Maia Stefana Oprea

” A is to B as C is to D “

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detail of TI MATIFirst of all, I invite you to view the video related to this project:

Here you can find the english translation for the video: a b c translation 

The project „A is to B as C is to D” was created in a workshop at the „Ecole d’Art de Grenoble”, during my Erasmus year in France. I was deeply inspired by Eric Duyckaerts art when I did this project, as I had just seen his exhibition „ ’idéo” at the MAC/VAL, Musée d’art contemporain du Val-de-Marne. ( )

One of Eric Duyckaerts assertions stood at the basis of„A is to B as C is to D”: “The omnipresence of analogy in knowledge and in the arts raises the question whether, for humans, the reality does not appear as an infinites series without beginning nor end.” (own translation from french version) L’omniprésence de l’analogie dans la connaissance et dans les arts pose la question de savoir si, pour les êtres hu-mains, la réalité ne se présente pas comme un enchaînement infini d’analogies sans début ni fin.” (Eric DUYCKAERTS)

    I wanted to join the loop A, B, C in a work that explores the artistic gesture by means of spoken words, procedure which was a priori foreign to me. This approach goes alongside the borders of non-sense and humor. My loop’s analogies could be a kind of extravagant re-integration of history (as a hazardous time narration) in the creative process of a drawing, with the unique interest to create a continuum of loops, wherein the drawing or history itself will have no significance as such.A, B, C, D” – workshop The proposal was that of a work situation around the notion of translation, in groups of three students, A, B, and C. In our group I was the B, the (A) was Inês Gonçalves, and the (C) was Jan van Monckhoven.

We established three phases in the making of the project. The way I see them is as follows:

              1. THE SECRET  

        A = active, B = passive, C = inactive                                                       A was suppose to tell B one phrase, which was to remain a secret for C, during the whole project, and until its public exhibition. So Ines told me that one sentence: “My feet in the Pacific Ocean”.

     2. THE  VIDEO        

         A = passive (films the video), B = active, C = inactive I have appropiated this phrase by creating the video “A is to B as C is to D” (“A est à B ce que C est à D”), outlining a speech which links different words, apparently without a specific interest (but without question formed around the same concept of the Pacific Ocean). The schematic drawing TI MATI” created subsequently illustrates this sequence of connecting ideas.

TI MATI , 300 x 200 cm, charcoal on paper, 2011



                                3. THE PERFORMANCE 

         A= active, B = active, C = active

The drawing created during the  video is shown to the C person. The critiques of the drawing and the curatorial approach were made by the C. It is understood that the C (Jane) curated the project without having any knowledge of the analogical speech proposed, nor of the secret told by the A at the beginning. She could base her critique only on the drawing.

        Finally, in the presence of the public, the drawing was ERASED. The voices are the critique read in our three languages, respectively French (C), Spanish (A), and Romanian (B).

Afterwards, it was substituted with the number of people whose presence would have contributed to the performance and to the realization of a possible new loop of fiction, thus, a possible D.



Author: maiastefana

Visual Artist portfolio: available artworks: blog:

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