Re:Location 4

Categories: exhibition performance
Event in Tranzit:
Re:location 1-7/Shake
Casino Luxembourg + Forum d’art contemporain/Luxemburg (Luxemburg), International Center for Contemporary Art/Bucharest & ArtStudio Foundation/Cluj (Romania), Centrum Sztuki Wsplczesnej Laznia/Gdansk (Poland), Galeria Jana Koniarka/Trnava (Slovakia), migros museum für gegenwartkunst/Zurich (Swiss), O.K. Centrum für Gegenwartkunst/Linz (Austria), Villa Arson - Centre national d’art contemporain/Nysse (France).
Tranzit Foundation
Financial support:
"Culture 2000" Program of the European Union.
Curators: Enrico Lunghi, Maria Rus Bojan
-- Artists: Vera Weisgerber, Cosmin Pop

To relocate means to reconsider one’s own concepts, contextually. When you go back to your location, your cultural space, after being relocated, you’ll never see the things the same way. This dynamic process is our goal (Enrico Lunghi).

Re:Location is the attempt of the four people (two artists and two curators) to fit in the community where the project is unfolding. In other words, there is an adaptation effort to the needs of the other starting with the dialog of the curators, of the artists, at the intersection of the viewpoint of the artistic community that each of the four represents (Maria Rus Bojan).

Re:Location 1-7/Shake is a collaboration of seven contemporary art centers in Europe and consists of short term artist residence exchanges. Re:Location 4, the fourth step in the project is a cultural exchange between Cluj and Luxemburg with as protagonists Cosmin Pop and Vera Weisgerber, artists chosen by the curators Enrico Lunghi and Maria Rus Bojan.

The project in the former synagogue is monumental. It was thought as  a visual challenge with consistent references. Cosmin Pop revisited and reconsidered the site literally as the project he elaborated comes after three years working at the Tranzit Foundation.
The night of the show the facade was still covered by the scaffoldings  as it was being painted in 12 coloured squares. A wall painter on the scaffolding, in a silent performance was finishing the work. The painting site was the metaphor of the city in motion, in construction. It was literally a work in progress (Cosmin Pop). This intervention affected the site deeply, changing it in a nodal point of the visual-cultural data: the somewhat random, but cheerful chromatics of the facade restoration in Cluj, the colour point reduced to pixel, the colours of the rainbow, the synthesis of cheerful colours but pure, the multifunction of a facade as support for artistic intervention and multiplication of its meanings, but also the start for the restoration of the site. In this respect, the Synagogue project acquires its full social dimensions initially intended. The facade intervention must be read as an involvement of the artists in the community, particularly here, in the technical problem of the Jewish community (owner of the site) in the start if the renovation of the building, in the benefit of both parties. It is interesting to mention that the owner, the Jewish community, imposed some working rules such as the interdiction to alter the mosaic religious symbols or the interdiction to work on Saturday, but otherwise leaving the artists freedom to create. Still the project was finished in seven days, tells Maria Rus Bojan.

The view that opens from the Cetatuia hill is of a total visual effect, which wasn’t previously planed by the artists but suspected: the facade is a colored spot on the gray background of the Cluj panorama. It really deserves a postcard. (Cristian Rusu, IDEA)