| dc.description | Biography: AURA BĂLĂNESCU
E-mail: [email protected]
Web: http://aurabalanescu.ro/
http://avantpost.ro/
As a graduate of the department of traditional sculpture at the Faculty of Fine Arts and Design (2003), West University of Timișoara and PhD studys at the same institution (Thesis: The Media Sculpture, 2009), I am well known for my theoretical and practical explorations on the media extensions of the sculpture, starting from the the stereoscopic-immersive representation, until the interactive digital instalation. Defining my works as sculptural mixed-media, I did not want to abandon the sculptural object of visual nature, but I intended to grant it with the freedom of media and expression and that led me to new parameters: perceptual addressing, auditive, tactile, kinesthetic.This opening also led me to an output from the processuality of the devoted artistic techniques.
Although it has started as an attempt to study the media sculpture as a particular case or as an anomaly of the classical art work, in my postdoctoral period (2010-2016) the theoretical research has reached a level of generalization that helped me to identify the status of the media art work, describing it not only as a corollary of the perceptual appeals, or of the mutations of the artistic processuality, but as a meeting place for all the areas of the reality. Media Artwork concept was presented in conferences as: Media Art Histories. Media Art, Science and Technology, Riga, Latvia, 2013, and it is to be published in the book The work of Media Art. An integrative paradigm (2017 reference text Ileana Pintilie, art critic).
Since 2014, along with five other artists, I founded Avantpost, a transdisciplinary and collaborative platform which arose from the need to create a a caster of expression and an archiving system for the local artists interested by the confluence between art and science. Their concern for interdisciplinarity proved to be much too atypical for the local context, that is mostly oriented to conventional artistic means. The events of the Avantpost platform included more extensive teams and began to address to a larger audience and to contribute educating communities that normally don't have access to culture. Those results where accomplished by applying a reconversion strategy to a sum of disused spaces, that where seen as spaces with a great cultural potential, for the local, national or even international public. In this way, the platform offers a climate of extended cooperation, a transdisciplinary approach, based on communication and on sharing of the innovative experiences. | |
| dc.description.abstract | The first steps in bringing together senses as: visual, auditive, tactile, kinaesthesia, were carried out simultaneously with the historical Avantgarde in an attempt to cleave the structure of the classical artwork by the developing of concepts that where free from the objectual support and by the programmatic anticlasic ideology that contributed to the destruction of the linear syntax. In the second part of the 20'th century, the development of the new media technology allowed the completion of an unprecedented fact. The statement medium + message = information coincides with the fulfillment of a truly innovative work, obtained not from the division of the anticlassical from the classical- as the historical Avant-Garde believed - but by an implosion of the poles of representation, that was practiced, more or less aware, by the postwar Neo Avant-Garde.
This experience was made possible by the fusion of the perspectival pyramids (the classical pyramid + the baroque inverted pyramid) imposed by the representation of the pixeled virtual screen, equivalent to the total perspective of the events as a bases of the transmedia principles. Mediated by the electric technology, the media art work transgress the artistic genres by integrating the potential of painting, sculpture, graphics, and ambient. However, beyond being a simple transgression of traditional genders, this concept explores the question of trans-representation, as described in the transdisciplinarity theories as a simultaneous passage of several levels of representation. In this paradigm we can talk about a trans-perception, meaning an integration of the senses by crossing several levels of perception, by the use of diferent devices that increase the relationship between the viewer and the artwork.
Overcoming the rational perceptive fragmentation phenomenon leads to a trans-conscience, meaning a complete consciousness (rational + irrational) that allows the understanding of reality to a larger scale. | |
