlds since the 1980s placing in balance the sensitivities of the inner world with the aggressions of the outside, thus creating a body of work with its own aesthetics linked with an artistic formation developed within the context of the former East-European Block and the specific orientations of the 90s. The political and artistic leap from the 80s to the 90s has determined the appearance of a conceptual and visual bridge connecting the interests for geological constructions and the personal body as a self-referential method of understanding movement and space with the impulses of confronting social power relationships, breaking and entering its mechanisms. The artist is not abandoning herself as a measure of things and even when she is engaging in feminist ironies and political/urban/ecological debates she is keeping within layers the private comment and the poetic imagination. Her practice beyond the personal narratives demonstrates an “ethical drive” oriented towards social issues and even the tools for institutional critique and deconstruction of patriarchic ideologies hold a community-based orientation. All these artistic interests are linked together through different media such as painting, photography and video with a visual signature impossible not to identify. A singular powerful presence, not only in the context of her generation’s artistic and political crossings, Marilena Preda Sânc is a witness to personal, social and political transformations relating self-histories to the histories of citizenship between symptomatic marginalities and globalism.

Olivia Nițiș, curator

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