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ADRRESS:
Romul Nutiu
Str. Caruso Nr. 1,
sc. A, apt. 29,
Timisoara, Romania
Born on the 28th July 1932 in Bilbor, Harghita District, Romania, graduated from the "lon Andreescu" Institute of Fine Arts in Cluj in 1957.
Member of the Union of Fine Arts of Romania and Professor at the Faculty of Fine Arts, University of Timisoara.
P E R S O N A L E X H I B I T I O N S:
1975, The "Helios" Gallery, Timisoara, Romania 1976, The Art Gallery of the Union of Fine Arts Cluj-Napoca, Romania 1976, The "Palette" Art Gallery, Resita, Romania1979, The "Aeugensterthal bei Turlesee" Art Gallery, Switzerland 1982, The Gallery of the Art Library, Timisoara, Romania1985, "Beogradschi Sajam", Belgrade, Yugoslavia1988, The "Helios" Gallery, Timisoara
G R O U P E X H I B I T I O N S:
1964, 1965, 1966, 1974, The Republican Salons of Graphic Arts, Dalles Hall, Bucharest, Romania.1959, The Youth Republican Salons Dalles Halt, Bucharest, Romania1963,1964, 1968, 1969, 1974, 1975, 1976, 1977, 1978, 1979, 1980, 1981, 1982, Republican Salons of Painting and Sculpture, Dalles Hall, Bucharest, RomaniaAnnual Official and Regional Salons between 1957 and 1982 1959, The Timisoara Interregional ExhibitionExhibitions of the Timisoara Branch of the Union 6f Fine Arts: 1958, Timisoara ; 1959, Resita; 1960, 1961, 1962, 1964, 1965, Timisoara; 1965, Deva; 1965, 1970, Constanta; 1977, Timisoara; 1978, Cluj-Napoca; 1980, lasi; 1980, Galati; 1980, 1981, 1982, Timisoara; 1982, Resita; 1963, Timisoara;1974, San Giovanni Valdano, "II Ponte" Gallery, Italy1974, Hoffgeismar Art Gallery, Germarty 1975, "Kelleratelier" Gallery, Cuxhaven, Germany1977, Brockdorf, Palais Kronprinz, Gluckstadt, Germany 1977, "Bastion am Markt" Gallery, Hoffgeismar Northeim, Germany1977, Cuxhaven Gallery, Germany
1978, Gallery 49, Thalwill, Swrtzerland 1978, The Gottinger Art Gallery, Germany1978, The Northeim Art Gallery, Germany1979, Lister
Haus Gallery, List Sylt, Germany1979, Gallery 49, Thalwill, Switzerland1980, Barsinghaus Art Gallery, Wattennscheid, Germany1980, "Epoca" Gallery, Lucerna, Swrt-zerland1980, "Guido Huser" Gallery, Lucefna, Switzerland1980, Haus Coburg Gallery, Delmenhorst, Germany1986, Collective Exhibition, Lucerna, Switzerland1990, Collective Exhibition Essen, Germany1991, Collective Exhibition Saarbrucken, Germany1992, Exhibition "Creation and Synchronism Gallery "Dalles", Bucharest.
R O M A N I A N E X H I B I T I O N S A B R O A D:
1969, The Romanian Exhibition, Torino, Italy
1969, The Exhibition "25 Plastic Artists from Timisoara", Novi Sad, Yugoslavia1970, The Exhibition "25 Plastic Artists from Timisoara", Belgrade, Yugoslavia1974, The Exhibition "New Directions in the Fine Arts of Timisoara", Modena, Italy1976, 'The Week of the Romanian Fine Arts Workshops", Manchester , England1977, The Romanian Art Exhibition, Moscow, U.S.S.R.1977, Exhibition, Graz, Austria1982, The Representative Timisoara Exhibition, Gera, Germany1983, The Romanian Exhibition in Warsaw» Poland1983, The Romanian Exhibition at the "Columbus" Gallery, Detroit, U.S.A.1983, "Happy Rancho" Gallery, Laax Flims, Switzertand1983, The Romanian Exhibition in Budapest, Hungary1985, The Romanian Exhibition in Stuttgart, Germany
1985, The Romanian Exhibition in Moscow, U.S.S.R.1985, The Exhibition of the International Plainer Camp., Germany1986, The Exhibition of Romanian Art, Llancollen, England
1986, The Romanian Exhibition, London, England1987, The Romanian Exhibition, Glasgow, Great Britain1990, Art Exhibition in Szeged, Hungary
I N T E R N A T I O N A L E X H I B I T I O N S:
1975, The "Juan Mir6" Drawing Contest, Barcelona, Spain 1977, The Exhibition "850 years of the city's existence", Graz, Austria
1978, The "Juan Mir6" Drawing Contest, Barce-lona, Spain1979, The Painting Quadrennial, Kosice, Czechoslovakia1985, The "Beogradschi Sajam" International Fair of Arts, Sciences and Culture, Belgrade, Yugoslavia1988, The International Biennial of Arts, Brusque, Brazil1993, International Arts Fair, Vicenza, Italy1993, Arts Exhibition in Szeged, Hungary
M O N U M E N T A L A R T:
"Literature, Arts and the Sciences", the main lobby of the University of TimisoaraThe Tree" and "Horizon", the "Orizont" Hotel in Predeal"Youth", the Youth Club-House in Geoagiu-Bai
"Sporting Scenes", The "First of May" Stadium in Timisoara'Tradition", the Railway station in Baile Herculane"Romanian Aviation Heralding Peace and Friendship", Timisoara Airport.
Presented in exhibitions and publications by::
Titu Alexandrina, Dan Grigorescu, Dan Calin, Amelia Pavel, Mircea Toca, Deliu Petroiu, Maria Pongracz, Constantin Prut, N. Clavcovici, Paul Petrescu, Dan Haulica, Valentin Laurentiu Visan, Radu Melnic, Gabriela Melinescu, Coriolan Babeti, Anemarie Hehn Podlipny, Titus Mocanu, lon Frunzetti, Petru Comarnescu, Mircea Deac, Pop Simion, Franz Johannes Bulhardt, Marin Mihalache, Nicolae Dragos, Vasile Florea, Emil Lazăr, Cristina Anastasiu, Ciprian Radovan, Gavril Blaga, Carla Petersen, Negoita Laptoiu, C. Damian Tait, Vasile Dragut, Octavian Barbosa, Mihai Driscu, Paul Constantin.
"The motives leading Romul Nutiu towards the informal are complex. The frantic recording of some vital rhythms, which integrate him into reality, and the expansion beyond the limits of his own temporariness by means of a field of motion suit him first of all temperamentally. His creation is, from this point of view, a way of existence, a projection into the external reality. His expressionism, which functions simul-taneously with the permanent alertness of his intellect trying to penetrate the motive force behind the functioning of the real worid, is the effect of an attitude derived from willpower, from an active open-mindedness towards the world as against a lyrical transparency towards the impulses of the world. Although there was a phase in the artist's creation (with some discernible extensions in his current work) when the starting point of the "adventure" of shaping the image was the impulse of a real form (a tree, a root), his comment has never been that of a lyricist. His relationship with the perception "moment" of meeting a form is not an emotional one. He does not attempt to nostalgically preserve the impression. What he tries to do is to grasp the rhythms generating the existence of the form, the impulse, the tension towards existence. Matter and form retain his atten-tion as hypostases in the expression of movement. Thus his temperamental dynamism is expressed at the conceptual level by his adherence to the "romantic" philosophies of the infinite and of the formation. Forms are accepted, grasped and drawn in the pictorial discourse as ephemeral moments, as possibilities of making formation tangible, as illusions, as flashing coagulation, as states in an inexhaustible concatenation of the (unbroken) flow of reality. The subject itself is just a fulgurant aspect, and, through the artist's conscience, movement is amplified (by reflecting itself) and, moreover, it is revealed as meaning. What might seem blind and absurd amplification of time and space (non-time and non-space) reveals itself, by the agency of reflective conscience, as intention, splendour, love, as a creative will producing the cosmos, beauty, drama and history. The expansive expressionism of the artist, creator in the field of the fine arts, is thus a reflection of this creative will, which, by an original and universal decision finds expression in the creation of the World.
Unavoidably, the artist comes to approach the fundamental theme of life and death from the perspective of formation on a scale larger than the
cosmic scale. The two alternatives occur as the elements of the rhythm of being. The problem of the human, torn between existing and becoming ("everything that exists is in the making and what is in the making no longer exists; we are and we no longer are" says Heraclitus), is that of accepting his role of materializing this rhythm and of understanding the significance of his presence as a human being aware of his non-being. The insertion of the human form in the informal discourse is playing now a part which is different from the part it played in the Cycle of the Trees when this gesture could be grasped in the natural form. Now it is functioning like a module, like a binary pattern, the male-female relationship, implying the predication by which becoming human is achieved, by which this special quality of tempora-riness is produced. Hence, the human pair appears like a cosmic relay, like a cosmic hypostasis, in a (conceptually) more explicit way than the Tree of the previous Cycle does. The big canvases, which make up the environment of the original pair key-image, go beyond a precarious (in the sense of duration) formal limitation, beyond a fleeting definition, beyond a halt in the human being, thus approaching the dynamics of the incommensurable cosmic "landscape". The size of the canvases is inevitably large, this being required by the cosmic scope, and thus size becomes an intrinsic quality of the subject.
Aiming to perform a cross-section in this trans-human infinitude, Romul Nutiu conceived of the present exhibition as an ambience (a "scenography" for the human drama), whose size and dynamic aggression should place the on-looker in the space of an adventure beyond the limits of corporeality. Corporeality about whose uncomfortable submission to the traps of the perisability and vulnerability of sensitive materiality we are informed with a sense of humour, not deprived of some cruelty, by means of some "uncomfortable design" elements: the imprac-ticable chairs, aggresively upholstered with nails, placed in impossible positions, thus defining the "place" that humans, producers of civilization, orga-nize for themselves in their attempt to separate themselves from the cosmos, to protect themselves from the overwhelming cosmic blast; the chair, throne of historical prestige, symbol of one's home, punitive object for capital crime, prop to the body for medita-tions... Since, obviously, a human's purpose in the Universe is not a comfortable momentary enthrone-ment...
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ALEXANDRA TITU
Romul Nutiu este un artist cu o optiune estetică fermă, care asigură coerentă evolutiei sale esential legate de problematica inovatiei in pictură, dar deschise si dezvoltării pistelor de expansiune tridimensională si a integrării obiectului in planul picturii. El pleacă de la o acceptiune traditională a picturii reprezentare crescănd aportul subiectului considerat in toată complexitatea sa, angajănd perceptia ca furnizor de informatie si ca sediu al unei anumite rigori, iar pe de altă parte libertatea improvizatiei sau a gestului expresiv al unei dinamici trans-formale, aconstructive.
Romul Nutiu is an artist with a firm aesthetic option, which assures coherence to his evolution, which is essentially related to the topic of innovation in painting, but also open to the development of those paths of tridimensional expansion and to the object's integration into the plan of the painting. He starts from a traditional acceptance of painting as representation increasing the contribution of the subject considered in all its complexity, engaging perception as an information supplier and as centre of a certain rigour, and, on the other side, the liberty of improvisation or of the expressive gesture of a trans-formal and a-constructive dynamic.
Romul Nutiu est un artiste qui a une option esthetique ferme qui assure la coherence de son evolution essentielle liee aux problemes de I'innovation dans la peinture, mais egalement ouverte au developpement des pistes d'expansion tridimensionnelle et â I'integration de 1'objet dans le plan de la peinture. II part d'une acception traditionnelle de la peinture-representation , en amplifiant I'apport du sujet considere dans toute sa complexite, en engageant, d'une part, la perception en tant que fournisseur d'information et siege d'une certaine rigueur et, d'autre part, la liberte de I'improvisation ou du geste expressif d'une dynamique trans-formelle, non-constructive.
Romul Nutiu ist ein Kunstler mit einer festen asthetischen Auffassung, die seiner Evolution, essentiell am Innovationsproblem in der Malerei gebunden, Kohirenz verleiht. Sie ist allerdings auch der Entwicklung der Expansionswege in Richtung der Erzielung der drei Dimensionen und der Integrierung der Gegenstânde auf der Ebene der Malerei geoffnet. Der Kunstler geht von der traditionellen Auffassung der Malerei als Darstellung aus und steigert den Beitrag des Subjekts, in seiner gesamten Komplexitât betrachtet, indem er die Wahrnehmung als Informationsvermittler und als Wiege einer bestimmten Disziplin, und, andererseits, die Freiheit zur Improvisation oder zur expressiven Geste einer trans-formellen, a-konstruktiven Dynamik engagiert.
ALEXANDRA TITU
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ROMUL NUTIU
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