CIPRIAN MURESAN
DRAWINGS 2015-2004
edited by Mihai Pop and Plan B
Hatje Cantz (Masy 1, 2015)
Never employed as an instrument for direct notation, for Ciprian Muresan (*1977 in Dej) drawing functions in equations that envelop this mode of production in a reflection on visibility and loss, on historical suspension, and ways in which the past is retrieved. Based on the artist's diverse artistic output, the volume surveys the forms in which drawing recurs in Muresan's practice. It foregrounds lines of continuity between earlier works, such as cheat sheets onto which The Gospel of John has been transcribed, and recent projects in which, for instance, all of the reproductions in books on Antonello da Messina or Kasimir Malevich are copied onto a single sheet of paper. Essays contextualize Muresan's drawings in their fraught relation to art history, remembrance, and conservation as well as against shifting notions of labor.
DRAWINGS 2015-2004
edited by Mihai Pop and Plan B
Hatje Cantz (Masy 1, 2015)
Never employed as an instrument for direct notation, for Ciprian Muresan (*1977 in Dej) drawing functions in equations that envelop this mode of production in a reflection on visibility and loss, on historical suspension, and ways in which the past is retrieved. Based on the artist's diverse artistic output, the volume surveys the forms in which drawing recurs in Muresan's practice. It foregrounds lines of continuity between earlier works, such as cheat sheets onto which The Gospel of John has been transcribed, and recent projects in which, for instance, all of the reproductions in books on Antonello da Messina or Kasimir Malevich are copied onto a single sheet of paper. Essays contextualize Muresan's drawings in their fraught relation to art history, remembrance, and conservation as well as against shifting notions of labor.
