An author of experimental projects covering multiple aspects of creative psychology and of reception psychology, of contemporary aesthetic experience, equally relevant for both terms which, beyond all mutual suspicions, meet in it, director of the Festival of Experimental Engraving, Ciprian Ciuclea is one of the young artists who support the prospective segment of present-day art, an art seeming to decline once modernism has been absorbed in history ‒ or, in any case, to take refuge in the strictly limited area of the new technologies, characteristic to the production of images and illusions.[...] With the above investment, a recent project was dedicated to the effects of light, a matter-energy not only emphasized, but made possible by perception, allowing the access to reality, even if disputed by illusion.
I Love Bach appeals an auditory experience refined by centuries of selecting some expressive arrangements, by elaboration of a complex, yet reductive musical language, the result of removing certain categories of different sonorities, of excluding chaos, the incidental and aggressiveness, even the vulgar harmonies flattering the primary instincts. But postmodernism, just like neo-romanticism ‒ the way it is recommended by aesthetic ideology ‒, reopened precisely the way of access to instinctual manifestations and staged the connivance of the elitist culture with subculture. Mass production ‒ of objects, events, narrations and images, stimulated by consumption, having in view consumption stimulation ‒ assumed moments, famous fragments of tradition, reorienting the appropriative gesture of the first avant-garde, applied to the ready-made consumption object, towards the elitist artistic object/construct. By selecting as model of simultaneous immersion experience in different cultural contexts the repeated encounter, in the cacophony of nowadays communication, with Bach’s music, condensed synecdochically in a fragment taken over as signal in digital telephony, exploited in advertizing and frequented as option in the musical programs chosen from genre events, Ciprian Ciuclea transposes visually his reactions in these differentiated contexts. Modification of states, represented/transposed by double narration ‒ an external narration, belonging to common language ‒, shown by some short films made after these contracts and by the formulae of scientifically ciphered abstract description of cardiac and cerebral reactions, visualized via the graphic records of lab investigation, succeeds to highlight the profound distortions of reactivity (i.e. of the reactive manifestation) as far as the effects of the original harmonies and deformations caused by the 17th-century music adaptations to the exigencies of advertizing consumption are concerned.
Analyzing a series of intersectional elements, in the margins of a mutual attraction of the scientific explanation and the poetic vision, Ciprian Ciuclea becomes interested in the sequential and qualitative use of technological elements in the process of obtaining information with a component that could be considered abusive, but also very subtle. Thus, he proposes the use of optical filters (IR cut, polarization filters, diffraction grating, OIII nebula filter and UHC) to deform the perceived optical reality. Combining them on the same focusing system alters successively the image obtained due to interference of the analyzed wavelengths. This is a visible process of defocusing, but there is also a critical line of reading the conscious and abusive use of technology with immediate impact. The use of optical systems makes it possible to compare real-time quality without post-processing the images. We can not speak in this case of a cosmeticisation of reality, but of deliberate manipulation of somewhat educationally mediated, similar to the scientific interest in publicly communicating the results that can be used to increase the chances of a determinative expansion of knowledge. In the case of Ciprian Ciuclea's optical experiments, physical phenomena (with an optical character) are highlighted under conditions of exploitation of laboratory resources. The image viewed in the space of a visual installation could thus be perceived as an improbable landscape, which is both informatively plain and aesthetically ambiguous. Metaphorically, however, both in the (artifactualized) production of the works and in the (natural) reaction of their perception, an (approximative) apocalypse of the image is obtained.
The young artist, a “product” of a cultured milieu, intuits and motivates experimentally the effects of a deconstruction and manipulation of the sonorous masses in the very significant nucleus of the musical construction, which is temporal. More profound than the material level of sounds’ characteristic qualities, the spirit of an epoch consists in its relationship with time, and Bach is par excellence the representative of a (defining) European cultural stage which relies on reason, order and cosmos. The project dedicated to sight has an equally complex structure, combining the theoretical distance resorting to science as process of investigation, to the history of science and to the hyper aesthetic emotion generated by the visually contemplated world, a world selected for the significant latencies alluding to vitality and growth, to regeneration and peace of the vegetal universe. Sometimes, by exploiting certain dynamic relations between the complaisant materiality and the evanescent modifications of shape or of the wind-animated atmosphere, Ciprian Ciuclea’s products explore the resources of the play as a junction of ludicrous freedom and experimental exigency.
Very complex as cultural stake, as plastic and biopsychic research, as socio-cultural studies or as solitary meditations concerning the ever offering domains of sciences focused upon the human body ‒ a biological product and cultural construction ‒, or upon art as a product of the mediating subjectivity between the objective stimuli of the explored world and the stimuli of reception, interpretation and appropriation, percussive as message, rich as semeiological manoeuvres, Ciprian Ciuclea’s projects legitimate very convincingly the new experimental direction, conferring a major sense to present-day interdisciplinary commandment. In this complex context in which the artist is simultaneously a researcher, an object and instrument of investigation, and the world containing him determines and provokes him to merge and delimit, self-identification becomes urgency, a reference point in the exploration development of the inciting strategies the instances and levels of reality possess. His own portrait is approached via administrative-social codes or as hermetic or open interface of the meditative, interrogative and alert self, acquiring an invasive or indifferent, yet never uninteresting exteriority. Ciprian Ciuclea’s projects, never exhausted along the route of a unique exploration, experimentation and interpretation, start an assumed and grave play with(in) cultural experience, the more as artist’s existence inside culture defines his own creation. (Alexandra Titu)
The project was presented on September-October 2009 at Calina Contemporary, Timisoara, Romania, Curator Alexandra Titu.