Coordinated by Mihai Vereștiuc & Simion Cristea; Filmed by George Păvăloaia.
The “Axis Mundi” series explored, through the appropriation of the established image of
sculpture, the distance between the contemporary author and art history.
By replacing the classic, accessible, and immediate subject (the subject that
is unmediated, physically present during the production process) with the subject
of representation itself, in a post-structuralist spirit, accidents,
losses in translation, transference, and reproduction were incorporated to
highlight the distance between the established sculptural representation and
the contemporary audience.
Thus, a counterfeit personal museum collection was exhibited, in which Impressionist, Roman, Gothic, and other aesthetics can
be recognized, in homage to the theories of Walter Benjamin. Using both the
grammar of classical sculpture and that of recent sculpture, questions were
raised regarding originality, the oversaturation of images, archiving
and conservation, and representation in sculptural art. The
technical production process, the seemingly arbitrary choices of reference
sources, and the materiality of the “Axis Mundi” collection sought to
support these ideas.