Meet Vladimir

I’ve been recently to a very nice  exhibition held in Bucharest, in a temporary art space called Go Art Project. Read below what it was about and feast your eyes on some shots of the works and people attending. There was also good music by Momentdat.




For Leonard Zarnescu, the psyche is always related to art. One can easily observe the two tendencies expressed in his artistic practice. The first is negative and related to the critical philosophy and interpretation applied to his work and the second is positive reflecting the distinction of his mind and knowledge. Although he is extremely pragmatic and always finds himself on the intellectual territory when looking at the world he would sometimes fall into a sort of mental captivation and give life to the most absurd and macabre characters and ideas. 

Vladimir is one of those characters; part of the lucid world that the artist finds impossible to correct. He lives at the vertex of illusion where the truth, the evil, the beautiful frost in time. He irritates more than he seduces, he is somehow aggressive but elegant; rough yet childish, furious and imposing. Vladimir lives in a perpetual paradox that he cannot escape so thus all his refinement is condemned to fragility.

Leonard would go further and state that “I empowered my body of work by creating a character outside the social indulged peculiarities, my mirror friend. I detached his human features and I wrap him with a massive cloak so as to be able to let myself into my deepest me, without any fear of being judged. He is defined by darkness and secrecy. In him I indulge shame, guilt, rage and despair, yet still express triumph and survival. What awes me is the very moment when one identifies with my initial impulse. It has to do with that found common ground between two inner selves, translated through my character.”
The artist is bringing to life the silhouette of Vladimir for the exhibition in a sensual, dark, dramatic lyrical expressionism refusing any type of interpretation or transformation.

Then something unutterable happens to the viewer and thus, in order to end the cycle and see beyond the shadows we turn on the light: the universe of Leonard Zarnescu is brought into the realm of tranquility. Silence becomes therefore the only tool to look at his works.
Curator- Alina Bucur”








There is nothing uglier than an open door…


“From the very first film I saw, Flavor of Green tea over Rice, I was fascinated by the way japanese use space in their lives, and by these doors that slide and move quietly along invisible rails, refusing to offend space. For when we push open a door, we transform a place in a very insidious way. We offend its full extension and introduce a disruptive and poorly proportioned obstacle. If you think about it carefully, there is nothing uglier than an open door. An open door introduces a break in the room, a sort of provincial interference, destroying the unity of space. In the adjoining room it creates a depression, an absolutely pointless gaping hole adrift in a section of wall that would have preferred to remain whole. In either case a door disrupts continuity, without offering anything in exchange other than freedom of movement, which could easily be ensured by another means. Sliding doors avoid such pitfalls and enhance space. Without affecting the balance of the room, they allow it to be transformed. When a sliding door is open, two areas communicate without offending each other. When it is closed, each regains its integrity. …”

 A great excerpt from a book which I heartly recommend: The Elegance of the Hedgehog, by Muriel Barbery.


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