Identifying themes, strategies, conceptual and performative directions in contemporary art, 1:1 program puts up for the audience an encounter with the seminal work of some Romanian and international artists. Being designed as a series of screening evenings, held every month at Centre for Visual Introspection, 1:1 highlights referential artistic practices as regard to the way the relation between art, public sphere and individual condition is negotiated.
The program aims to share with the audience, through the specificity of the works selected, aspects related to "the dematerialization of the object," the autonomy of art, the concern for the body, for processual or to the art critical engagement with concrete institutional, social and political realities. At the same time, by its format, 1:1 sketches subjectively a map of modern and contemporary art, where certain theoretical and visual components meet or, conversely, split up, expanding the understanding of the work of these artists.
GETA BRATESCU (b.1926, Ploiesti) is one of the remarkable personalities of Romanian neo avant-garde. With a background in literature and philosophy studies, pursued in parallel with those in art, Bratescu’ s artistic practice began in the heterogeneous environment of the 1940s and 1950s, being an essential factor in understanding her appeal to particular forms of artistic expression (like drawing, collage). The pleasure of seriality, the ludic, and the complex act of self-examination bring the work of Geta Bratescu towards a visual essentialism and towards an intensification of a certain abstract quality.
IVAN LADISLAV GALETA (b.1947, Vinkovci Croatia) is an important figure of Croatian experimental film, performer and pedagogue. He graduated from the School of Applied Arts (Graphics Department) in 1968 and in 1970 from the Teachers Training Collage in Zagreb; in 1981, graduated from the Faculty of Arts (Department of Education). Working at the beginning with documentary, he later explored the film language, doing experiments with the distortion of the film and audio track, with double-exposure, with time delay. His cinematic experiments suggest an abstract dimension and include references to philosophers such as Pythagoras and Plato and have as key concern the time and space relationship to reality.