Curator: Silvia Suciu
“From my point of view, photography is not a mechanical archiving of reality. I have always been fascinated by the image reproduction through traditional methods, and I have been obsessed by camera even before I became a student. Later, I found on that the two areas – painting and photography – are not the same, but they could complement each other.” (Eugen Moritz)
The exhibit “Wikipedia Escape” presents artworks using different techniques: painting, photography, mixed media, digital art. The painting “Il Dottore” is emblematic for Eugen Moritz’ visual demarche: besides an excellent mastery of the plastic language (the artist uses the technique of the old masters), Eugen Moritz proves ingenuity, a good perception of the world in which we live and a fine sense of humor. The work “Il Dottore” portrays St. Geronimo (a “character” encountered in the artworks of artists such as Jacopo da Valenza, Hieronymus Bosch, Giovanni Bellini, Albrecht Dürer, Rembrandt van Rijn, Michelangelo Merisi da Caravaggio etc.), and shows this patron of Christianity, reading from a holy book. The skull is an element used in 16th and 17th century painting (vanitas), symbolizing the ephemeral nature of life, the inefficacious nature of pleasures, and the imminence of death. In the background, the page Wikipedia is shown on a monitor, meaning that this huge source of information has been inspirational for some politicians who became “PhDs”. In another artwork, on the right-hand side of the old Saint Geronimo we can see Superman’s power emblem, meaning strength, but also intellectual capacity (besides being a “hero”, Superman has been a reporter for Daily Planet).
Eugen Moritz uses art themes specific to Renaissance in order to bring to light some subjects of great interest for the contemporary society: Is the contemporary man a superhero? What is real and where does the virtual world begin? The virtual world represents only a copy of reality; it is “nearby” reality and renders images created by our minds. The virtual image has an ephemeral nature; it disappears when we close the screen, and the represented object lost its “aura” (see Walter Benjamin’s work, The Work of Art in the Age of Mechanical Reproduction, 1936). The multiplication of the image through different means has contributed to the emancipation of the individual by the promotion of new forms of critical perception.The process of aesthetic has evolved in parallel with the emergence of mechanical techniques, in order to disseminate the artistic message. However, the desire of people to bring things closer in time and space is as great as the tendency to overcome the idea of uniqueness of the object by accepting its multiplication. Undoubtedly, the reproduced image of an object is different from the image of the object itself, which gives the object a unique and permanent character, unlike its ephemeral representation. Through multiplication, the work of art becomes even more present in our conscience.
Arthouse Gallery Platinia