Ciprian Muresan Biography (b. 1977 Dej) lives and works in Cluj, Romania. He graduated Academy of Fine Arts, Cluj-Napoca in 2000. Muresan works with a variety of media, from drawing, video and objects to photography and books. Since 2005, Ciprian Muresan is editor of IDEA art + society magazine, published in Cluj-Napoca. In his works he explores, salvages and re-contextualizes historical, social and cultural (literary and /or artistic) references in order to unveil the complexity of everyday life and the conditions of viewing history. Solo and group exhibitions (selection): 2009 The Generational: Younger Than Jesus, New Museum, New York; 2008 Auto-da-fe, Andreiana Mihail Gallery, Art Statements, Basel (solo); Monument to Transformation, Fragment #7: Communism Never Happened/ Vocabulary, Tranzit, Bratislava; Fusion // Confusion, Museum Folkwang Essen, Essen; 2007 I Believe I Can Fall, Kontainer Gallery, Los Angeles (solo); 1íst Athens Biennale, Athens; †2006 PERIFERIC 7 / Focussing Iasi, Why Children?; 2006 Choose..., Plan B Gallery, Cluj-Napoca (solo).
Romanian Pavilion at 53rd Venice Biennale The Seductiveness of the Interval Stefan Constantinescu, Andrea Faciu, Ciprian Muresan 7 June - 22 November 2009
curator: Alina Serban exhibition design by studioBASAR
At the 53rd International Art Exhibition - La Biennale di Venezia 2009, the Romanian Pavilion features works by artists Stefan Constantinescu, Andrea Faciu and Ciprian Muresan. The three artistic positions will be conceptually united within a site-specific installation conceived by the studioBASAR architectural group as a theatre set.
Artists possessing the experience of exile, of the shift in political regimes, social transitions, Stefan Constantinescu, Andrea Faciu and Ciprian Muresan relate in their work to the theatricalisation of social practices, the encrypted "dramaturgy" of the public realm, and the complex order of individual destiny.
Ciprian Muresan was born in 1977 in Dej and lives in Cluj-Napoca, Romania. His works "Auto-da-Fe" and "Dog Luv" operate with different modalities of transposing literary texts into images. The artist does not pursue fidelity to the text or narrative re-construction, but rather the staging of sophisticated visual sequences, in order to punctuate versions of the real, obsessively inter-related with the imaginary. The subtle tension released by the subjective re-transcription of texts offers the spectator a projection of fragments of a world in transformation, in which aspects of security, control and individual choice are brought to the fore.