NANO-APPROACH TO BIG PROBLEMS
Conscious or not, since its beginnings,
2020 was oriented by Vlad Nanca towards proximate needs or immediate ends.
It was always trying, at least in principle, to cut down on the need for
space, for more visibility and for financial aid. By placing the gallery
inside the home, Vlad ended up condensing the production and exhibition
place into one single unit, as well as opening up his home for a large
group of people labeled as visitors. Lobbying for a portable exhibition
was also part of this miniaturization process. In the face of dire needs
and nonexistent resources, viable solutions are overlooked for being too
simplistic and too easy going. That is why perhaps the pace of mini-galleries
following in the steps of the first examples has trickled to a stop.
The Dis Location nano-festival was again
able to show variety and to compete with bigger events hungering for budgets.
Huge budgets always getting postponed. The performance at the New Gallery
in Bucharest by Hsia-Fei Chang and the other two events by Jon Mikel Euba
and Janek Simon each at 2020 Home Gallery show a convergence towards mitigated
images and personal attitudes towards mass cultural standards.
The first of the three events was a performance.
Hsia-Fei Chang (Taiwan/France) has performed inside the Galeria Noua.
Whether it’s Hong Kong, Macao, Taiwan, Singapore, South Korea, Southern
mainland China or Japan they all have a peculiar way to build up and promote
`the idols'. These idols, as entirely artificial beings are highly controlled
entertainment end-products. Generally, they thread on a very narrow path
gracing a particular look and music style. Their career depends on keeping
up all these necessary conventions. They seem forever blocked in certain
postures and prefabricated personas with prefabricated biographies. Hsia-Fei
Chang’s performance at Galeria Noua was exhibiting all the trappings
of the idol-world and a way out from it. By exchanging and uniting several
performances into one, by playing between the live and the play-back;
the instant hit of the faceless glamour girl falls apart. The power of
the assembly line `idols' is always there; it is strident, mixing refinement
with vulgarity, and it shocks you because of the easy way it takes your
breath away. It is very hard not to see Hsia-Fei as the traveling Canton
pop star, and her wigs, silver shoes, and her purple silks all fit too
Jon Mikel Euba’s presentation was special as it was mostly art students who were there to learn about his art. The 2020 home gallery stood as comfortable place for a show case of the Basque artist’s projects. His photography, drawings and video works seem to be speaking about the shaky political and social situation in the Basque Country; however, ‘they do not celebrate fear and don’t encourage the public’s speculative expectations. They insist on the autonomy of their contemplative handicraft of repetition in the same measure as they construct a scenography of latent expectation.’
During the Dis Location night, a motley
crew scoring for new art war games invaded the 2020 home Gallery. From
a beamer hooked on the ceiling, the magic ray spreads the magic