Mihut Boscu Kafchin CHRONICLES OF MY FANTASTIC BANALITY
BWA SOKÓŁ Gallery in Nowy Sącz
Opening: 12 May 2016, 6 pm
Opening: 13 May – 19 June 2016
Curator: Anna Smolak
BWA SOKÓŁ Gallery in Nowy Sącz invites you to the exhibition Chronicles of My Fantastic Banality by the Romanian artist Mihut Boscu Kafchin.
And thus we find ourselves in the Kingdom of Mihutia, a phantasmagorical world of criss-crossing visions of the past and the future, quotations, conspiracy theories, dead heroes and fallen cyborgs, a land of alchemists and astronomers, social outcasts and Internet geeks, Cadillacs, a conglomeration of philosophical mixtures, anti-utopias and poetry. It is here – in the indulged painterly compositions, sketchbooks, hybrid objects and skewed structures – that the realm of Kafchin’s artistic ‘I’ materialises. Mihutia has no linear structure; on the contrary – it extends organically and in a multi-vector manner. It mutates in time and space, expropriating what is subconscious, remembered, experienced and repressed.
Mihut Boscu Kafchin, Diogene in his Rolls Royce, 2015, oil on wood, 65 x 75 cm
Courtesy Grecu Collection , Bucharest
You can get into Mihutia through a portal. I like its physicality, the metal frame, as if got from a car scrapyard, hastily deformed to resemble a door opening to long-abandoned spacecraft. So, all this has already happened.
The unpredictability of the future and the potential for parallel dimensions always awakes in me a certain disquiet. For years, I have stubbornly resisted the achievements of high technology; I therefore joyfully embrace the fact that the virtual world can be contained on the surface of the canvas, turning it into almost historic phenomena.
The moment that passes
There is no time
We exist because of miracle
With all our meta-psychosis
In the front of the mirror
Mihut Boscu Kafchin is preoccupied with time almost to the point of obsession. To render Horatio’s non omnis moriar, the artist employs his favourite word, ‘immortal’. It is precisely in his compulsive attempts to place himself in time but also in spite of time that the self-referencing of Kafchin’s work becomes evident. The artist embarks on speculations about his own position vis-à-vis meta-history, juggling the achievements of the old masters and Internet debris; these combine into an autonomous space-time, sprouting in different directions.
There is a dose of audacity in Kafchin’s decision to superimpose successive layers of the painting exclusively so that – before they are claimed by history – they may be deciphered by X-rays; in constructing archetypal portals into Mihutia; in the very practice of hypertextual painting that spans the ‘extreme past and extreme future’.
The mode of our dimension generates slow magic
The driving energy of Kafchin’s demiurge-like operations stems from a small town in the east of Romania, with the characteristic incursions of the decaying monuments of local modernism (in the artist’s painting, they appear as romantic ruins); the discipline of post-Soviet education and a fascination with the great masters: Rublov, Fra Angelico or van Eyck; the casual jobs that he has had – welder, glass blower, church painter (see unabashedly combined materials); the generational experience of mass culture in the era of the Internet; and finally, the artistic milieu of the Romanian city of Cluj, that the British curator Jane Neal, passionate about the region, placed amongst the ‘Art Cities of the Future’.
In accordance with the artist’s belief in not discarding anything that is an integral part of him, it is this idiosyncratic, complex reality that provides the canvas for the art practised by Kafchin.
The simulated sorties into the future, the apocalyptic visions of a posthumanoid world are rather a recording of apocryphs, creating contemporary myths – Kafchin’s own take on history.
This morphic alien with clock on his head
Sometimes no time
At the end nothing is readable
There is no mystery to solve*
*As inscribed on the painting Dysmorphic Dragon, 2016.
Mihut Boscu Kafchin (b. 1986) lives and works in Cluj-Napoca and in Berlin. ie. Graduate of the Art and Design University in Cluj–Napoca (studio of sculpture and ceramics). In recent years, he has presented his works in individual and group exhibitions including If a screw falls in an abandoned robot workshop and there’s nobody around to hear, does it make a sound?, Mihai Nicodim gallery, Los Angeles (2014); A few grams of Red, Yellow, Blue, Zamek Ujazdowski Centre of Contemporary Art (2014); Report on the Construction of a Spaceship Module [Museum as Hub], New Museum, New York; Immortals Have Fun, Crystal Gallery, Stockholm (2013); II Clouds, Gaudel de Stampa Gallery, Paris (2013); Expanded Painting, Prague Biennial 6, Prague (2013); ORIGINAL/COPY II, Peles Empire, London (2012). Mihut Boscu Kafchin belongs to the Paintbrush Factory and is represented by Galeria PLAN B (Cluj / Berlin).
Learn more about the artist: http://pluralmixed.xyz/questionnaire/mihut-boscu-kafchin
We would like to express our gratitude to the collectors: Daniel Ghiurutan, Tudor Grecu, Zenoviu Haiduc and Mircea Pinte as well as to the Romanian Cultural Institute for their generous support and collaboration.
Special thanks to Raluca Voinea for making this encounter possible.