Nicu Ilfoveanu
Active in the field of photography, film and photo-books, Nicu Ilfoveanu holds a particular position within the Romanian contemporary art landscape. He graduated from the National University of Arts Bucharest, where he is currently teaching Photography. His work is known for the unexpected and unpredictable interplay between personal and documentary, between the sublime and the trivial, between evidence and hidden‑subjects. His recent activity includes solo shows at Posibilă Gallery, Bucharest (Phantom Inventory, 2022); Galería Mecànic, Barcelona (Electro+, 2018); Mois de la Photo du Grand Paris (Valerica Bienheureux, 2017); Uqbar Project Space, Berlin (Series. Multiples, Realisms, 2014); Arsenal Gallery, Poznan (The Mistaken Present Tense, 2013) and group shows: Kommunale Galerie, Berlin (Crossing the Same Circumstances, 2021); CIVA, Bruxelles (Enchanting Views, 2020); Cerezales Antonino y Cinia Foundation, Leon (Mesuras, 2019); Musee de Beaux Arts, Tournai (Looking Back,Thinking Further, 2019); Salonul de proiecte, Bucharest (The Factory of Facts and Other Unspoken Stories, 2016); Fotogalleriet, Oslo (Vision of a Nation, 2014); The 55th International Art Exhibition – La Biennale di Venezia (Reflection Center for Suspended Histories. An Attempt, 2013); 4th Fotofestival, Mannheim Heidelberg Ludwigshafen (The Eye is a Lonely Hunter, 2011).
Find Nicu Ilfoveanu here:
http://www.ilfo.ro/
MAMAЯ. На пляже
( . . . ) The MAMAЯ. На пляже [translated as Mamaia. The Beach] series by artist Nicu Ilfoveanu, presents a likewise documentary and artistic approach to the Romanian seaside. The works are part of a wider project entitled Enchanting Views (2013 – 2014) presented in a memorable exhibition at the Dalles Hall, National Museum of Contemporary Art in Bucharest (2014) and featured in the publication under the same name launched in 2015, as part of the project curated by Alina Șerban, Sorin Istudor and Kalliopi Dimou. The images make up an eclectic but comprehensive visual collection of the landscape and architecture of the Black Sea’s Romanian coast. Nicu Ilfoveanu cites works by Massimo Vitali or Hiroshi Sugimoto, or otherwise engages in documenting the forgotten mosaics made by Jules Perahim with cultural hints about the development of tourist resorts in Romania in the 60s and 70s. ( . . . )
– the above is an excerpt from a larger text written by Cristina Stoenescu about Nicu Ilfoveanu’s work, present on the INFLUX site here ; a Viewing Room presentation of the series is also present here.
