Peisarheologia lui Ciprian Bodea - Meditatii pe marginea unui Deal din Deal The Genius loci of bodea

"Genius loci cannot be designed to order. It has to evolve, to be allowed to hapen, to grow and change from the direct efforts of those who live and work in places and care about them...No matter how sophisticated technical knowledge may be, the understanding of others' lives and problems will always be partial. Just as outsiders cannot feel their pain, so they cannot experience their sense of place. I believe, therefore, that it is impossible to make complete places in which other poeple can live. And, in a world dominated by international economic processes and global telecommunications, there can be no return to an environment of integrated and distinctive places." Edward Relph

First published over 30 years ago and still widely referenced even though out of print for some time, Edward Relph's Place and Placelessness has taken its place as a classic of the phenomenological approach to the study of place and has influenced a generation of scholars by its insights: insights presented with unusual clarity and precision. For this reprint Professor Relph has written a substantial new introduction setting his original text in its contemporary contest. He shows how the concepts of place have been modified and yet continue to be of vital importance in interpreting a world which travel and commerce have made very different from that of 1976. In his words: "sense of place has the potential to serve as a pragmatic foundation for addressing the profound local and global challenges, such as climate change and economic disparity, that are emerging in the present century".

Expozitie surpriza! Este prima de acest gen la care particip si s-ar putea ca organizatorii ei, Marie-Jeanne Badescu si Mircea Florian Rista, sa parafeze cu aceasta ocazie o adevarata premiera, oferindu-ne o noua formula de organizare a expozitiilor. Evenimentul, celebrator prin natura sa, dublat de surpriza, este o intamplarea ce a avut loc sambata, 25 iunie, 2011, in seara de Sanziene, cand tanarul pictor timisorean Ciprian Bodea, coborand treptele de la intrarea Galeriei 28, avea sa descopere cu uimire ca fusese invitat la propria sa expozitie. Ea se numeste Deal din Deal si este prima sa expozitie personala. Printre cei prezenti, care au umplut la refuz galeria era si fostul sau profesor de la Institutul de Arte din Timisoara, Constantin Flondor precum si cativa dintre membrii grupului Noima, grup cu care a debutat in anul 2003. Expozitia este o provocare pe mai multe planuri si conspiratorii evenimentului par suficient de apropiati de artist pentru a-si permite organizarea lui fara riscul de a fi repudiat intentiile autorului. In ceea ce ma priveste, singura mea legatura cu Ciprian Bodea este o pictura de 120x120 cm., care reprezinta un deal verde. Un motiv des folosit in pictura romaneasca contemporana si a carui paradigma dominant romantica a fost pusa la incercare atat de dorinta artistilor de a se apropia, cat si aceea de a se distanta fata de traditia reprezentarii sale pe panza. Forme de relief stau mute, nemiscate, reusind sa spuna celor ce le privesc cum este sa taci. Neasteptand nimic , ele se uita incremenite afara , netulburate , inspre trupurile noastre. Le lipseste uimirea. Dealurile doar sunt spune Marie-Jeanne Badescu in catalogul expozitiei. Pictura Deal din Deal - doar este - as adauga la randul meu. Singurul lucru pe care pot sa il fac este acela de a tacea si a lasa contemplarea sa isi faca jocul liber prin mansardele mintii. Rezultatul raportarii mele in fata dealului verde al lui Ciprian Bodea este un comentariu interior a carui materie prima este produsa de impactul vizual cu tabloul, un proces de peisarheologie mentala provocat de imagine si nu in ultimul rand o speculatie despre ce a simtit artistul. Ce motiv ar putea sa ma faca sa imi pun sevaletul in fata unui deal? Padurea , dealul , muntele, sunt locuri enigmatice de refugiu si supravietuire. Simtim acest lucru de cate ori ne apropiem de ele. Locurile odata parasite in istorie invita la o reintoarcere. Studiile dedicate acestui subiect leaga fascinatia noastra in fata dealului de dorinta noastra de explorare a unei istorii potential ascunse intre formele sale si de un escapism din lumea in care traim. Odata ajuns in fata dealului descoperi ca suprafata panzei devine, un prag intre doua lumi pe care ai optiunea sa urmaresti docil realitatea sau sa o sublimezi pana la limita unui semn iconic. Au facut-o in mod obsesiv atat plain-air-istii francezi cat si Horia Bernea, caruia generatiile care l-au urmat,

incluzand aceea a lui Ciprian Bodea, ii datoreaza focusul spre decopertarea arhetipurilor ascunse in formele naturale. Organizatorii expozitiei-surpriza si-au asumat un risc pe care nu avem de unde sti daca Ciprian Bodea si l-ar fi asumat vreodata desi la vernisaj a fost coplesit de gest. Un risc pe care cercettorul i specialistul n calculatoare D-l Horia Gligor, intre altele un colectionar cunoscut din Timisoara, nu a ezitat sa il exprime la deschiderea vernisajului si care consta in proximitatea vizuala cu care dealul lui Ciprian Bodea se intersecteaza prin expresiile sale de tehnica formala cu dealul lui Bernea. Pe unii ii descumpaneste acest lucru, pe altii ii stimuleaza. Personal cred ca D-l Mircea Florian Rista, un expert in branding din Romania, cel care a organizat aceasta diversiune artistica mutand peste noapte lucrarile lui Ciprian Bodea de la firma Green Studio la Galleria28 a fost stimulat de idea integrarii si recuperarii pe care o poate provoca dealul lui Ciprian Bodea in peisajul artistic de astazi. Surpriza in acest sens este o revelatie pentru un spirit inveterat in restituirea si restaurarea unui model care ne atrage atentia asupra artistului ca observator si auto-observator emotiv al procesului artistic, a importantei craftului de breasla mestesugareasca, si continuarii traditiei. Dar ce este atat de fascinant legat de deal incat motivul sau este reluat cu atata obstinenta de-a lungul generatiilor? In primul rand cred ca este sentimentul de pierdere pe care il suferim in epoca moderna de cate ori asistam la schimbarile si transformarile care au loc in jurul nostru. In perioada anilor 70-80 cercetarile teoretice legate de perceptia peisajului natural au facut in Statele Unite obiectul unor obiecte de studiu importante si au dus chiar la formularea unei psihologii a peisajului. Ce este remarcabil este faptul ca exact in aceeasi perioada Bernea, Lucian Grigorescu, Paul Gherasim sau Constantin Flondor au incercat formularea unui enunt estetic legat de peisajul din pictura si au contribuit la crearea unor arhetipuri ce au ramas un model in istoria artei plastice romanesti. . Appleton a simtit ca experienta uman aa peisajului este legata mai mult de mostenirea noastra evolutiva. Parte a acestei conexiuni se trage de la Searles care a stresat importanta sensului de rudenie cu environmentul sau total care se afla in fiecare persoana un simt a carui ignorare poate duce la o distrugere a starii sale psihologice de bine. Notiunea de a vedea este legata de accea de a sta ascuns si invizibil vederii din care Appleton a dezvoltat teoria prospect-refuge in care estetica umana este legata de peisaj prin elemente care simbolizeaza locuri din care putem sa vedem fara sa fim vazuti.

Kaplan a identificat doua scopuri ascunse in perceptie. Unul este de a face sens ce tine de intelegere si orientare spatiala si altul de implicare o preocupare legata de stimulare si challange. Prin immbinarea acestor doua scopuri cu doua nivele de interpretare a peisajului unul bidimensional pe care il vedem si altul tridimensional in care operam Kaplan a stabilit o paralela intre perceptia spatiului si actiunea in spatiu. A face sens poate fi vazut bidimensional in termeni de coerenta si organizare perceptuala a patternurilor si tri-dimensional ca legibilitate , abilitate de a crea o harta si a cunaste un environment suficient de bine ca sa poti

actiona in el Implicarea in termeni vizuali este legata de complexitate iar tridimensionalitate a de mister si promisiunea de a afla mai multe prin actionare in spatiu. MISTERUL poate fi legat de ceea ce este ascuns in peisaj si de oportunitatea de a vedea lucruri noi dacacineva trece dealul Persomnalitate si peisaj CRAIK, a identificat 14 tipuri de personalitate afectate de perceptia peisajului Cercetarea in acest domeniu a avut loc in cadrul paradigmatic al cercetarii facute de experti ( arhitecti, ecologisti) Artistii si designerii au devenit sensibilizati prin profesia lor la valorile fr umusetii si urateniei peisajului . traditia ecologica pleaca de la asuptia ca ecosistemele naturale nemodificate au valoarea estetica cea mai mare. Perceptia unui peisj este o reactie subiectiva emotionala. Partea umana aest ereprezentata de o elita sau grup de observatori dibace skilled Artisti padurari armonia vizuala bazata pe 3 seturide criterii, principii de dominanta,( forma, linie , culoare , textura,)- ingrediente de baza a perceptiei peisajului. Factorii variabili recunosc ca schimbarile conditiilor vizuale pot afecta modul in care percepem elementele dominante: miscare , lumina , conditii admosferice, sezon , distantza , pozitia observatorului, scara si timpul.

, psihofizice ( action of landscape stimulsus asupra passive human respondents, cea cognitiva in care omul tinde sa fie vazut ca ginditor acaror valori estetice ne parvin prin caile prin care informatia este oferita mintii In termeni de stimulus, observatorul percepe ceea ce i se ofera, de environment in termeni de posibilitati pentru comportament. De exemplu perceptia unui scaun ne ofera permisiunea sa stam jos. Valoarea este legata de ceea ce ne permitem sa facem cu obietul perceptei

"What is the web of relationships that one perceives in the visual appearance of things?," he asks. "What particular objects in the landscape natural or human give one a sense of that incredibly complex tissue of causality, that makes things look the way they do? In these pages readers can chart Gohlkes recurrent fascinations, as he gazes on landscapes that vary greatly in scale, from those that result from geological processes and extreme natural forces to those that are apparently non-dramatic, such as front lawns, meandering rivers and plowed fields. Daca ar fi sa gindesc in termeni de monopol artistic toata istoria artei ar parea un lant in care fiecare artist sta cu mana in buzunarul predecesorilor sai. In multe cazuri acest lucru se face programatic, ca un exercitiu de ucenicie, alteori este o adevarata frauda.

that paradox by making photographs that convince the viewer that those revelations, that nuanced view of the "man-altered landscape New Topographics heralded an emerging generation of landscape painters who questioned the prevailing romantic and pictorial paradigms embodied in the work of such canonical painters as Horia Bernea Exploring what they saw as the collisions and tensions between humans and the "natural" environment, these paiinters acknowledged their more naturalist predecessors while also distancing themselves from the tradition; curator Marie-Jeanne Badescu described the paintings as "eschewing entirely the aspects of beauty, emotion and opinion." Whether or not this accurately described the artists intentions (Gohlke strongly disagrees), in retrospect we had a more politically Whether or not this accurately described the artists intentions (Gohlke ngly disagrees), in retrospect we had a more politically nuanced view of the "man-altered landscape." New Topographics has entered the annals of art history as a paradigm shift in photography, one that suggests a collective ambivalence about how industrial development and decay, urbanization and suburbanization, affect our notions of landscape. I In King Solomons Ring [1952], Konrad Lorenz wrote of seeing without being seen, which relates to habitat theory. Appleton built on this, arguing that a landscape need only provide the appearance of satisfying survival needs. Certain sign-stimuli provided by the landscape comprise the core of Appletons prospect-refuge theory. He termed the sign-stimuli that provide opportunities to see a prospect while those which provide an opportunity to hide he termed refuge [Ibid, 73]. Appleton summarised his theory thus [Ibid, 73]: Habitat theory postulates that aesthetic pleasure in landscape derives from the observer experiencing an environment favourable to the satisfaction of his biological needs. Prospectrefuge theory postulates that, because the ability to see without being seen is an intermediate step in the satisfaction of many of those needs, the capacity of an environment to ensure the achievement of this becomes a more immediate source of aesthetic satisfaction.

There is something peculiar about the way we attribute the clarity of some photographs to the world itself. I try to reinforce that paradox by making photographs that convince the viewer that those revelations, that nuanced view of the "man-altered landscape." New Topographics has entered the annals of art history as a paradigm shift in painting, one that suggests a collective ambivalence about how industrial development and decay, urbanization and suburbanization, affect our notions of landscape. In the years since, Bernea has continued to make paintings that reflect the dynamic relationship between humankind and nature, unsettling the practices of landscape representation. Bodeas oeuvre is marked by a preoccupation with framing landscape as a manmade construct: an artifact of the way we live, a projection of human actions, ideals and aspirations onto the horizon. Landscape is where the human and the natural worlds connect, and in his view, humanitys power is limited, fragile and temporary. "What is the web of relationships that one perceives in the visual appearance of things?," he asks. "What particular objects in the

landscape natural or human give one a sense of that incredibly complex tissue of causality, that makes things look the way they do? In these pages readers can chart Gohlkes recurrent fascinations, as he gazes on landscapes that vary greatly in scale, from those that result from geological processes and extreme natural forces to those that are apparently nondramatic, such as front lawns, meandering rivers and plowed fields. Gohlke acknowledges this cross-pollination in his writings of the early '90s, tracing progressive points of influence from fellow photographers to authors such as Carl Sauer, David Lowenthal, Yi-Fu Tuan and Reyner Banham. Especially meaningful was the work of John Brinckerhoff Jackson, editor of the journal Landscape from 1951 to 1968, in particular his ongoing discussion of vernacular landscapes.

si orce spirit dominat de escapism Cred ca este mai fair se limitez comentariul critic la ceea ce simt eu decat sa bat campii despre ceea ce cred ca simte artistul in fata unui deal. Ah, da, unii se pot intreaba ce rost mai are, in aceste circumstante critica de arta. Am sa le raspund ca exista forme si forme de abordare critica, iar cea care ma face pe mine sa ma identific cu obiectul studiului meu este cea care care cred ca este cea mai sincera. Dealul meu devine astfel o polenizare incrucisata - un deal din dealul lui Ciprian Bodea.

"Aceste om-modificat peisaj urmat, Bernea a continuat s fac tablouri care s reflecte relaia dinamic dintre omenire i natur, nelinititoare practicile de reprezentare peisajului. Opera Bodea este marcat de o preocupare cu incadrarea peisaj ca un construct artificial: un artefact de felul n care trim, o proiecie de aciuni umane, idealurile i aspiraiile pe orizont. Peisajul este n cazul n care lumi umane i naturale se conecteze, i n opinia sa, puterea omenirii este limitat, fragil i temporar. "Care este reea de relaii care o percepe n aspectul vizual al lucrurilor,?", ntreab el. "Ce obiecte special n peisajul - natural sau uman - da o un sentiment de care esutului incredibil de complexe de cauzalitate, care face lucrurile arat aa cum o fac?" n aceste pagini cititorii pot diagram fascinations recurente Gohlke lui, ca el isi concentreaza privirea asupra peisajelor care variaz foarte mult n scar, de la cele care rezulta din procesele geologice i forele naturale extreme pentru cei care sunt aparent non-dramatice, cum ar fi peluzele din fata, ruri erpuitoare i cmpuri arat. Gohlke recunoate aceast polenizare ncruciat, n scrierile sale de la inceputul anilor '90,

urmrirea puncte progresiv de influen de la colegii fotografi de autori, cum ar fi Carl Sauer, David Lowenthal, Yi-Fu Tuan i Banham Reyner. Mai ales semnificative a fost lucrarea lui John Brinckerhoff Jackson, editor al revistei Peisaj 1951 - 1968, n special, discuia sa n curs de peisaje autohton.

"Nostalgia for the past and utopian dreams for the future prevent us from looking at our present."
Manifesto point #1, from The Landscape Manifesto by Diana Balmori.
O expozitie surpriza The greater the angle in space the greater the curvature of spacetime the stronger the electromagnetic field at that point in space and at that moment in time. Syncopating an Urban Landsca A sta langa peisaj nu al picta este suficient. A recent exercise in a class on research methods reinforced that for me - by sitting in a space (namely a local plaza here in Portland) for three separate occasions to merely 'observe' and take notes was jarring in its simplicity. I wasn't counting or doing anything qualitative, merely going for a rich description of activity and use of space. The experience made me think of what we miss in our fast-paced lifestyle in car windows, or even on bike or just walking 'to get somewhere'. Opening oneself up to observation at a slow(er) speed is invigorating and the polarity of our I blame the word 'landscape' which is just too loaded with preconceptions for people to get over the fact that we're not talking about sprawling density with green spaces and parsley in the urban sphere (just look at the image from the Boston Globe article - buildings and cars draped in greenery. People think of landscape as landscaping, not the opposite of building. Thus in looking at a fundamentally different way of approaching cities in an 'un-architectural' manner the word landscape detracts from what is fundamental (an un-architecturally driven urbanism). This doesn't preclude buildings and density, and sidewalks and people - but rather isn't driven by building and then filling in the spaces in between. Ecological urbanism, I daresay, is an even worse title. Then again, the oxymoronic use of 'new' in New Urbanism has shown much success by focusing on the exact opposite of their name... so maybe there's hope. Yes, biophilia is a powerful concept that will continue to become more integrated into landscape and architecture and urban planning, as a metaphorical and formal framework to achieve needed access to nature (both visual and physical). The fact that this becomes Duany's 'best use' for ecological urbanism, making buildings palatable for the middle class, definitely counts as another over-simplification at best. While the notion of the vegitectural as aesthetic 'parsley on the building' has definitely become commonplace with architects - at least in photoshopped forms (it has also been vilified, rightly so, for it's simplication as inert green garb - used as an inert architectural material, applied like any other inert material) -

preferrably for architects in a aggregated 'system' that can be specified and purchased on a square foot basis. Gradinaritul si picturesque gardening multumind imaginatia prin scene de grandeur beauty

It was the wise remark of some sagacious observer, that familiarity is for the most part productive of contempt. Graceless offspring of so amiable a parent! Unfortunate beings that we are, whose enjoyments must be either checked, or prove destructive of themselves. Our passions are permitted to sip a little pleasure; but are extinguished by indulgence, like a lamp overwhelmed with oil. Hence we neglect the beauty with which we have been intimate; nor would any addition it could receive, prove an equivalent for the advantage it derived from the first impression. Thus negligent of graces that have the merit of reality, we too often prefer imaginary ones that have only the charm of novelty: And hence we may account, in general, for the preference of art to nature, in our old fashioned gardens. Art, indeed, is often requisite to collect and epitomize the beauties of nature; but should never be suffered to set her mark upon them: I mean in regard to those articles that are of natures province; the shaping of ground, the planting of trees, and the disposition of lakes and rivulets. Many more particulars will soon occur, which, however, she is allowed to regulate, somewhat clandestinely, upon the following account: man is not capable of comprehending the universe at one survey. Had

In gardening it is no small point to enforce either grandeur or beauty by surprise; for instance, by abrupt transition from their contraries. But to lay a stress upon surprise only (for example, on the surprise occasioned by an Ha-Ha without including any nobler purpose) is a symptom of bad taste, and a violent fondness for mere concetto1[43]. Grandeur and beauty are so very opposite, that you often diminish the one as you increase the other. Variety is most akin to the latter, simplicity to the former. Suppose a large hill, varied by art, imaginez coline si dealuri modificate de exercitiile noastre artistice detaliile devin gesturi with large patches of different-coloured clumps, scars of rock, chalk quarries, villages, or farm-houses; you will have, perhaps, a more beautiful scene, but much less grand than it was before. There may possibly, but there seldom happens, any occasion to fill up valleys, with trees or otherwise. It is for the most part the gardeners business to remove trees, or aught that fills up the low ground; and to give, as far as nature allows, an artificial eminence to the high.

The hedge-row apple-trees in Herefordshire2[44] afford a most beautiful scenery, at the time they are in blossom: but the prospect would be really grander, did it consist of simple foliage. For the same reason, a large oak (or beech) in autumn, is a grander object than the same in spring. The sprightly green, is then obfuscated.3[45] Smoothness and easy transitions are no small ingredient in the beautiful; abrupt and rectangular breaks have more of the nature of the sublime. Thus a tapering spire is, perhaps, a more beautiful object than a tower, which is grander. Many of the different opinions relating to the preference to be given to seats, villas, etc. are owing to want of distinction betwixt the beautiful and the magnificent. Both the former and the latter please; but there are imaginations particularly adapted to the one, and to the other. Mr Addison thought an open unenclosed champaign country, formed the best landscape.4[46] Somewhat here is to be considered. Large unvariegated, simple objects have the best pretensions to sublimity; a large mountain, whose sides are unvaried with objects, is grander than one with infinite variety: but then its beauty is proportionably less. However, I think a plain space near the eye gives a kind of liberty it loves: and then the picture, whether you choose the grand or beautiful, should be held up at its proper distance. Variety is the principal ingredient in beauty; and simplicity is essential to grandeur. Offensive objects, at a proper distance, acquire even a degree of beauty: for instance, stubble [47], fallow ground.6[48]
5

oductive of contempt.

It is a custom in some countries to condemn the characters of those (after death) that have neither planted a tree, nor begat a child.

The art of distancing and approximating7[37], comes truly within their sphere: the former by the gradual diminution of distinctness, and of size; the latter by the reverse. A straight-lined avenue that is widened in front, and planted there with ewe trees, then firs, then with trees more and more shady, till they end in the almond-willow, or silver osier8[38]; will produce a very remarkable deception of the former kind; which deception will be increased, if the nearer dark
2 3 4 5 6 7 8

trees, are proportionable and truly larger than those at the end of the avenue that are more shady. To distance a building, plant as near as you can to it, two or three circles of different coloured greens evergreens are best for all such purposes suppose the outer one of holly, and the next of laurel, etc. The consequence will be that the imagination immediately allows a space betwixt these circles and another betwixt the house and them; and as the imagined space is indeterminate, if your building be dim-coloured, it will not appear inconsiderable. The imagination is a greater magnifier than a microscopic glass. And on this head, I have known some instances, where by showing intermediate ground, the distance has appeared less, than while an hedge or grove concealed it.

There seems however to be some objects which afford a pleasure not reducible to either of the foregoing heads.9[6] A ruin, for instance, may be neither new to us, nor majestic, nor beautiful, yet afford that pleasing melancholy which proceeds from a reflection on decayed magnificence. For this reason an able gardener should avail himself of objects, perhaps not very striking; if they serve to connect ideas, that convey reflections of the pleasing kind.10[7] Landscape should contain variety enough to form a picture upon canvas; and this is no bad test, as I think the landscape painter is the gardeners best designer.11[14] The eye requires a sort of balance here; but not so as to encroach upon probable nature. A wood, or hill, may balance a house or obelisk; for exactness would be displeasing. We form our notions from what we have seen; and though, could we comprehend the universe, we might perhaps find it uniformly regular; yet the portions that we see of it, habituate our fancy to the contrary. The eye should always look rather down upon water: customary nature makes this requisite. I know nothing more sensibly displeasing than Mr Ts flat ground betwixt his terrace and his water. A statue in a room challenges examination, and is to be examined critically as a statue. A statue in a garden is to be considered as one part of a scene or landscape; the minuter touches are no more essential to it, than a good landscape painter would esteem them were he to represent a statue in his picture. Apparent art, in its proper province, is almost as important as apparent nature. They contrast agreeably; but their provinces ever should be kept distinct. Where some artificial beauties are so dexterously managed that one cannot but conceive them natural, some natural ones so extremely fortunate that one is ready to swear they are artificial.

9 10 11

Grupul NOIMA* a fost fondat n 2003 de catre pictori absolventi ai Facultatii de Arte din Timisoara, care au lucrat n atelierul coordonat de profesorul Constantin Flondor. Expozitia de debut, sub acest nume, a avut loc la finele anului 2004 n Timisoara la Galleria 28. Au urmat alte expozitii (Muzeul National de Arta din Arad, Galeria Forma din Deva, HVB Bank Arad), si tabere de studiu la Siria, Crivaia, cazanele Dunarii s.a.m.d. n expozitia gazduita la Centrul Cultural German din Timisoara tinerii artisti ai gruparii NOIMA au prezentat lucrari de pictura, fotografie si video realizate recent. Au expus Ciprian Bodea (Timisoara), Dan Gherman (Lipova), Sorin Neamtu (Arad), Sorin Scurtulescu (Timisoara), Andrei Rosetti (Deva). O premiera n istoria expozitionala a grupului o constituia participarea pictorilor Bogdan Vladuta, asistent al Universitatii Nationale de Arta din Bucuresti si a lui Simion Arhiri (Timisoara). Simion Arhiri si Sorin Scurtulescu au mai expus n spatiul Centrului Cultutal German n cadrul "24-Potrtait-Project". *NOIMA ~e f. 1) nteles adnc, ascuns; tlc; continut (al unui cuvnt sau enunt); rost. Cu ~ a) cu nteles; logic; b) n mod ntelept; cuminte. Fara (nici o) ~ a) fara sens; b) prosteste. A nu avea (nici o) coerenta ~ a fi lipsit de sens; a fi absurd. 2) Destinatie a unui lucru n functie de utilitatea acestuia; rost; menire, tel, scop; sens; motiv; cauza. 3) Imagine reprezentnd ceva n mod conventional, simbol, conventie.

Marti, 6 februarie/2007 va avea loc la Centrul Cultural German din Timisoara vernisajul expozitiei www.noima.ro/atelier, al grupului de pictura NOIMA. Grupul NOIMA a fost fondat in 2004 de catre pictori absolventi ai Facultatii de Arte din Timisoara, care au lucrat in atelierul coordonat de profesorul Constantin Flondor. In expozitia vernisata la Centrul Cultural German din Timisoara, tinerii artisti ai gruparii NOIMA prezinta lucrari de pictura, fotografie si arta video. Expun: Ciprian Bodea (Timisoara), Dan Gherman (Lipova), Sorin Neamtu (Arad), Sorin Scurtulescu (Timisoara), Andrei Rosetti (Deva), Bogdan Vladuta (Bucuresti) si Simion Arhiri (Timisoara). Odata cu acest vernisaj va fi lansat in online si pagina de net a grupului NOIMA: http://www.noima.ro. Evenimentul va fi deschis de dr. Ileana Pintilie curator, critic si istoric de arta, dr. Costion Nicolescu scriitor, teolog, etnolog, cercetator stiintific in cadrul Muzeului taranului Roman si dr. Cristian Robert Velescu critic si istoric de arta.
Pictura cu noima Categorie: Time-out aparut: 01 Octombrie 2007 Cinci tineri artisti din vestul Romaniei expun la Cluj Articol de: Claudiu GROZA

Grupul NOIMA a debutat sub acest nume la finele anului 2004 in Timisoara, cu o expozitie la Galleria 28. Au urmat alte expozitii, la Muzeul National de Arta din Arad, Galeria Forma din Deva, si tabere de studiu la Siria, Crivaia, Cazanele Dunarii, samd.

Tenta auto-ironica apare in ghidusul "Autoportret" al lui Ciprian Bodea, reprezentand un... lacat (foto 2). Interesante si culorile folosite, care amintesc de vopseaua "duco" gri, folosita copios pe vremuri, inclusiv pentru cuferele militare. Mark Rothko denied his abstract paintings were in any way supposed to be landscapes, although he is reported to have said at the 1964 Turner show in New York that chap Turner learned a lot from me. That year there was a New Yorker cartoon with a modish couple staring out at a sunset over the sea, the view resembling a Rothko painting, the caption: Now, theres a nice contemporary sunset. The cartoon reminds me of comments on Turner in Oscar Wilde's The Decay of Lying (1889):