Mihuț Boşcu Kafchin: Reverse Engineering of the Self
You can download the handout of the exhibition from here.
Mihuț Boşcu Kafchin (1986) emerged as one of the most unmistakable figures of the young Romanian art scene in the past few years, his art is already an integral part of the big summary shows of Romanian art around the world from Warsaw to Paris.
Kafchin is regarded as a postmodern romantic, who playfully interprets mystical and ambiguous secret connections and contexts of our world. Personal cosmology which consists of a touch of alchemy, magic and laboratory gadgets, plays an important role in the art of the new enfant terrible of Cluj. Mihuț Boşcu Kafchin creates psychedelic environments in his exhibitions which stimulate most of our sensorial experiences and which can be interpreted as mechanical retro-futurist in the spirit of the “space age”, or even a bit paleo-hallucinatory. The works of the artist are closely tied together in his ouevre which grows from one exhibition to the other; his drawings and paintings are often drafts for his future installations and objects.
Kafchin emphasizes the use of timeless techniques as he admits that he is inspired at the same time by the icons of Andrei Rublev, the drawings of Michelangelo, by abstractions and cutting edge technology. In his Budapest show he sets up his exhibition in a set of an abandoned casino.
Supported by: National Cultural Fund of Hungary, Káli Kövek
Mihuț Boşcu Kafchin (1986) emerged as one of the most unmistakable figures of the young Romanian art scene in the past few years, his art is already an integral part of the big summary shows of Romanian art around the world from Warsaw to Paris.
Kafchin is regarded as a postmodern romantic, who playfully interprets mystical and ambiguous secret connections and contexts of our world. Personal cosmology which consists of a touch of alchemy, magic and laboratory gadgets, plays an important role in the art of the new enfant terrible of Cluj. Mihuț Boşcu Kafchin creates psychedelic environments in his exhibitions which stimulate most of our sensorial experiences and which can be interpreted as mechanical retro-futurist in the spirit of the “space age”, or even a bit paleo-hallucinatory. The works of the artist are closely tied together in his ouevre which grows from one exhibition to the other; his drawings and paintings are often drafts for his future installations and objects.
Kafchin emphasizes the use of timeless techniques as he admits that he is inspired at the same time by the icons of Andrei Rublev, the drawings of Michelangelo, by abstractions and cutting edge technology. In his Budapest show he sets up his exhibition in a set of an abandoned casino.
Supported by: National Cultural Fund of Hungary, Káli Kövek
