Alina Ada Lungu
exclusively presented by Studio NOVO Artspace
01.04. – 28.07. 2017
Contemporary Velázquez II, 160 x 120 cm, Verso described and signed
Ecce Homo – Behold the man
By Prof. Werner Liebmann, Kunsthochschule Weißensee, Berlin
Alina Ada Lungu, a young artist with a wakeful eye on the surrounding nature, with a fine sense of the differences in the perception of reality and with a big question on her mind that she enunciates at the same time with an a comprehensive response:
That can only be achieved with painting ? Obviously, Alina has seen her compatriot Adrian Ghenie several years ago and was mesmerized by his masterly paintings. In each artistic career there is a certain point, there‘ s no way back and one can assume here someone has entered with enthusiasm, originality and force Alinas life and was the initial impetus for everything that came after and for everything shown in this catalog.
But Alina Lungu has not adopted the forms or the thinking of another artist, here comes an artist who weaves a finer thread of memories hopes and personal encounters. This can be seen in the format alone: Here we are confronted with an attention which is formulated in a personal way and is more concerned with the nuances of a solution rather than with an assertion. Her portraits and family pictures are the main part of the works depicted in the catalog.
It‘s like one. Ecce Homo: „Behold the man“ when she tries to find an answer in „Self Portrait 1“, „Self Portrait 2“ and „Self Portrait 3“ free of vanity and with purely painterly means. Is the essence of man visible in its outer shell. Can the painterly process be driven forward as a knowledge process and: Who am I“
An ordinary family
Driven by the question of whether one can through the surface of the skin through to the underlying substance, scratches, smoothens, and structures Adina in her pictures. It looks for the mixture of thinking, feeling and understanding, which we call character or soul. In this way, Adina‘s painting is not a fine melt or a gallant surface, but a layer painting that reveals the questioning process, leaving behind „traces“.
In this way Alina Lungu has an instrument, which she sets herself off from the painting of her role model: A picture is good if the approach is of the same complexity as the reality to be named. As in the case of every painterly new beginning, there are also reminiscences in the paintings of the Old Masters in this catalog. One can also count the smiling power of a young woman with the „great painters“ of the present, when she opposes Adrian Ghenie or Neo Rauch. To be seen in a second important part of the presented group of works. Here is not only asked about „how it is done“ (for example, „Holbein Interpretation“ or „Contemporary Velazquez“), but also specifically sought after shifts, imponderabilities and visual differences. Images are rendered trough scenic „fade in“ into time-collages with utopian output.
Supermarket Coffee Street
In proximity to Neo Rauch brings her a completely new colourfulness, and an unexpected point of view. The here borrowed room is broken down by Lungu cuts (Supermarket Coffee Street). Artistic works of Ghenie, as well as those of the old masters, she approaches a romanticizing view and renounces an adaptation of the respective painting styles. At this point, a new field opens up for Alina Lungu, who deserves great attention because it can tell a lot about her future. A young artist at the beginning of her journey needs a clear decision and possibly a shelter so that sensitivity and talent can evolve, and time is also needed to strengthen one’s own position.
Her present pictorial attitude, the main field in which Adina Lungu moves in a purposeful and expressive way, shows her in a world that transforms personal into general. She is able to formulate personal breakings as painterly intensions and to keep questions open to the viewer, also by refraining from allegations. It is marvelous to see in the works „Motherhood“, „Motherhood1“ „Dinner At Night“ and „An Ordinary Family“. All of them are fine-tuned works with a sovereign appearance, which achieve their effect through painter’s sharpness / blurring, or from the approximate developed accuracies. These images enable a perception that connects personal with the universal and timelessness with the „now“.
In addition, the image „Echo“ has succeeded in producing a work that not only plays with what has been said so far, but which combines the speed of a decision with the precision of observation and shines with white as a color. Great pictures, great painter, an open way. You can only wish the artist and the exhibition a lot of success.
Prof. Werner Liebmann, Berlin
Hommage to Adrian Ghenie, 2016
Alina Ada Lungu is an extraordinary painter with an remarkable sensibility and great art-historical understanding. Using multidimensionality as rigorously as possible given, she creates a secret… that we – hopefully -will never decipher.
Robert Mohren, Curator
Motherhood , 2015 ⌀ 50 cm, Oil on canvas, Verso described and sigend
Grand Opening & Vernissage
Saturday, 01 April 2017, 8pm
Sülzburgstr. 189, 50937 Köln
Introduction: Elke Backes (art historian)
Text by: Prof. Werner Liebmann
Kunsthochschule Weißensee, Berlin
0221 – 20437803
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