Issue #43, 2013
Insert

Sometimes We Shouldn’t Pretend Everything Is OK
Ioana Nemeș

The two inserts were produced in conjunction with the exhibition Ioana Nemeș:Sometimes We Shouldn’t Pretend Everything Is OK which took place at Salonul de proiecte, MNAC Anexa, Bucharest, in June–August 2013.Without any claim to being a retrospective, the selection of works concentrated on the Monthly Evaluations series (2003–2011). The exhibition brought together a discontinuous constellation of “days „, which, as Ioana used to say, form “a meta-narrative of consumed time „, in which the linear perception of time is diverted towards a different kind of reading. In various visual formats, the schema of a “day „ condenses a rigorous, elaborate system whereby Ioana investigated her existential journey, according to parameters that took into account her physical, emotional, intellectual and financial state and the coefficient of luck. The rigour of the method of evaluation, which became a constant exercise in Ioana’s life, is counterbalanced by the fact that she opens to us a means of accessing ourown intimacy. This experience continues to reverberate, in a subtle and indeterminate way, with the inner processes of each and every one of us.

We hope that this first attempt to reflect retrospectively upon Ioana’s artistic practice will open the way to new research and perspectives on an artist as complex as her. Other aspects of her artistic practice deserve similarly sustained attention. The two inserts present newly commissioned texts written by two curators with whom Ioana worked closely, Lívia Páldi and Alina Șerban, as well as an interview with Ioana Nemeș and a hitherto unpublished review of a fictional exhibition.

(Alexandra Croitoru, Magda Radu)

Ioana Nemeș (1979–2011) was one of the most acknowledged and exhibited Romanian artists of her generation. She studied at the National University of Arts Bucharest. She was also known as a former professional handball player, who turned artist at the age of 21 after a serious knee accident. Nemeș’s drive was fueled by the necessity to visualize and communicate as clearly as possible the hidden mechanism behind linguistic, visual, and psychological systems that define us.

Nemeș participated in Istanbul Biennial (2009), U-Turn Copenhagen (2008), Prague Biennial (2007) and Bucharest Bienniale 2 (2006). Her works have been shown in Art in General, NY (2011), Secession, Vienna (2010), Smart Project Space, Amsterdam (2009) and Kunsthalle Fridericianum, Kassel (2006) and most recently in exhibitions like Ritual without Myth, Royal College of Art, London (2012), Desire is War, The Contemporary Art Gallery of Brukenthal Museum, Sibiu (2011), Communism Never Happened, Charim Gallery, Vienna (2011) and publications like 100 New Artists (publisher Laurence King) and Romanian Cultural Resolution (publisher Hatje Cantz). She was part of different collectives working in art, fashion and interior design contexts: KILOBASE BUCHAREST (2011), Apparatus 22 (2011), Rozalb de Mura (2004–2010) and Liste Noire (2004–2011).