What’s Left

Ioan Grosu

6 October – 10 November 2018

Physical, technology, set, holodeck, random, spirituality, virtual world, modern symbolic imagery, manipulated history, images images images, shapes, the next day, transformations, topology, east – west, iloveyou, present future, motifs, differentiated order of spatiotemporal, medium, superfluidity, archaic future bodies, painting, materiality, immunology, symbolically charged communication.

“What’s left? Almost everything, always something. Similar to radioactive decay, solar radiation or the weather, life is an irreversible process (so far). “Like weather systems, organisms are unstable systems existing far from thermodynamic equilibrium. Instability resists standard deterministic explanation. Instead, due to sensitivity to initial conditions, unstable systems can only be explained statistically, that is, in terms of probability.” Because of the arrow of time, there is a privileged moment known as the present, which follows a determined past and precedes an undetermined future, states physicist Ilya Prigogine in his book “The End of Certainty.”

In the face of randomness and chaos, one needs to know the odds. Therefore, statistics and probabilities have become extremely important. So, we gather vast amounts of data and we look for patterns everywhere, since a pattern shows a recurrence, a predetermined behaviour or event. In many fields, from science to the economy, following the patterns tends to lead to a good outcome. But on a social level it’s complicated – for example, when we discriminate the children from low-income families whose parents have a criminal record and/or a history of drug abuse, believing there is a pattern that they will follow, we end up determining something that is undetermined: their future. We condemn them to the exact fate they are trying to escape. As is the case with immigrants, minorities of different race and/or ethnicity, etc., we are uncertain of their future actions and prefer a predictive model. Is the uncertainty regarding the other, the stranger, too much to bear?

We have barely started our journey but we are sometimes behaving as if we are close to our end. Not knowing for certain how we came to be, in the first place, but acting with full certainty because of an acquired power. We still rely on violence and fear as forms of control. So, what’s left? The future is uncertain; on the other end, the past is not. Is that the reason why we keep repeating it?” Repetitio est mater studiorum. – Lucian Indrei

Ioan Grosu (b. 1985, Medias) is based in Munich. He studied at the Academy of Fine Arts in Munich, completing his studies in 2011 in the master class of Günther Förg. He belongs to the first generation of artists of the digital era, and yet his paintings, which are generally executed in oil over extensive time spans, largely spring forth from analogous sources and techniques.

A cultural program co-financed by The Administration of the National Cultural Fund. The program does not necessarily represent the position of the Administration of the National Cultural Fund. The Administration of the National Cultural Fund is not responsible for the content of the program or the manner in which the results of the project may be used. These are entirely the responsibility of the funding recipient.

Project supported by Cluj-Napoca City Hall and Local Council.