Meet the artist at MMSU / Vlad Nancă

23.4.2024. in 18.30h

From April 10th to May 6th, MMSU and Kamov residency are hosting Romanian artist Vlad Nancă. Mark your calendars for April 23rd, when Nancă will present his artistic practice at MMSU.

Vlad Nancă will present an overview of his 20-year career, starting with DIY methods of home galleries and fanzines from 2003-2004. He will cover his politically charged practice during that period and the self-conscious switch he decided to make in 2009 when he transitioned from obviously political to more poetical gestures. The presentation will extend to recent years, during which his work has been rooted in 20th-century architectural modernism, based on observations of utopian socialism and realist socialism in its variations in Western and Eastern Europe.

About residency:

Vlad Nancă’s recent research and artistic work largely relies on architectural drawings and the representation of the human body that appears as a scale model in this very early design phase. He extracts silhouette bodies from architectural sketches and drawings and enlarges them to 1:1 human size, thus creating new narratives in his exhibition making (for example „In the Natural Landscape the Human is an Intruder“, 2018 or „Vis a Vis“, 2019). During his residency in Rijeka, Vlad will attempt to further delve into his current interests of the representation of the human body in archiectural drawing, what human scale means in public art and monumentality and also take on the opportunity of documenting post WW2 anti-fascist monuments in Croatia and former Yugoslavia.

About the artist:

Vlad Nancă (b. 1979, Bucharest) studied at the National University of Arts, Bucharest, Department of Photography and Moving Image. The cityscape of Bucharest was the backdrop for his poetical and subtly political artistic gestures. The shift from the embodied movement of his early actions in the city to embedded movement in the objects the artist makes and interferes with is visible in his recent practice. Through constant idiosyncratic humour and playful semiotics of imagery, Nancă’s recent practice unveils a resurgence of the notion of space (from architecture and public space to outer space) thus forging constellations of subjectivities, sculptures and installations.

Supported by: Romanian Cultural Institute. Ministry of Culture and Media of the Republic of Croatia, City of Rijeka