{"id":167,"date":"2021-12-12T18:21:40","date_gmt":"2021-12-12T18:21:40","guid":{"rendered":"https:\/\/muresan.galhosting.com\/?page_id=167"},"modified":"2022-05-13T08:09:23","modified_gmt":"2022-05-13T08:09:23","slug":"erotikonia","status":"publish","type":"page","link":"https:\/\/muresan.galhosting.com\/en\/opera\/pictura\/erotikonia\/","title":{"rendered":"2018-2019: Erotikonia"},"content":{"rendered":"<div data-elementor-type=\"wp-page\" data-elementor-id=\"167\" class=\"elementor elementor-167\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-c4a41b9 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"c4a41b9\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-a5fc1be\" data-id=\"a5fc1be\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-102b10e elementor-widget elementor-widget-shortcode\" data-id=\"102b10e\" data-element_type=\"widget\" data-widget_type=\"shortcode.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-shortcode\"><div class=\"aioseo-breadcrumbs\"><span class=\"aioseo-breadcrumb\">\n\tHome\n<\/span><\/div><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3c359f1 elementor-widget elementor-widget-spacer\" data-id=\"3c359f1\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.e-container.e-container--row .elementor-spacer-inner{width:var(--spacer-size)}.e-container.e-container--column .elementor-spacer-inner,.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-0eec39b elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"0eec39b\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-140106f\" data-id=\"140106f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c424ac0 elementor-widget elementor-widget-text-editor\" data-id=\"c424ac0\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#818a91;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#818a91;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p>\u201dEros is the main character of this exhibition that glides between carnality and ideal, between voyeurism, diaphanous, and ingenuous with an easiness that only great artists are capable of. Freewheeling but rational, playing within and with his own imagination, but representing an entire cultural history, in\u00a0<em>Erotikonia<\/em>, Ioan Aurel Mure\u0219an gives an answer, in his turn, to a question once asked by Nicolae Steinhardt: \u201cWhat today\u2019s man hungers for? For love and meaning.\u201d  (see below)<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-83a6ed3 elementor-widget elementor-widget-image-gallery\" data-id=\"83a6ed3\" data-element_type=\"widget\" data-widget_type=\"image-gallery.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-image-gallery .gallery-item{display:inline-block;text-align:center;vertical-align:top;width:100%;max-width:100%;margin:0 auto}.elementor-image-gallery .gallery-item img{margin:0 auto}.elementor-image-gallery .gallery-item .gallery-caption{margin:0}.elementor-image-gallery figure img{display:block}.elementor-image-gallery figure figcaption{width:100%}.gallery-spacing-custom .elementor-image-gallery .gallery-icon{padding:0}@media (min-width:768px){.elementor-image-gallery .gallery-columns-2 .gallery-item{max-width:50%}.elementor-image-gallery .gallery-columns-3 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300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/FARDUL-CA-SARBATOARE-2--150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/FARDUL-CA-SARBATOARE-2--100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"83a6ed3\" data-elementor-lightbox-title=\"Hetaire I, ciclul \u201eErotikonia\u201d, 2018, ulei pe p\u00e2nz\u0103, 200 x 300 cm\" e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6NTU2NiwidXJsIjoiaHR0cHM6XC9cL211cmVzYW4uZ2FsaG9zdGluZy5jb21cL3dwLWNvbnRlbnRcL3VwbG9hZHNcLzIwMTlcLzAxXC9IRVRBSVJFLTFjaWNsdWwtRXJvdGlrb25pYS0yMDE4LXVsZWktcGUtcGFuemEtMi14LWguMjAwLXgtMTUwLWNtLXNjYWxlZC5qcGciLCJzbGlkZXNob3ciOiI4M2E2ZWQzIn0%3D\" 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srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/HETAIRE-2-ciclul-Erotikonia-2018-ulei-pe-panza-2-x-h.200-x-150-cm-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/HETAIRE-2-ciclul-Erotikonia-2018-ulei-pe-panza-2-x-h.200-x-150-cm-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/HETAIRE-2-ciclul-Erotikonia-2018-ulei-pe-panza-2-x-h.200-x-150-cm-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"83a6ed3\" data-elementor-lightbox-title=\"Hure Thallo, ciclul \u201eErotikonia\u201d, 2018, ulei pe p\u00e2nz\u0103, 200 x 150 cm\" 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class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a data-elementor-open-lightbox=\"yes\" data-elementor-lightbox-slideshow=\"83a6ed3\" data-elementor-lightbox-title=\"Alte glasuri, alte \u00eenc\u0103peri II, ciclul \u201eErotikonia\u201d, 2019, ulei pe p\u00e2nz\u0103, 200 x 300 cm\" e-action-hash=\"#elementor-action%3Aaction%3Dlightbox%26settings%3DeyJpZCI6NjExMiwidXJsIjoiaHR0cHM6XC9cL211cmVzYW4uZ2FsaG9zdGluZy5jb21cL3dwLWNvbnRlbnRcL3VwbG9hZHNcLzIwMTlcLzAxXC9BTFRFLUdMQVNVUkktQUxURS1JTkNBUEVSSS0yLWNpY2x1bC1Fcm90aWtvbmlhLTIwMTktdWxlaS1wZS1wYW56YS0yLXgtaC4yMDAteC0xNTAtY20tc2NhbGVkLmpwZyIsInNsaWRlc2hvdyI6IjgzYTZlZDMifQ%3D%3D\" href='https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/ALTE-GLASURI-ALTE-INCAPERI-2-ciclul-Erotikonia-2019-ulei-pe-panza-2-x-h.200-x-150-cm-scaled.jpg'><img width=\"300\" height=\"300\" src=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/ALTE-GLASURI-ALTE-INCAPERI-2-ciclul-Erotikonia-2019-ulei-pe-panza-2-x-h.200-x-150-cm-300x300.jpg\" class=\"attachment-shop_catalog size-shop_catalog\" alt=\"\" loading=\"lazy\" srcset=\"https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/ALTE-GLASURI-ALTE-INCAPERI-2-ciclul-Erotikonia-2019-ulei-pe-panza-2-x-h.200-x-150-cm-300x300.jpg 300w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/ALTE-GLASURI-ALTE-INCAPERI-2-ciclul-Erotikonia-2019-ulei-pe-panza-2-x-h.200-x-150-cm-150x150.jpg 150w, https:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/ALTE-GLASURI-ALTE-INCAPERI-2-ciclul-Erotikonia-2019-ulei-pe-panza-2-x-h.200-x-150-cm-100x100.jpg 100w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><\/a>\n\t\t\t<\/dt><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-fa70e8d elementor-widget elementor-widget-heading\" data-id=\"fa70e8d\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.6.2 - 04-04-2022 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h6 class=\"elementor-heading-title elementor-size-default\">Critical references<\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-638c8f9 elementor-widget elementor-widget-heading\" data-id=\"638c8f9\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">1. On Love and Sense<\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-54d5a6c elementor-widget elementor-widget-heading\" data-id=\"54d5a6c\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<p class=\"elementor-heading-title elementor-size-medium\">Aurel Chiriac<\/p>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c63e035 elementor-widget elementor-widget-text-editor\" data-id=\"c63e035\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\" translation-block\">\u201dIoan Aurel Mure\u0219an has a quality rarely seen in contemporary visual artists \u2013 he succeeds in hiding vast cultural accumulations behind his talent. Where others would get tensed up, he manages to handle things casually. He plays within and with the history of art, within and with the history of ideas with a nonchalance that combines certainties and obsessions, essentialities and ostentation, psychological finesse, and ideation solitudes. Each of his artworks is, in fact, a recourse to the entire story of the visual arts. Identifying this constant appeal to what had been going to be is part of the charm of any approach to Ioan Aurel Mure\u0219an\u2019s work. Simply by noticing the titles of the artworks from this exhibition, you realize that some sort of cultural legitimacy is an important constituent part of its message. The Hetairai series brings to mind the Ancient Greek sculpture, going up to Hetaira by Pablo Picasso; La belle jardini\u00e8re reminisces the work with the same title by Max Ernst; Baigneuse, again to some of Picasso\u2019s paintings; Other Voices, Other Rooms is the title of the debut novel by Truman Capote; The Persian Divan makes you think of Montaigne but also of Cantemir and Sadoveanu; to say nothing of Hure Thallo, a wordplay, which would translate as the Whore Spring, while the Foundation of Youth\u2019s direct reference to Cranach the Elder is made by the author himself. This cultural agglomeration, this abundancy could easily slide into demonstrative, into ideating mannerism, have not Ioan Aurel Mure\u0219an had the capacity to always place them on a secondary plane, to mask them, to transform them into \u201cshades\u201d of the painterly space and mere footnotes of a poetics and of a highly individualized poietics. In other words, it is a game of the history of art, by simply making art. I use the term game (as it was defined by Huizinga) because I find it very close to the spirit of the artist: the game means freedom, it\u2019s something different from the nude reality and, above all, it puts things in order, brings order, even if, in Ioan Aurel Mure\u0219an\u2019s case, it\u2019s an order of a space of the imagination. This flirtation with the cultural order and its civilizational structures translates into an easily identifiable visual show: the artist knows how to create, in visual propositions perfectly balanced, what I would call purifying illusions. The relocation of the feminine body from the grotesque of animality and its (re)turn to the size of the Eros means nothing else than the contamination with diaphanous of the world.<\/p><p class=\" translation-block\">Human body, chimeras, impulsions, imaginary, diaphanous, game, landmark: these are concepts without which you cannot approach Ioan Aurel Mure\u0219an\u2019s art. He has entitled his exhibition Erotikonia, made-up name, with a wide-open semantic palette, as both constituent words are carrying extended meanings \u2013 both terminological and cultural: \u1f1c\u03c1\u03c9\u03c2 \u2013 desire, love and e\u1f30\u03ba\u03ce\u03bd \u2013 image, drawing, depiction, figure, icon (\u03b5\u03b9\u03ba\u03cc\u03bd\u03b1) but also chimera, imagination, apparition, mirage. \u201cThe imaginary force of Eros is so strong that it structures almost all symbolic forms of culture\u201d, confesses the artist. This is exactly why the latter meanings indicate the struggle against the limit the artist is involved in, in an attempt \u2013 both obstinate and condescend at times \u2013 to escape the real, the attempt of an existential escapist striving to break away from a here and now too cynical and too devoid of sense, void of meanings, and a-cultural. From imagined worlds (the above-mentioned constant recourse to the history of art), he manages to build a world in his own imaginary. In fact, he appropriates the collective imaginary as his own good.<\/p><p class=\" translation-block\">In Ioan Aurel Mure\u0219an\u2019s view, the feminine body has two archetypal qualities: desire\/offering (the transformation of sexuality into Eros) and the annihilation of the instinct of death, a clear anti-thanatotic dimension. Painterly, these are endowed with the charm of the individual real at a time when we are trying to survive the \u201cdesert of the real itself\u201d.  You cannot but ask what sphere of meanings the representation of the feminine body can occupy today when the assault of nakedness in all its forms seems to have won the battle for good. We are not talking here about morality and immorality, but about quantity. Does the feminine body hold any more mysteries, does it still have a meta-language that has not been deconstructed by an entire industry of lascivious abandonment? Is it still an interval between us and something beyond us? Ioan Aurel Mure\u0219an\u2019s Hetairai are this very interval, this passage to something else. The painter joins the ranks of those that Henri-Pierre Jeudy was talking about in Le corps comme objet d\u2019art, of those that persist in \u201cholding the original enigma of the body\u201d, persistence that \ncontains the faith in an ever-possible short-circuiting of the stereotypes, allows the perpetuation of the illusion of deconstructing the interpretation models by the covertly return of the cultural heterology of the images of the body. Thus, the body remains the pedestal of aesthetic idealism.<\/p><p class=\" translation-block\">A heteromorphic view of the feminine body is also what Ioan Aurel Mure\u0219an advances. The same body-substance can \u201ccrystallize\u201d differently, depending on the visual and cultural characteristics you are endowing it with. Why has the painter chosen the hetairai as main theme? In Ancient Greek, \u1f11\u03c4\u03b1\u03af\u03c1\u03b1 meant companion. Today we might call them escorts, but it wouldn\u2019t cover the whole original meaning. In Ancient Greece they were offering not only bodily pleasures. They formed a class apart, of educated, cultivated women, able to carry a conversation on equal terms with men. Apparently, they were free women, that managed to be self-sufficient. The masculine hetairoi referred to the groups of men from the elite that took part in the notorious symposia. Its feminine counterpart could not designate simple prostitutes. In the end, it is a visual attempt to restore the rights of the feminine body, with all its attributes, from the simple visual show, going through seduction to the proximity of the revelation. The task is not at all easy, if aberrant ideologies try to rob the body, and particularly the feminine body, of, not much so the mystery, but the sacred dimension it has always had. A sacred dimension which, rigorously speaking, the entire culture is founded on.<\/p><p class=\" translation-block\">Henri-Pierre Jeudy was also noting: \nThe universal principle of recognizing all cultures is sustained by the reference to the sovereignty of the body. . . The body was assigned with the representation of the concept of culture. It serves as an \u201cauthenticity certificate\u201d.  \nIoan Aurel Mure\u0219an is returning to the sublime, to perfection, to enchantment, to spell, even if, apparently, only in a space of the imaginary. The erotic imaginary, ruled by Eros and not (only) the root of carnality is unlimited and open to all the spaces of the culture; it is also a passage between the profane and the sacred, fact that we know already from Platon\u2019s Banquet: \nLove . . . is intermediate between mortal and immortal . . . a great daemon. . . The entire world of the daemonic is intermediate between divinity and mortality.  \nWith obvious psychoanalytical reflexes, Ioan Aurel Mure\u0219an is crediting the Hellenistic tradition according to which Eros is a germinative and driving force, that both creates and perpetuates the things in this world. Visually, there is nothing able to express it more concretely, to contain its essentiality than the image of the feminine body. Eros is a force that \u201cis guiding everything\u201d, a moving prime, a driving force, as I said, obviously forged on a sexual model. Eros is the one that is incessantly conceiving in that space of transition between the material and the immaterial (today we call it imaginary, the Greeks had named it soul) where beauty emerges.<\/p><p class=\" translation-block\">Taking a close look at the artworks that make up Erotikonia, it seems that, in the absence of any certainty \u2013 the artist doesn\u2019t even look like to be interested in the grainy, earthy certainties, rather in their reflections in the sphere of that that can be imagined \u2013 the meanings that Ioan Aurel Mure\u0219an proposes hide in the lines written by Vladimir Solovyov: \nEros\u2019 mission may be only that of transmitting the immortality of that part from our nature which is doesn\u2019t possess per se, as it is usually absorbed in the material veil of procreation and death.  \nAnd thus, the second term of the binomial enters the scene, Thanatos. The dragons from Ioan Aurel Mure\u0219an\u2019s paintings could be invested with suffocatingly numerous interpretations. In the Make-up As Celebration the creature imagined by the artist looks more like a gryphon. Zeus\u2019 guardians or bearers of the absolute evil? The smashed dragon skulls represent, in the Christian tradition, the victory of Christ over evil and death. Biblically, the resemblance between the body of the dragon and that of the woman (Mondragon, Rosa canina) has an apocalyptical resonance: \nIts tail swept a third of the stars out of the sky and flung them to the earth. The dragon stood in front of the woman about to give birth, so that it might devour her child the moment he was born. (Revelation 12:4)  \nInstead, Ioan Aurel Mure\u0219an\u2019s dragons have a quite hallucinatory ambivalence \u2013 they are thanatology signs, but they also embody a demiurgic principle, the Immortals mounting the flying dragons on their way up to Heaven. Like the feminine body, we can suspect they are too symbols of the passage from the real to the imaginary, from the earthly to the celestial, that eerie celestial, pure and amalgamated, proposed by the painter. The meanings of apparition, mirage of eikona are more here obvious.<\/p><p class=\" translation-block\">But it would be an immense and unforgivable interpretative mistake to see in these paintings nothing else than an attempt to revalue the feminine body and the openings it is the bearer of. We also find in them a fascinating purity of seduction \u2013 of carnal seduction, of bodily seduction because, in the end, this is where it all starts from: \u201c\u2018beauty\u2019 and \u2018attractiveness\u2019 are originally properties of the sexual object\u201d.  The Voyeurism series comes with a compositional element with powerful erotic connotations: the window (all paintings are highly rigorous in the compositional organization, in the sequencing of the planes; and the frame, the window, the delimitation of multiple independent planes in the painterly space, is a constant in the works that make up Erotikonia). Through the window, which is a limitation of the view by cropping the world, a body of a woman could be seen as standing for the lowest zone, the guilty zone of Eros, but at the same time the window amplifies the desire and the feeling of powerlessness. And, therefore, in the imaginary defined by the painter, a secondary sound is inscribed, another imaginary, that of the one suspected of looking. In fact, isn\u2019t this what we have been doing from the very beginnings, peeping at the idea of good, of beautiful, but without having any direct access to them at any time? Nothing that is human is foreign to us. Neither the strive for holiness, nor the longing for a body of a woman-mirage.<\/p><p class=\" translation-block\">Compositionally flawless, as I have said, the paintings have a powerful force of expression born out of a fanciful mix, from both a stylistic and a symbolic standpoint. It is this very mix, misleadingly chaotic \u2013 because the artist works with ideation structures by no means accidental \u2013 that the solitude derives from, the singularity of Ioan Aurel Mure\u0219an\u2019s art. You cannot dislocate anything from the symbolic complex deployed without lessening the whole. The images only have a hybrid appearance, without being so at all. Endorsed by enduring colors \u2013 particularly the Pompeian red, which, in turn, adds a supplementary layer of the imaginary to the already existing ones \u2013, the symbols are hidden and, at the same time, revealed in all the artworks: fantastical flowers, carnivorous plants, animals (some hybridized), strange birds, the shadows of bodiless creatures, rivers, backgrounds made up of hills, knolls (all having more than a compositional role). Everything could be a bearer of Eros or part of it, everything is molding the world imagined by Ioan Aurel Mure\u0219an. The style is an almost conceptualized mix of styles, ranging from the abstract to the figurative, from symbolism to neo-expressionism, with direct references to street art.<\/p><p class=\" translation-block\">Eros is the main character of this exhibition that glides between carnality and ideal, between voyeurism, diaphanous, and ingenuous with an easiness that only great artists are capable of. Freewheeling but rational, playing within and with his own imagination, but representing an entire cultural history, in Erotikonia Ioan Aurel Mure\u0219an gives an answer, in his turn, to a question once asked by Nicolae Steinhardt: \u201cWhat today\u2019s man hungers for? For love and meaning.\u201d<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-2ab7f33 elementor-widget elementor-widget-text-editor\" data-id=\"2ab7f33\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\" translation-block\">(\u201cDespre iubire \u0219i sens. Ioan Aurel Mure\u0219an\u201d, in the exhibition catalogue Ioan Aurel Mure\u0219an. Erotikonia: Expozi\u021bie de pictur\u0103 \/Festm\u00e9nyki\u00e1llit\u00e1s \/Painting Exhibition, Muzeul \u021a\u0103rii Cri\u0219urilor Oradea, 19.11.2019 - 02.02.2020, Oradea: Editura Muzeului \u021a\u0103rii Cri\u0219urilor, 2019)<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e1e92fd elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"e1e92fd\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-b168a84\" data-id=\"b168a84\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-5cc19ef elementor-widget elementor-widget-heading\" data-id=\"5cc19ef\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">2. Rrose_ikonia<\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-70616d3 elementor-widget elementor-widget-heading\" data-id=\"70616d3\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<p class=\"elementor-heading-title elementor-size-medium\">Ramona Novicov<\/p>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-cd15e0f elementor-widget elementor-widget-text-editor\" data-id=\"cd15e0f\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\" translation-block\">\u201dUndeniably, toujours du Duchamp, toujours du Baudelaire. Lux, calm, and gliding between planes, worlds, fictions. Painted by a master of seduction and, at the same time, a devout visitor of the Library of Babel, the multiple canvas painting overflowing with erotism of Ioan Aurel Mure\u0219an , seems, at a first glance, an endless epithalamium. But the tents of Scheherazada\u2019s stories from the Magical Travel of Duke d\u2019Ivry are gone, as are the flickering landscapes of Ultrasilvania. We only find here the ideograms of the Escorts, captured here, like cabochons, in a painting completely different from the one that preceded it. The landscapes have scattered into dreams about landscapes, the bodies have been transfigured into dreams about love. And maybe this very plane of the unseen, only dreamt loves, confers such an intense poetic substance to the saraband of nymphs, hetairai, escorts, ladies of company, ephemerids \u2013 all these fabrications that, no matter by which euphemism we would call them \u2013, have no identity, because they don\u2019t have a face, they don\u2019t have a gaze. With only one exception, that can be invested with a symbolic role, absolutely all other creatures of this sort are represented aprosopos, without a face, like the slaves. They don\u2019t have an existence of their own, they are merely companions, creatures of the interval. They are nymphs, as the Painter calls them, and can only fly in daydreams and in sleep. They are the prisoners of the interval in which they are allowed to move, that is in shop windows of Bluebeard\u2019s castle from the red-light district. Their world is closed, hortus closus with barcodes, sliding doors of glass, and flashy spotlights. We are not being told anything about them, and the bitter light, powdered evenly, like the rice flour on the face of the geishas, makes them even more spectral, more untouchable. The pattern of the silhouettes, despite looking as if they have been cut out with a surgical knife, making a triple d\u2019apr\u00e8s Cranach-Ingres-Matisse, become chromatic fields of ineffable grace, whose pearly, lilac, rosy penumbras, displaying a palette of ochre of an unbelievable transparency, luminosity, and delicacy, recall the nudes of Bonnard or Pallady. Pushed to the limit of chromatic representation, a silhouette profiled against a totem is almost pure evanescence.<\/p><p class=\" translation-block\">Sequentially, the girls are taken, brought in, and exhibited on a closed circuit, that slides on the horizontal of the invisible shop windows. We are not allowed to step across the threshold: the magnificent peep show is trenchantly separated from us, the viewers, by sharp thresholds made of blades of broken mirrors and hedges of thorny plants, not at all friendly. The bodies of the nymphs are guarded by a security zone of a terrible and wild painterly outburst. The vitality of the polished bodies in the rarefied air of the dioramas is pushed by the centrifugal force to the painterly areas from the sides of the paintings with the intensity of a cyclotron. Everything is re-absorbed, exploded, and put to order with a terrible martial force, unfolding across the palette of nuances and accents comprised in the interval between the informal, figurative visual language and the geometric, abstract one, and the syncope and dissonances aggregate in a painterly show with closed circuit, put with tender irony under the royal and sacrificial sign of magenta red\u201d.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5f59f36 elementor-widget elementor-widget-text-editor\" data-id=\"5f59f36\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p>[1] The personal exposition of Ioan Aurel Mure\u0219an entitled <em>Erotikonia,<\/em> was opened at the Cri\u0219 Country Country Museum in Oradea between November 2019 and February 2020<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-10cb751 elementor-widget elementor-widget-text-editor\" data-id=\"10cb751\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\" translation-block\"><em>(Ioan Aurel Mure\u0219an.\u00a0Rrose_ikonia<\/em>, \u201eArta\u201d Magazine, nr. 42-43 \/2020, pp. 72-73.)<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f598226 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"f598226\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-ab9f7e5\" data-id=\"ab9f7e5\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-79e86c4 elementor-widget elementor-widget-heading\" data-id=\"79e86c4\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<h6 class=\"elementor-heading-title elementor-size-default\">3. Erotikonia\n\n<\/h6>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-1301113 elementor-widget elementor-widget-heading\" data-id=\"1301113\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<p class=\"elementor-heading-title elementor-size-medium\">Maria Zintz<\/p>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-8763fbb elementor-widget elementor-widget-text-editor\" data-id=\"8763fbb\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><em>Erotikonia<\/em>: imagini \u00eentr-o abordare figurativ\u0103 a temei, cu figuri simbolice, mitice, dintr-o viziune postmodern\u0103, care \u00eei pune \u00een valoare \u00een continuare artistului \u00eenclina\u021bia spre fabulos, spre imaginar, admirabilul sim\u021b compozi\u021bional,\u00a0 calit\u0103\u021bile sale de mare colorist.<\/p><p>Dac\u0103 \u00een literatur\u0103 \u0219i muzic\u0103 erosul a fost prezent \u00eenc\u0103 din Antichitate \u0219i p\u00e2n\u0103 ast\u0103zi, \u00een artele plastice a fost mai dificil de tratat. C\u00e2t po\u021bi fi de explicit pentru a nu c\u0103dea \u00een vulgaritate? Ioan Aurel Mure\u0219an, a\u0219a cum a procedat \u00een toate etapele sale de crea\u021bie, recurge \u0219i acum la metafore, la simboluri, chiar la un realism magic. Curtezanele&#8230; femei care au tulburat \u0219i stimulat lumea masculin\u0103 de-a lungul vremurilor. Phrine, iubita lui Praxiteles, a devenit \u00eenc\u0103 o dat\u0103 nemuritoare, oferind trupul s\u0103u ca model de frumuse\u021be \u0219i gra\u021bie zei\u021bei Afrodita din Cnid, sculptat\u0103 de celebrul sculptor, fiind una dintre primele reprezent\u0103ri la dimensiunea de corp viu a modelului feminin din sculptura greac\u0103, \u00een secolul al IV-lea. Libert\u0103\u021bile de care se bucurau curtezanele din Antichitate ne fac s\u0103 spunem c\u0103 ele au fost primele femei libere. Multe erau inteligente, culte, nu numai frumoase, \u00een casele lor av\u00e2nd loc cenacluri, concursuri de poezie, se discuta filozofie. De altfel, filozofii \u0219i poe\u021bii au protestat \u00eempotriva condi\u021biei de inferioritate a femeilor, iar Socrate \u0219i Platon au sus\u021binut egalitatea natural\u0103 a celor dou\u0103 sexe.<\/p><p>Deci, o tem\u0103 \u00een care probleme de antropologie erotic\u0103 se conjug\u0103 cu\u00a0 cele de sociologie, filozofie, psihologie, \u00eentr-un complex de metamorfoze mentale \u0219i schimb\u0103ri de optic\u0103. Nu cunosc \u00een arta postmodern\u0103 din Rom\u00e2nia o abordare de aceast\u0103 amploare, aduc\u00e2nd \u00een prim-plan aspecte ale eroticului, cu accent pe latura sexual-senzual\u0103 a imaginarului erotic odat\u0103 cu ie\u0219irea \u00een lumin\u0103 a valorilor ce \u021bin de corpul uman \u0219i de imaginarul pl\u0103cerii \u0219i al dorin\u021bei. Este o c\u0103utare (febril\u0103) a sensului \u0219i a locului erosului \u00een via\u021ba cotidian\u0103, a semnifica\u021biilor ontologice, etice, estetice pe care acesta le instituie \u00eentr-un imaginar polivalent. Conceptualizarea temei, investigarea ei \u00eentr-o formul\u0103 diacronic\u0103, \u00een compara\u021bie cu modelele deja consacrate, clasice, ale erosului, deplas\u0103rile de accente, de interpret\u0103ri originale \u00eentr-o lume unde universul intim cap\u0103t\u0103 o pondere tot mai mare \u0219i o autonomie tot mai pronun\u021bat\u0103, se impune cu stringen\u021b\u0103.<\/p><p>Poetul Ioan Moldovan afirma la vernisajul expozi\u021biei c\u0103: \u201eS-ar putea zice c\u0103 pictorul \u00ee\u015fi realizeaz\u0103 conceptul cu deplin\u0103 conformitate. Se \u00eent\u00e2mpl\u0103 \u00eens\u0103 \u015fi \u00een acest caz acel fenomen miraculos \u00een virtutea c\u0103ruia opera nu se limiteaz\u0103 la traseele inten\u0163iei, ci \u00ee\u015fi ofer\u0103 propria sa aventur\u0103 artistic\u0103, mult mai bogat\u0103 \u00een orizonturi \u015fi reliefuri artistice dec\u00e2t programul prealabil, oric\u00e2t ar fi acesta de subtil \u015fi cuprinz\u0103tor. Primul contact vizual cu lucr\u0103rile lui I. A. Mure\u015fan te sensibilizeaz\u0103 \u015fi, \u00een acela\u015fi timp, te pune \u00een gard\u0103\u00a0 prin intensitatea cromatic\u0103. Ea\u00a0 corespunde unei viziuni plastice \u00een ecua\u0163ia c\u0103reia poeticile expresioniste, fauviste \u015fi surealiste sunt asimilate de artist \u00een chip profund \u015fi original, caracteristicele fiec\u0103reia nemaifunc\u0163ion\u00e2nd artificial \u015fi artificios \u00een actul de crea\u0163ie, ci la modul organic, firesc, \u00eenc\u00e2t trimiterile didactice la atari resurse ar fi fastidioase. (&#8230;)\u201d.<\/p><p>Ioan Aurel Mure\u0219an are o atitudine mai cur\u00e2nd constatatoare. El observ\u0103 personajele, le urm\u0103re\u0219te curios, cu \u00een\u021belegere, cu condescenden\u021b\u0103 uneori, le dezv\u0103luie seduc\u021bia ce \u00eenseamn\u0103 ambiguitate \u0219i un joc al disimul\u0103rii, pune sub semnul vizibilului ceva din vie\u021bile lor \u0219i, recurg\u00e2nd la \u201emagic\u201d, le salveaz\u0103 farmecul. Sunt curtezane \u00eentr-un regat al ro\u0219ului, al ro\u0219urilor care primesc valori nuan\u021bate simbolic, mai ales ro\u0219u carmin, un ro\u0219u care arde p\u00e2n\u0103 la carbonizare. <em>Hetairele<\/em> din tablourile lui Mure\u0219an nu au aproape nimic de-a face cu anticele curtezane erudite. Sunt femei preocupate de trupul lor, de postur\u0103, de\u0219i au fe\u021bele ascunse ori sunt neindividualizate. Apar\u021bin mai cur\u00e2nd unei societ\u0103\u021bi consumiste, hedoniste, postmoderne, l\u0103s\u00e2nd totul la vedere sau aproape totul. Lipsa de iluzii, de vise, de aspira\u021bii spre certitudini a transformat locul \u00eentr-o lav\u0103 \u00eencins\u0103, de un ro\u0219u intens, care pare s\u0103 curg\u0103, duc\u00e2nd cu ea resturi, poate fiin\u021be topite, suger\u00e2nd distructivul, haosul. <em>Hetairele<\/em> contemporane a\u0219teapt\u0103, \u00een pozi\u021bii \u0219i mi\u0219c\u0103ri provocatoare, pe consumatorii de eros fugar, iar o ma\u0219in\u0103 tocmai s-a oprit, pentru a lua sau prelua o femeie-marf\u0103. Fundalul de un ro\u0219u intens contribuie la sugerarea atmosferei de febril\u0103, de ner\u0103bd\u0103toare a\u0219teptare.<\/p><p>Lucr\u0103rile sunt g\u00e2ndite pentru a exprima st\u0103ri, dar mai ales situa\u021bii, incluz\u00e2nd \u0219i pulsiuni refulate, mituri, arhetipuri, dar \u0219i reverii, vise prin forme simbolice, mitice, dar \u0219i prin forme care fac ca mesajul s\u0103 fie unul tran\u0219ant. O deconstruire \u0219i reasamblare a toposurilor erotice tradi\u021bionale, pentru c\u0103 semnifica\u021biile imaginarului erotic propus de pictor se adreseaz\u0103 timpului prezent, dar purt\u00e2nd o raportare la forme antice, ancestrale.<\/p><p>Escorte, curtezane, hetaire&#8230;, imagini vizuale ale \u201ediscursului\u201d s\u0103u despre erotic. Ioan Aurel Mure\u0219an nu abordeaz\u0103 erosul prin mitul androginului, povestit de Aristofan \u00een <em>Banchetul<\/em>, a iubirii ca \u00eemplinire ontologic\u0103 prin cel\u0103lalt, ci din orizonturile unei postmodernit\u0103\u021bi actuale, chiar contradictorii. El a preferat o exprimare \u00een care a folosit o diversitate de \u201egrile\u201d, de la cea psihologic\u0103 la cea psihanalitic\u0103, av\u00e2nd dealtfel de-a lungul timpului o rela\u021bie special\u0103 cu simbolicul \u0219i imaginarul.<\/p><p>Chiar dac\u0103 tema e evident\u0103, conceptul de erotism \u00eensumeaz\u0103 o gam\u0103 larg\u0103 de sensuri, imagini \u0219i simboluri fundamentale. \u00cens\u0103\u0219i tema presupune situarea erosului \u00eentre iluzie \u0219i realitate, \u00eentre a\u0219teptare, vag, \u00eemplinire ori ne\u00eemplinire, \u00eentre interdic\u021bie \u0219i dorin\u021ba de transgresiune a interdictului, cre\u00e2nd tensiuni pe care le valorific\u0103 ontologic \u0219i c\u0103rora le confer\u0103 putere simbolic\u0103. Mure\u0219an aduce \u00een prim-plan corporalitatea \u00een fic\u021biuni erotice \u00een care r\u0103m\u00e2ne important consumerismul \u0219i hedonismul. S\u00e2nii, coapsele, simboluri ale erosului, sunt m\u0103ri\u021bi, figurile nu sunt individualizate, tr\u0103s\u0103turile faciale sunt \u201e\u0219terse\u201d, escortele nu au identitate proprie. Mi\u0219c\u0103rile lente, pozi\u021biile, atitudinile transmit st\u0103ri, surprind momente ale existen\u021bei lor anonime.<\/p><p>\u00cen lucrarea <em>Rosa canina<\/em>, femeile sunt v\u0103zute par\u021bial, dar \u00een pozi\u021bii sugestive, provocatoare. Apare ispita, iar fl\u0103c\u0103rile fac totul scrum, sunt distrug\u0103toare. Iubirile efemere, ademenitoare \u0219i promi\u021b\u0103toare aduc e\u0219ecul, teama, a\u0219teptarea unui anume \u201eceva\u201d mai autentic, care \u00eens\u0103 s-a transformat \u00een ceva ce pare pierdut. \u00cen <em>Avis amores<\/em>, femeile cu forme planturoase, av\u00e2nd al\u0103turi p\u0103s\u0103ri ro\u0219ii cu valoare simbolic\u0103, cu chipurile ascunse a\u0219teapt\u0103, privind spre formele cu \u00een\u021beles erotic simbolic. Totul e a\u0219teptare, poate resemnare&#8230;<\/p><p><em>Divanul persan<\/em> e adus \u00een peisajul urban tentacular, cu blocurile \u00eenalte din ultimul plan. T\u00e2n\u0103ra femeie, aflat\u0103 \u00eentr-o pozi\u021bie explicit erotic\u0103, prive\u0219te formele cu aspecte masculine, statice, reci, cu ochii ascun\u0219i de ochelarii ro\u0219ii, o lume primejdioas\u0103, din care sentimentele tandre sunt excluse, iar iubirea inexistent\u0103. Blocurile \u00een ro\u0219u, lumea masculin\u0103 \u00een ro\u0219u-roz sunt am\u0103gitoare, ascund pericolele inevitabile. Timpul trece&#8230; \u00cen centrul unui tablou (<em>La belle jardiniere<\/em>) apare o femeie nud &#8212; \u00een atitudine de vamp\u0103, cu forme planturoase. Cadrul red\u0103 schematic o gr\u0103din\u0103, este atr\u0103g\u0103tor, dar femeia a trecut de prima tinere\u021be. \u0218i totu\u0219i, \u00eencearc\u0103 \u00eenc\u0103 s\u0103 provoace. Cine nu \u0219i-ar dori s\u0103-\u0219i prelungeasc\u0103 tinere\u021bea, frumuse\u021bea? Mure\u0219an a creat o parodie dup\u0103 <em>F\u00e2nt\u00e2na tinere\u021bii<\/em>, pictat\u0103 de Lucas Cranach. F\u00e2nt\u00e2na are aspectul unei piscine \u00eenconjurate de forme rudimentare, ce amintesc de o n\u0103ruire, iar apa e ro\u0219ie, suger\u00e2nd sacrificiul, bine\u00een\u021beles \u0219i erosul. Femeile care se \u00eemb\u0103iaz\u0103 cu speran\u021ba de a fi iubite \u00een continuare, v\u0103zute din spate, par ascunse \u00een propriile lor vise ne\u00eemplinite. Au \u00eenc\u0103 mi\u0219c\u0103ri languroase, senzuale, de\u0219i tot ceea ce este \u00een jurul lor e ruin\u0103. Iluziile vor pieri \u0219i ele. \u0218arpele este \u00een lucrarea <em>Mondragon <\/em>simbol al erosului, de un ro\u0219u aprins. Trecerea lui sinuoas\u0103 transform\u0103 totul \u00een lav\u0103 \u00eencins\u0103, periculoas\u0103, de neoprit. Personajele feminine sunt neputincioase \u00een fa\u021ba lui, purtate \u00een spa\u021bii imaginare, topite sub dogoarea mi\u0219c\u0103rilor lui. Sub trecerea lui totul devine fluid p\u00e2n\u0103 la curgere, descompus, dezagregat. Tu\u0219a e \u0219i ea lichefiat\u0103, vitalizat\u0103 de ro\u0219ul-lav\u0103, de contrastele cromatice.<\/p><p><em>Fardul ca o s\u0103rb\u0103toare<\/em> e realitatea existen\u021bei escortelor. Ele trebuie s\u0103 par\u0103 frumoase, s\u0103 atrag\u0103 consumatorul. Femei exotice \u00een peisaje exotice, mi\u0219c\u0103ri \u0219i atitudini ce au leg\u0103tur\u0103 cu profesia lor, aceea de a atrage, \u00eenso\u021bite de animale ca simbol al erosului &#8212; iar ro\u0219ul-flac\u0103r\u0103 \u00eencinge \u0219i apoi va devora prada. De altfel, o lucrare se nume\u0219te <em>Camera magent\u0103<\/em>: personajul feminin e \u00eenconjurat de forme cu aluzii erotice, camera e preg\u0103tit\u0103, \u0219arpele e prezent, arunc\u00e2nd fl\u0103c\u0103ri mistuitoare. Patul a devenit lav\u0103 \u00eencins\u0103 care tope\u0219te corpul femeii. Ro\u0219ul-magent\u0103, intens, cel mai intens, a devenit\u00a0 devorator. Dar via\u021ba continu\u0103. Cu forme planturoase, fanate, femeile \u00ee\u0219i a\u0219teapt\u0103 \u00een continuare c\u0103ut\u0103torii de pl\u0103ceri u\u0219oare, rapide. Par obosite, singure (<em>Alte glasuri, alte \u00eenc\u0103peri<\/em>).<\/p><p>Tablourile spun o poveste cu mijloace figurative, simbolice. Regatul ro\u0219ului din aceste picturi este plin de primejdii, de drame. Iar mesajul? Fiecare privitor poate s\u0103 aib\u0103 propria p\u0103rere \u00eentr-o lume marcat\u0103 de dezordine. Corpul poate fi locul interior al libert\u0103\u021bii sale, o construc\u021bie simbolic\u0103 \u0219i totodat\u0103 suportul concep\u021biilor \u0219i practicilor unei epoci. Deci, corpul nu este accesibil \u00eentr-o form\u0103 pur\u0103, ci doar \u00een urma unor analize care conduc la perceperea lui \u00eentr-un ansamblu cultural de civiliza\u021bie. Trebuie observat c\u0103 niciodat\u0103 obsesia corpului nu a fost mai vie \u0219i mai puternic\u0103 dec\u00e2t \u00een perioada contemporan\u0103. Se poate vorbi despre dezvoltarea unui discurs creat \u00een jurul expunerii infinite a corpului, sus\u021binut de o adev\u0103rat\u0103 aviditate a privirii. Corpul poate fi considerat un vector esen\u021bial de expresie, un mediu privilegiat al artistului, devenind un \u201eteritoriu vizual\u201d (Carolee Schneeman). Efectul poate \u00eensemna \u00eens\u0103 confuzie, multiplicare\u2026 Deci, cu at\u00e2t mai mult tema abordat\u0103 de Ioan Aurel Mure\u0219an este actual\u0103, chiar dac\u0103 el doar o reprezint\u0103 pictural, dar cu \u00een\u021belegerea artistului care a ajuns demult la maturitatea intelectual\u0103 \u0219i creatoare a unui magician al culorilor. O pictur\u0103 figurativ\u0103 \u00eentr-o tratare sintetic\u0103, \u00een care formele nonfigurative, abstracte contribuie la expresivitatea lucr\u0103rilor, cu for\u021b\u0103 poetic\u0103. O pictur\u0103 care ne invit\u0103 la medita\u021bie, la c\u0103l\u0103torii \u00een ad\u00e2ncul nostru, \u00een care mirajul nu lipse\u0219te nici de aceast\u0103 dat\u0103. Cromatic, predomin\u0103 ro\u0219ul, \u00eentr-o multitudine de nuan\u021be, cu semne m\u0103runte, \u00eenc\u0103rcate energetic, \u0219i \u00een func\u021bie de sensul imprimat imaginii apare \u0219i verdele, negrul, griurile colorate, griurile violacee, pasta fiind mai dens\u0103, tremur\u0103toare, aspr\u0103, dar uneori \u0219i m\u0103t\u0103soas\u0103, delicat\u0103. Ioan Aurel Mure\u0219an este un magician al culorilor, care nu \u00eenceteaz\u0103 s\u0103 m\u0103 uimeasc\u0103 prin felul \u00een care exprim\u0103, f\u0103r\u0103 ostenta\u021bie, cu mijloacele picturii, accesul la valorile infinite ale vie\u021bii, printr-o sugestiv\u0103 acomodare a operei \u00eentre figurativ \u0219i abstract. A pornit de la o idee post-modern\u0103, dar imaginarul \u0219i implicit pictura \u0219i-a urmat drumul propriu, \u00eentr-o c\u0103l\u0103torie \u00een care, prin recurgerea la trupul feminin, a dep\u0103\u0219it primele inten\u021bii de abordare a eroticului. La fel ca \u00een via\u021b\u0103, drumul \u00eencepe pentru a-\u0219i urma destinul, prin numeroase trasee, adeseori uluitoare, de unde nu lipse\u0219te fabulosul. Fascinant\u0103 aceast\u0103 lume, mai ales datorit\u0103 cromaticii, dar \u0219i sim\u021bului componistic coerent. Aceast\u0103 ame\u021bitoare poveste, \u00een care protagonist este nudul feminin, erosul, \u00eenseamn\u0103 p\u00e2n\u0103 la urm\u0103 pictur\u0103, \u0219i putem afirma \u00eenc\u0103 o dat\u0103 c\u0103 Ioan Aurel Mure\u0219an este unul dintre marii pictori rom\u00e2ni contemporani.<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-5e450a9 elementor-widget elementor-widget-text-editor\" data-id=\"5e450a9\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p class=\" translation-block\">(<em>Erotikonia<\/em>, \u201eArta\u201d Magazine, nr. 42-43 \/2020, pp. 72-73)<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-3916538 elementor-widget elementor-widget-spacer\" data-id=\"3916538\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"<p>\u201eErosul e personajul principal al acestei expozi\u021bii care gliseaz\u0103 \u00eentre carnalitate \u0219i ideal, \u00eentre voyeurism, diafan \u0219i ingenuu cu o u\u0219urin\u021b\u0103 de care doar marii arti\u0219ti sunt capabili. Dezinvolt, dar ra\u021bional, juc\u00e2ndu-se \u00een \u0219i cu propria imagina\u021bie, dar lu\u00e2nd cu el o \u00eentreag\u0103 istorie cultural\u0103, Ioan Aurel Mure\u0219an r\u0103spunde \u0219i el, \u00een\u00a0Erotikonia, la o \u00eentrebare [&hellip;]<\/p>","protected":false},"author":1,"featured_media":0,"parent":135,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_mi_skip_tracking":false},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v18.5.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>2018-2019: Erotikonia - Ioan Aurel MURE\u0218AN<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"2018-2019: Erotikonia - Ioan Aurel MURE\u0218AN\" \/>\n<meta property=\"og:description\" content=\"\u201eErosul e personajul principal al acestei expozi\u021bii care gliseaz\u0103 \u00eentre carnalitate \u0219i ideal, \u00eentre voyeurism, diafan \u0219i ingenuu cu o u\u0219urin\u021b\u0103 de care doar marii arti\u0219ti sunt capabili. Dezinvolt, dar ra\u021bional, juc\u00e2ndu-se \u00een \u0219i cu propria imagina\u021bie, dar lu\u00e2nd cu el o \u00eentreag\u0103 istorie cultural\u0103, Ioan Aurel Mure\u0219an r\u0103spunde \u0219i el, \u00een\u00a0Erotikonia, la o \u00eentrebare [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/muresan.galhosting.com\/en\/opera\/pictura\/erotikonia\/\" \/>\n<meta property=\"og:site_name\" content=\"Ioan Aurel MURE\u0218AN\" \/>\n<meta property=\"article:modified_time\" content=\"2022-05-13T08:09:23+00:00\" \/>\n<meta property=\"og:image\" content=\"http:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/BAIGNEUSE-ciclul-Erotikonia-2018-ulei-pe-panza-h.-200-x-150-cm-300x300.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"24 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/muresan.galhosting.com\/#website\",\"url\":\"https:\/\/muresan.galhosting.com\/\",\"name\":\"Ioan Aurel MURE\u0218AN\",\"description\":\"Ioan Aurel MURE\u0218AN\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/muresan.galhosting.com\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"en-US\"},{\"@type\":\"ImageObject\",\"@id\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/#primaryimage\",\"inLanguage\":\"en-US\",\"url\":\"http:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/BAIGNEUSE-ciclul-Erotikonia-2018-ulei-pe-panza-h.-200-x-150-cm-300x300.jpg\",\"contentUrl\":\"http:\/\/muresan.galhosting.com\/wp-content\/uploads\/2019\/01\/BAIGNEUSE-ciclul-Erotikonia-2018-ulei-pe-panza-h.-200-x-150-cm-300x300.jpg\"},{\"@type\":\"WebPage\",\"@id\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/#webpage\",\"url\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/\",\"name\":\"2018-2019: Erotikonia - Ioan Aurel MURE\u0218AN\",\"isPartOf\":{\"@id\":\"https:\/\/muresan.galhosting.com\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/#primaryimage\"},\"datePublished\":\"2021-12-12T18:21:40+00:00\",\"dateModified\":\"2022-05-13T08:09:23+00:00\",\"breadcrumb\":{\"@id\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/#breadcrumb\"},\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/erotikonia\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/muresan.galhosting.com\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Opera\",\"item\":\"https:\/\/muresan.galhosting.com\/opera\/\"},{\"@type\":\"ListItem\",\"position\":3,\"name\":\"Pictur\u0103\",\"item\":\"https:\/\/muresan.galhosting.com\/opera\/pictura\/\"},{\"@type\":\"ListItem\",\"position\":4,\"name\":\"2018-2019: Erotikonia\"}]}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"2018-2019: Erotikonia - Ioan Aurel MURE\u0218AN","robots":{"index":"noindex","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"og_locale":"en_US","og_type":"article","og_title":"2018-2019: Erotikonia - Ioan Aurel MURE\u0218AN","og_description":"\u201eErosul e personajul principal al acestei expozi\u021bii care gliseaz\u0103 \u00eentre carnalitate \u0219i ideal, \u00eentre voyeurism, diafan \u0219i ingenuu cu o u\u0219urin\u021b\u0103 de care doar marii arti\u0219ti sunt capabili. 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