Luminița ranu’s work has been exhibited in Rome as part of the #EX_TRA . project


The work “DEI e SCRITTURE” by Luminița Țăranu, reproduced on scaffolding in Via del Vantaggio, Rome (near Via Ripetta and Piazza del Popolo) as part of the #EX_TRA exhibition project, designed and created by the POUCHAIN ​​Group: an outdoor art gallery on facade scaffolding Buildings in the historic center of Rome.

The exhibition project is a beautifully innovative work of aesthetics that has a spatial impact as a dialogue between contemporary art and the city.

Since 2/08/2022 the work has been exhibited on the facade under restoration, in Piazza Costagotti, No. 36, in the historic center of Rome, near the Fontana delle Tartarughe.

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Previously, the work was shown on the facade scaffolding at Via Delle Tre Cannelle (near Via Quattro Novembre, near Mercati di Traiano – Museo dei Fori Imperiali) and in Via Dei Chiavari (Piazza dei Satiri), near Campo de ‘Fiori.

The work “DEI e SCRITTURE” is part of the monumental installation Columna mutãtio – LA SPIRALE, shown at the Mercati di Traiano – Museo dei Fori Imperiali between November 28, 2017 – November 18, 2018, in the personal exhibition Columna mutãtio – LA SPIRALE.

Spira 3. Part of the monumental installation Columna mutãtio – SPIRALA, in technical collaboration with Arch. Pietro Bagli Pennacchiotti. Size 154 x 90 cm Technique: Silkscreen coating in layers on aluminum backing in acrylic/vinyl colors (unique). Photography by: Sebastiano Luciano.

As Alberto D’Ambroso, a critic of modern and contemporary art, wrote in the catalog published by PALOMBI Editore: “… in the third helix, continuing to represent the Danube and evoke the god Istru, the artist presents a ‘river’ of Roman and Dacian deities (the god of fire, the goddess of lightning, the goddess of masonry, god of forge, god of abstraction and science, goddess of the earth, god of wheat, god of infinity), combined it with writings.Both the Romans and Dacia had a culture of polytheism. To create designs for icons of deities, the artist was inspired by Roman copies of Hellenistic statues and Roman statues found in Palazzo Altemps (Athena, Heracles, statue of Daddophorus, in the Massimo Palace (Hellenic princes, Heracles), Lucretia, statues in residential villas) and in the Capitoline Museums (Hercules and other statues).

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DEI e SCRITTURE’s unique composition proposes the image of an itinerary (a drawn itinerary), “inhabited” by successive icons, intertwined with inscriptions – in the ancient Roman alphabet – that become images. Expanding into outer space, symbols become energy points, creating visual synergies, human and interconnected symbolic images, where the human body is not inspired by anatomy, but rather by a “work of art” of the human body, in a “colored world.” Language or masculine instruments. , the artist created icons starting from drawings that interpret the statuary forms of ancient Rome and Dacia culture through transformation and mutation, aiming to achieve a dialogue between ancient and contemporary, for years at the heart of research.

Luminița Țăranu was born in Lugoj on June 27, 1960, and graduated from the National Academy of Fine Arts “N. Grigorescu” from Bucharest in 1985, in the class of Professor Octave Grigorescu. He established himself in Romania among the best and most active painters and engravers of the 1980s. In 1987, he received a grant from the Union of Plastic Artists from Romania for drawing and engraving. 2 Since 1987 he lives and works in Italy, in Monte Porzio Cattone, near Rome.

In Italy, he received the title equivalent to the diploma of graduation from the Academy of Arts, a title recognized by the Academy of Fine Arts of Bologna in 1993. He has participated in several exhibitions in the country and abroad. His works are in the collections of important Italian museums and in Romania. Italian critics and art historians wrote critical texts about his works: Mario di Candia, Giorgio di Genova, Barbara Martusello, Arnaldo Romani Presi, Ivana D’Agostino, Cinzia Folcarelli, Federica di Castro, Stefania Severi, and Romanian art critic Adrian Gott.

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