El mundo paralelo aunque

perfectamente plausible de Romeo Niram

 

Por Dr. Andrea Diprè – crítico de arte,

 

AZAY ART MAGAZINE

 

 

 

 

Con su obra, Romeo Niram ha inventado un Universo paralelo, regulado por su ley interna, rigurosa e infalible, diseñado para demostrar la bondad de un método (el suyo) frente a otros (el cotidiano). Parece creer que no hay diferencia entre lo verdadero para uno y lo verdadero para otros muchos, porque la experiencia humana, su objeto, la civilización y la historia son una convención de grupo, como demuestra la variedad antropológica de una región respecto de su limítrofe, a partir de un análogo principio antropocéntrico. En diversas latitudes conviven la civilización china y la griega, el oriente y el occidente, por el engaño del tiempo que en realidad no pertenece a las convenciones y fluye rectilíneo, como demuestra el envejecimiento inexorable de nuestro cuerpo. Las civilizaciones se superponen, viviendo en el mismo tiempo y paralelamente, pero se protegen con fronteras, paredes, ríos, montañas, murallas, o con los muros del apartamento.

Romeo Niram: La Fórmula de Dios

 

 

Antropocéntrico es también “niramocéntrico”. Es la misma posición que en el s. VI a.C había sostenido Jenófanes, dudando con razón de la existencia de los dioses, o al menos de un Olimpo construido a imagen y semejanza del hombre griego: “Los hombres creen que los dioses han nacido y tienen voz y cuerpo similares a ellos… Los etiopes sostienen que sus dioses son chatos y negros y los tracios que tienen azules los ojos y son rubios como ellos; y también los bueyes, caballos y leones, si pudiera, imaginarían a sus dioses a su semejanza. Los poetas han fomentado esta creencia. Homero y Hesiodo han atribuido a cada Dios también lo que es objeto de vergüenza y oprobio entre los hombres: mal, adulterio y engaño mutuo.”

 

Romeo Niram, como Jenófanes, sabe perfectamente que nada es relativo, como se presume del ser absoluto, y por esto asume lo absoluto en su particularismo relativo, y lo consagra con una ilimitada enciclopedia de relaciones donde la ironía no es un ingrediente personal sino una categoría universal. Es cierto que su imagen del mundo está gobernada por una idea demiúrgica, y que se propone como una divinidad que ordena y legisla los estatutos y normas de aplicación a la creación, para apartarla de la anarquía y del caso de toda otra posible sistematización y administración. Su lenguaje se explica sin explicación, afirmando las diferencias programáticas y la traducibilidad de la forma sin afectar a la sustancia. Es un modo sutil de advertir que su mundo no existe y no es “decible”, por lo que no existe el nuestro o cualquier otro en el que la comprensibilidad es puramente convencional.

 

 

Partiendo de esta premisa, también el mundo de Romeo Niram es plenamente comprensible y, por lo dicho, vivible; nada surrealista, como podría parecer en un principio. La obra completa es un verdadero y personal sistema filosófico, donde nada es casual, instintivo o espontáneo porque Romeo Niram, en el descubrimiento de los territorios y lugares nunca explorados por el arte, ni pierde ni gasta gratuitamente. Para él, el arte es una montaña de dimensiones y ambiciones enormes, para él el arte es continuo origen de maravillosas relaciones y de una ilimitada potencialidad.

 

.................................................................................

 

Niram, Brancusi and Einstein


Azay Art Magazine


By Caitlin Periou - art critic

 

 

Romeo Niram has been credited for making great strides for culture through his artwork. Romeo Niram created Niram Art, a fine arts magazine, and received a Trophy for Best Arts Magazine in Portugal in 2007. Due to his involvement in other projects such as Espacio Niram, Niram continues to promote culture and art. In 2009 Romeo Niram received the MAC Award for Cultural Promotion for his efforts. Born in 1974, Romeo Niram harks back to another famous artist in his Brancusi E=MC2 collection from 2007. Most obviously, Niram's inspiration largely comes from the work of Brancusi as well as the scientific work of Albert Einstein.

 

In this collection, Niram strives to connect physics and art by combining the ideals of Albert Einstein with that of Constantin Brancusi.

 

In The Beginning of the Earth, Romeo Niram places Albert Einstein's portrait across from Brancusi's. Between their portraits, both men's masterpieces sit in the center space. Brancusi's The Beginning of the Earth shows the artist's attention to the importance of the pedestal as well as the sculpture. Niram has branded this pedestal with Albert Einstein's formula E=MC2. Romeo Niram inspiration from Einstein as well as Brancusi appear throughout the Brancusi E=MC2 collection, with Miss Pogany 1930 as well as The Law of Relativity.

 

In these works Niram consistently alludes to Einstein and Brancusi, with Brancusi's sculptures reoccurring in his paintings as well as Einstein's theories.

 

Though, as with Brancusi's work, Romeo Niram's paintings pose the same question, where does this work begin and end? Several of Niram's works blur the line between painting and viewer, just as Brancusi's work brings about the question: "where does sculpture begin and pedestal end?" In The Beginning of the World, I and The Sleeping Muse this question appears most prominently. Romeo Niram's work shows the viewer a painting of an artist painting another portrait, but is it the portrait the viewer should be seeing or the painting itself? This playful game reaches back to Diego Velazquez's Las Meininas where the viewer sees the painter as well as the subject in action.

 

All of Romeo Niram's works appear to strive to challenge his audience's mind. He constantly pressures the viewer to think he presents the viewer with a deep knowledge of art history as well as flair of modernity. Niram mixes science and art with rich colors and images to give his art a worldly yet personal dynamic.

 

 

 

 

 

 

 

 

 

 

Caitlin Periou is an american critic of art, born in Covington, Louisiana. Currently she lives and works in Baton Rouge.

 

 

 

 

.................................................................................

 

Niram, Brancusi und Einstein

 

durch Caitlin Periou - Kunstkritiker

 

Romeo Niram hat mit großen Schritten für die Kultur durch sein Kunstwerk gutgeschrieben worden. Romeo Niram erstellt Niram Art, ein Fine Arts Magazin, und erhielt eine Trophäe für den besten Arts Magazine in Portugal im Jahr 2007. Wegen seiner Beteiligung an anderen Projekten wie Espacio Niram weiterhin Niram zu Kultur und Kunst zu fördern. Im Jahr 2009 erhielt die Romeo Niram MAC Award for Cultural Promotion für seine Bemühungen.

 

Geboren im Jahre 1974, greift Romeo Niram zurück zu einem anderen berühmten Künstler in seinem Brancusi E = MC2 Sammlung ab 2007. Ganz offensichtlich Niram Inspiration kommt größtenteils aus dem Werk von Brancusi sowie die wissenschaftliche Arbeit von Albert Einstein. In dieser Sammlung, strebt Niram zur Physik und Technik durch die Kombination der Ideale von Albert Einstein mit der von Constantin Brancusi zu verbinden.

 

In The Beginning of the Earth, Plätze Romeo Niram Albert Einstein Porträt gegenüber von Brancusi. Zwischen ihren Porträts, sowohl Männer als Meisterwerke sitzen in der Mitte Platz. Brancusi's The Beginning of the Earth zeigt die Künstlerin die Aufmerksamkeit auf die Bedeutung des Sockels sowie der Skulptur. Niram hat dieses Podest mit Albert Einsteins Formel E = MC2 gebrandmarkt.

 

Romeo Niram Inspiration von Einstein als auch Brancusi erscheint in der gesamten Brancusi E = MC2 Sammlung, mit Miss Pogany 1930 sowie das Gesetz der Relativität.

In diesen Werken konsequent Niram Anspielung auf Einstein und Brancusi, mit Brancusis Skulpturen wiederkehrendes in seinen Gemälden ebenso wie Einsteins Theorien. Obwohl, wie bei Brancusi Arbeit, Romeo Niram Gemälde stellen die gleiche Frage, wo dieses Werk zu beginnen und nicht enden? Mehrere Niram Arbeiten verschwimmen die Grenzen zwischen Bild und Betrachter, genau wie Brancusi's Werk über die Frage bringt: "Wo wohnt Skulptur beginnen und Sockel Ende?" In The Beginning of the World, I und The Sleeping Muse diese Frage am deutlichsten erscheint.

 

Romeo Niram Werk I zeigt dem Betrachter ein Bild von einem Künstler der Malerei noch ein Porträt, aber ist es das Porträt des Betrachters zu sehen sein sollte oder die Gemälde seiner selbst? Diese spielerische Spiel reicht zurück bis in Diego Velazquez's Las Meininas, wo der Betrachter sieht der Maler als auch als Subjekt in Aktion. Alle Romeo Niram Werke scheinen bemüht, seinem Publikum den Sinn Herausforderung. Er ständig Druck auf den Zuschauer glauben, er stellt den Betrachter mit einer tiefen Kenntnis der Kunstgeschichte sowie Flair der Moderne. Niram mischt Wissenschaft und Kunst mit satten Farben und Bilder zu geben, seine Kunst eine weltliche noch persönliche Dynamik.

 

 

 

 

Caitlin Periou ist ein amerikanischer Kunstkritiker, getragen in Covington, Louisiana. Zur Zeit lebt sie und arbeitet in Baton Rouge.

Versión Italiana


Di Dott. Andrea Diprè – critico d’arte

 

 

 

 

 

 

 

Con le sue opere,ha inventato un Universo parallelo, regolato da sue leggi interne, rigorose e infallibili, intese a dimostrare la bontà di un metodo (il suo) su un altro (il quotidiano). Egli sembra credere che non c’è differenza tra ciò che vale per uno e ciò che vale per tanti, perché l’esperienza umana, gli oggetti, la civiltà e la storia sono una convenzione di gruppi, come dimostrano le varietà antropologiche di una regione rispetto alla sua limitrofa, a partire da analoghi principi antropocentrici. A diverse latitudini convivono la civiltà cinese e quella greca, l’oriente e l’occidente, per l’inganno del tempo che in realtà non appartiene alle convenzioni e corre rettilineo, come dimostra l’invecchiamento inarrestabile del nostro corpo. Le civiltà si sovrappongono, vivono nello stesso tempo e parallelamente, ma si difendono con confini, mura, fiumi, montagne e muraglie, e anche con pareti di appartamenti.

 

 

 

 

Antropocentrico è anche “niramocentrico”. È la stessa posizione che nel sesto secolo avanti Cristo aveva dichiarato Senofane, dubitando con ragionevolezza dell’esistenza degli dèi, o almeno di quelli di un Olimpo costruito a immagine e somiglianza dell’uomo greco: «Gli uomini credono che gli dèi hanno avuto nascita e hanno voce e corpo simili al loro… perciò gli Etiopi fanno i loro dèi camusi e neri, i Traci dicono che hanno occhi azzurri e capelli rossi; e anche i buoi, i cavalli e i leoni, se potessero, immaginerebbero i loro dèi a loro somiglianza. I poeti hanno incoraggiato questa credenza. Omero ed Esìodo hanno attribuito agli dèi anche ciò che è oggetto di vergogna e di biasimo fra gli uomini: torti, adulteri e reciproci inganni».

 

Romeo Niram come Senofane sa perfettamente che niente è relativo come ciò che presume di essere assoluto, e per questo assume ad assoluto il suo particolarissimo relativo, e lo consacra con una inesauribile enciclopedia di realizzazioni dove anche l’ironia non è un ingrediente personale ma una categoria universale. È certo che la sua immagine del mondo è governata da un’idea demiurgica, e che egli si pone come una divinità che dia ordine e legge, statuti e norme di applicazione alla creazione, per toglierla dall’anarchia e dal caos di ogni altra possibile sistemazione e amministrazione. Il suo linguaggio spiega senza spiegare, affermando programmaticamente differenze e traducibilità di forme che non intaccano la sostanza. È un modo sottile per avvisare che il suo mondo non esiste e non è “parlabile”, allo stesso modo che non esiste il nostro o qualunque altro la cui comprensibilità è puramente convenzionale. Partendo da queste premesse anche il mondo di Romeo Niram è pienamente comprensibile e, per così dire, vivibile; niente affatto surreale, come potrebbe apparire sulle prime.

 

L’opera compiuta è un vero e proprio sistema filosofico, dove nulla è casuale, istintivo o spontaneo perché Romeo Niram, nella scoperta di territori o pianeti mai prima esplorati dall’arte, non ha mai sprecato e non spreca nulla nella gratuità. Per lui l’Arte è una montagna di dimensioni e ambizioni enormi, per lui l’Arte è continua origine di meravigliose realizzazioni e di illimitate potenzialità.

 

 

.................................................................

 

Niram, Brancusi y Einstein


Por Caitlin Periou - crítica de arte


 

 

Romeo Niram está llamado a hacer progresar la cultura con su trabajo artístico. Romeo Niram creó Niram Art, una revista de bellas artes, y recibió un Trofeo para la Mejor Revista de Artes en Portugal en 2007. A través de su participación en otros proyectos como Espacio Niram, Niram sigue promoviendo la cultura y el arte. En 2009 y 2010 Romeo Niram recibió el Premio de MAC (Movimiento de Arte Contemporáneo de Portugal) para la Promoción Cultural por sus esfuerzos.

 

Nacido en 1974, Romeo Niram, en su serie Brancusi E=MC2, se remonta a otro artista famoso. Resulta evidente que la inspiración de Niram en gran parte viene del trabajo de Brancusi pero también del trabajo científico de Albert Einstein. En esta colección, Niram se esfuerza por unir la física y el arte combinando los ideales de Albert Einstein con las de Constantin Brancusi.

 

En "El Comienzo del Mundo", Romeo Niram coloca el retrato de Albert Einstein a través del de Brancusi. En medio de los retratos, las obras maestras de ambos se encuentran ocupando el espacio central. El "Origen de la tierra" de Brancusi muestra la atención que el artista presta a la importancia tanto del pedestal así como de la escultura. Niram inscribe en este pedestal la fórmula de Albert Einstein E=MC2.

 

La inspiración de Romeo Niram en Einstein así como en Brancusi aparece por todas partes de la serie "Brancusi E=MC2", tanto con "Madamme Pogany 1930" como "La ley de la Relatividad". Con estos trabajos Niram coherentemente alude a Einstein y Brancusi, con las esculturas de Brancusi que acontecen de nuevo en sus pinturas así como las teorías de Einstein.

 

Al igual que las obras de Brancusi, las pinturas de Romeo Niram plantean la misma pregunta, ¿dónde comienza y termina la obra? Varios de los trabajos de Niram difuminan la frontera entre la pintura y el espectador, del mismo modo que el trabajo de Brancusi traía consigo la pregunta: "¿dónde comienza la escultura y dónde termina el pedestal? ".

 

En "El Comienzo del Mundo", "Yo" y "La musa dormida" esta pregunta emerge de forma más destacada. El trabajo de Romeo Niram muestra al espectador una pintura de un artista que pinta un retrato, pero, ¿es el retrato lo que el espectador debería ver o la pintura misma? Este divertido juego tiene referencias a las "Meninas" de Diego de Velázquez, donde el espectador ve al pintor así como al sujeto en acción.

 

Todas las obras de Romeo Niram son un desafío a la mente del público. Él constantemente presiona al espectador con el fin de que piense que está presenciando un conocimiento profundo de historia de arte así como una actitud de modernidad. Niram mezcla la ciencia y el arte con colores ricos e imágenes para dar su arte una personal dinámica terrenal.

 

 

Caitlin Periou es crítica de arte estadounidense, nacida en Covington, Louisiana, que actualmente vive y trabaja en Baton

 

 

 

 

.................................................................................

 

Niram, Brancusi et Einstein

 

Caitlin Periou - critique d'art

 

Romeo Niram a été crédité pour faire de grands progrès pour la culture roumaine à travers ses œuvres. Romeo Niram créé Niram Art, un magazine Beaux-arts, et a reçu un trophée pour le meilleur Arts Magazine au Portugal en 2007. En raison de son implication dans d'autres projets tels que Espacio Niram, Niram continue de promouvoir la culture roumaine et de l'art. En 2009, Romeo Niram a reçu le Prix MAC pour la promotion culturelle pour ses efforts. Né en Roumanie en 1974, Roméo Niram renvoie à un autre célèbre artiste roumain Brancusi dans sa collection E = MC2 à partir de 2007. De toute évidence, la grande inspiration de Niram vient a partie de l'œuvre de Brancusi, ainsi que les travaux scientifiques d'Albert Einstein.

 

Dans cette collection, Niram cherche à connecter la physique et de l'art en combinant les idéaux d'Albert Einstein avec celle de Constantin Brancusi. Au ¨Commencement de la Terre¨, Romeo Niram lieux portrait d'Albert Einstein en face de Brancusi. Entre leurs portraits, deux chefs-d'œuvre des hommes assis dans l'espace central. Le Commencement de la Terre de Brancusi montre l'attention de l'artiste à l'importance de la colonne ainsi que la sculpture. Niram a qualifié ce piédestal avec le formule d'Albert Einstein E = MC2.

 

Romeo Niram inspiration d'Einstein ainsi que Brancusi apparaissent dans la collection Brancusi E = MC2, avec Miss Pogany 1930, ainsi que la loi de la relativité. Dans ces œuvres Niram fait allusion constante d'Einstein et de Brancusi, avec des sculptures de Brancusi récurrents dans ses peintures ainsi que les théories d'Einstein.

 

Bien que, comme avec le travail de Brancusi, les peintures de Romeo Niram posent la même question, d'où vient ce travail et comment se terminent? Plusieurs œuvres de Niram brouiller la ligne entre la peinture et le spectateur, tout comme le travail de Brancusi amène la question suivante: "où commencent et se terminent la sculpture et le piédestal? Au ¨Commencement de la Terre et la Muse Endormie cette question semble plus en évidence. Les travaux de Romeo Niram montre au spectateur un tableau d'un artiste peintre un autre portrait, mais est-ce le portrait le spectateur devrait être vu ou la peinture de son auto? Ce jeu ludique remonte à Diego Vélasquez Las Meninas où le spectateur voit le peintre, ainsi que l'objet en action.

 

Toutes les œuvres de Romeo Niram semblent s'efforcer de défi l'esprit de son auditoire. Il ne cessait de pressions le spectateur à penser qu'il propose au spectateur une profonde connaissance de l'histoire de l'art ainsi que flair de la modernité. Niram mêle science et l'art avec des couleurs riches et des images pour donner à son art un monde encore dynamique - personnelle.

 

 

 

 

 

Caitlin Periou est critique d'art, né à Covington, Louisiana. Actuellement, elle vit et travaille à Baton Rouge.






Einstein's Lesson


by Dan Caragea


Contemporanul Magazine, Bucharest


DAN CARAGEA; REV.Contemporanul

 

 

English Translation by N.C.

 

 

"The aesthetics of the hyper-spherical Universe will continue to fascinate the spirits for a long time" (Jacques Merleau-Ponty, The Cosmology of the XXth Century)

 

 

 

Being only a mere curious reader cosmologic matters, without any academic preparation in Physics, Mathematics or Astronomy, I have to appeal to the skilled reader's lenience, by confessing, from the start, that I have only read, throughout the years, studies considered easy. This is why the laymen will best understand me. The only direct source for the following lines, which my mind can better digest, is the "booklet" written by Albert Einstein for the profane readers: Über die spezielle und allgemeine Relativitätstheorie / On the Theory of Special and General Relativity, and also published, in several editions, in Spain: (Sobre la Teoría de la Relatividad Especial y General, Altaya, 1998).

 

Furthermore, I believe that the book would have gained dust in that bewildering collection "Great Works of Contemporary Thought" of my library, if the painter Romeo Niram hadn't put under my eyes the equation of energy under a new paternity:  Brancusi: E = mc2

 

I could grind my teeth, smile mockingly or with an air of paternal generosity, I could smartly raise my eyebrows or utter some anecdotic phrases - the die had been cast. So, without any choice, I had to return, like in the old times, to lesson.

 

In such a situation, I find of great help L. Boltzmann's advice (quoted by Einstein in the foreword), to leave the elegance of the style to the tailors and the shoemakers   and to follow the untwisted line of the ideas.

 

The principle of the (limited) relativity seems simple: if K' is a system of coordinates that moves uniformly and without spinning in relation to another system of coordinates K (they are systems of Galilean coordinates), then the natural phenomena will occur in relation to K' under the same general laws as to K.

 

Consequently, any general law of nature will have to be constructed in such a way so that it may transform itself in a law of identical structure if we introduce in the place of the spatial and temporal variables (x, y, z, t) new ones (x', y', t'. x') that belong to the K' system. Thus, "the general laws of nature are co-variants to Lorenz' transformation". Of course, the last part of the sentence remains obscure to the inexpert. We could understand, however, a consequence of this transformation: one may conclude that the law of the propagation of light in void is the same for both referential systems, K and K'.

 

The above paragraph (less the example, of course) is Einstein's formulation of the theory of special relativity. One of the most important results of this theory regards the mass concept. Accordingly, the theory of relativity make the principle of the conservation of the mass and the principle of conservation of the energy, distinct in classical mechanics, merge into one and the same: E = mc2. (We are considering, of course, a body that neither absorbs nor emits energy). "The mysterious letters" are: energy, mass and the square of the speed of light. 

 

Although the equation, as it was later noticed, has certain symmetry, the idea of the transformation of mass into energy and energy into mass - the mass - energy concept - is fundamental for many of Niram's paintings presented at the Lisbon exhibition. Furthermore, I would dare say that for the artist it is the Law of the Universe itself.

 

We find it in Brancusi: E = mc2, I, written on the work table, above Narcissus in the unusual studio  (combination between Brancusi's studio from Impasse Ronsin nº 8 and the painter's own studio), on the Gate of the Kiss ("stripped" of motifs, with the exception of that "egg" of fusion that is cut in the style of the Column, a metaphor, with Niram, of the space-time concept); we encounter it in Genius, we suspect it present in the "future" issue of Niram Art Magazine or encrypted on the portal - rug in Brancusi: E = mc2, II,; we read it with clarity, doubled, on the support of the ovoid  in The Beginning of the World; we observe it, proclaimed, in Cosmos, Die Gottesformel and Hologram; we sense it in the "radiations" present in  all these paintings and, above all, in the clepsydras of Niram's Column, forever "neighbouring" the light… It is the Equation!

 

Let us pass now, to the other fundamental concept, that of space-time. The world is quadridimensional, as Minkowski showed, and, in this World, Einstein brings into discussion the equality between the inertial and the gravitational mass. The system of coordinates to which we could relate to now becomes Gaussian (curved), consequently: "All Gaussian systems are, essentially, equivalent regarding the formulation of the general laws of nature". This is the principle of general relativity. In such referential frame, the body of reference (the system of coordinates) gets deformed, turning into a "mollusk of reference", in the author's own words. Only now do we tremble at the idea of the tridimensional spherical space (discovered by B. Riemann) and realize that we have been able to sense the form of this "paradox": a space of finite volume but without limits (like a tube). However, in the theory of general relativity, the geometric properties of space are no longer independent but conditioned by matter.  That is, if the distribution of matter in the Universe were uniform (ignoring local concentrations), space should be spherical (quasi elliptical), Einstein tells us. As the distribution is not locally uniform, then, locally, the real space will be quasi spherical. This is how the "booklet" ends.


Without too much rambling (and without the necessary harshness of Physics), we could say that this image of Einstein's Universe is equaled by Romeo Niram to Brancusi's ovoid, present, through variations and succedanea, in most of the paintings of this exhibition. Moreover, we could confirm it by the cosmological theory of the Belgian Lemaitre (of the "primordial atom"), by the one of the Russian-American Gamow (the big-bang) and so on.  The paternity has been, therefore, masterfully inverted by the painter.

 

Hence, by synthesis of the myths, of millenary sciences and also of the ones closer to our times, thanks to his brilliant artistic intuition, Brancusi "elevates" the old geometry (preserved on the peasant rugs, for instance) to the purity of the Riemannian geometry, thus "discovering", avant la datte, the primordial form of the Universe (Sculpture for the Blind / The Beginning of the World dates from 1916 but it is formally implied much earlier). This is how  r Niram the ovoid turns into the formal quintessence of the micro and macro cosmos.

 

For, if time keeps its infinity, Einstein says, space, although unlimited, tends to close itself. Thus, his equations admit a metric structure where space is hyper-spherical, positive, closed, while time remains open, without affecting the curvature of the space. In Einstein's Universe, matter is, at a colossal scale, statistically, at rest. Brancusi´s cosmogony doesn't seem to contradict it.


"By having incorporated the phenomenon of light into his sculptures of polished bronze, he (Brancusi) succeeded in ending the disagreement that seemed unsolvable between spatial extension and thought" (V. G. Paleolog, op. cit., p. 120). To sum up, Niram graphically demonstrates that this is also Einstein's thrilling lesson of Physics.






Niram's Lesson


by Dan Caragea, Timpul Magazine


Niram’s Lesson by Dan Caragea



English Translation by N.C.



"What Mallarmé and Joyce did in the field of the  Letters, Cézanne and the Montparnasse movement in that of Fine Arts, Satie and those from Arcueil in that of Music, Jeanes, Heisenberg and Einstein in the field of Mathematics and Philosophy, Brancusi did in the field of Sculpture". V.G. Paleolog, Brancusi-Brancusi, Scrisul Romanesc, Craiova, 1976


The art of Romeo Niram is, above all, a provocation. His public will have to go beyond its comprehensible limitations and the "repulsive" perplexity caused by the presence of the portraits of several personalities, but, especially, of some contemporaries and acquaintances of the artist himself.  (Here I am, staring at myself in one of the key-paintings of the exhibition and I fail to come to terms in a reasonable manner with the idea that I am being looked at and recognized). Therefore, the lucid exit out of this emotional trap can only be achieved malgré le public.

 

I cannot decide, at this point, on the number of those who will take true interest in this new and intriguing artistic vision. Nevertheless, I would say that my meditations regarding the art of Romeo Niram have led me to unexpected discoveries, taking as a starting point the holographic understanding of his work. This is due to the fact that with Niram we have both a folded and an unfolded order on his canvases which call for thorough investigation.

 

Romeo Niram is one of the few artists nowadays who decides to embark upon an original journey, bringing "heavy" problems into the space of the Fine Arts.

 

The first of these problems (the historical) would be the return to wisdom, to lesson, in the way it used to be done in European painting at the beginning of the Renaissance, period dominated by that unsolvable confrontation between the critical conscience and the tragic existence.

 

The second problem (the formal) has to do with the temptation of madness, with a profusion of the senses, with a network of connotations that may be at the risk of losing its shape out of a referential excess which calls for a median, patient, diligent eye.

 

The third problem (the epistemological) regards the appeal to science, obvious in his work whose cycles are, until now: the Conscience (Essay on Non-Lucidity), the Other (Symbiosis, Humanographia), Humanity (Essay on Lucidity) and the Universe (Brancusi: E = mc2).

 

In the following pages, I shall I only dwell upon the last series although it does hold innumerous resemblances to the anterior cycles, as we shall notice.

 

 

Firstly, let us ask ourselves what is the place of the Other, as a character, not a Model, in the pictorial exposition of Romeo Niram?

 

Imposed in "Essay on Lucidity", the Other returns to this cycle and, and, apparently, will also maintain its presence in the near future. What are its grounds and concretization?

 

The motivational spring that stimulates Niram's imagination is admiration. "I admire, therefore I imagine" the painter could very well rephrase.  His exercises of admiration, in the sense of E.M. Cioran, become exercises of imagination that genetically structure his imaginary. This is how the endeavour is born, with Niram, out of this ek-static articulation, the graphic essay, as we may call it, under the sign of lucidity and knowledge.

 

The emotion, more discreet in the order displayed on the canvases, "slips" into the spectator, expanding, empathically, out of its own motivational impulse.  The condition for this mechanics of reception would be the following: we vibrate with the artist provided that we carry within ourselves a genuine emotional predisposition for the theme tackled. Under this condition, communication becomes easy, instantaneous because at least one of his characters belongs to the public domain. Who would not recognize, in Portugal, Camoes, Fernando Pessoa or José Saramago, represented in Essay on Lucidity?

 

However, a restraint may occur when the main character are unfamiliar to the public (the Portuguese one, in our example). It is the case of Brancusi, known only to a handful of more cultivated local people.

 

We could, naturally, invert the comparison and take as a reference the Romanian public. The situation would not improve - any public having the right to clamor, with ingenuity, its ignorance. Yet, we cannot affirm that it is a true barrier in the reception of the work because it generally gets confused with the referential limits of any spectator. No matter the geographical space, culture filters the access. Therefore, the cultural demands imposed on the spectator appear to be fully justified.

 

However, the restraint occurs when we pass to the secondary characters that the artist unexpectedly takes from his entourage. How does celebrity cope with anonymity and how is it the painter seems undisturbed by these "scandalous" associations?

 

Accused of increased limitations in the form of communication with the public, suspected of upheaval of values, intellectualism and provocation, Romeo Niram answered with a disarming smile to the scarcely uttered criticism, at the opening of an exhibition: "It is only oil on canvas!" Should we believe him? Should we hastily take relativity as a relativization of the world? I find it hardly tempting.

 

I could not find anywhere, in all that it has been written on Romeo Niram so far, a satisfactory explanation for such preference. In this kind of uncomfortable situations, only two solutions are possible: the tacit acceptance of the arbitrary situation or the attempt of an explanatory hypothesis. Let us dare, then.

 

Throughout the long tradition of the European portrait we have come across, from Renaissance until nowadays, three types of characters: celebrities, anonyms and self-models. Niram is not, from this point of view, an exception. But nobody (if my memory helps me) has thought of proposing all three of them together, as our painter does.

 

Let us dwell upon the painting Brancusi: E=mc2, I, one of the emblems of the exhibition, where we find such a triplet. A critic (Catalin Ghita) noticed, not without certain finesse, that Niram narcissistically projects himself in the Other (character). We would consequently have "portraits in effigy", sustains the critic.  Can this be the solution we have been searching for? I am not by any means convinced.

 

I base my justification on the fact that the painter has violated, in several occasions (see Humanographia), the rule of his objective absence by self-portrait. In Brancusi: E=mc2, I, the artist emphatically draws the hand that is painting the portrait of the Other, a fact that, metonymically, leads us once again to self-portrait. The details (the rings on his fingers are indisputable for those who know him).

 

Well, if Niram paints himself whenever and wherever he wishes, then the idea of the Other being a substitute for self-representation seems unjustified to me.  Following the same line of thought and slightly forcing the note, Brancusi and Einstein could have also been, narcissistically speaking "effigies", which is embarrassing, to say the least. As his characters are also women, even different ones (see Miss Pogany 1912 - 1913 and 1930), the expansion of narcissism would erase all traces of identity. This sort of interpretational line is undoubtedly absurd and contradictory should we compare the "supposition" with the painter's technical realism.

 

This is why I believe we are, obviously and necessarily, in front of a triangle. Take a look, as a suggestion, at the position of the brushes on the painter's table in Brancusi: E=mc2, I. Hence, the dialogue with the celebrity becomes, with Niram, a dialogue in three. Therefore, the second character (the contemporary one) is not the artist "in effigy" but a self-standing character.

 

Thus, his exercises of admiration are facilitated by another person, closer to the artist emotionally, and they scrutinize knowledge and recognition together. A second conscience. A mentor, a witness, a mediator if you want.

 

Pedagogically speaking, we, humans, only learn from those whom we have invested with the authority of teaching, but who should not be identified, in their turns, with the knowledge itself. They recognize us in the originality and uniqueness of our being, they love and admire us, and they reveal to us the tables of the knowledge whose authors we become by an amazing transfer of grace. This is how we obtain knowledge - always by the mediation of another person. We become the authors of our own reflections provided that another person had existed and also assumed himself as an author, avoiding the identification of oneself with knowledge. In the same way, the confused spectator will receive, by the mediation of the canvases, the tender understanding of the work.

 

It is this, in my vision, the sense of the portraitist triangle from Brancusi: E=mc2, I. This is, in the pedagogy of reception, the lesson.  Niram's lesson, evidently…

 





"Die Gottesformel"


Dan Caragea / Agero


Translation into English by N.C.


 

In 1508, under the protection of the severe Pope Julius II, Michelangelo (who had begun to sign by that time with the name “sculptor”, too) started, with confessed difficulty and against his inner impulses of a “carver”, the decoration of the ceiling of the Sistine Chapel in Vatican, a mural work that has remained unequalled in all the history of painting.

 

It was only Michelangelo who, 15 years later, managed to outrun himself when, at the insistence of Paul III, decided to paint, in 1537, the Last Judgement, the colossal fresco that covers the back wall of the chapel. It took Michelangelo four years to perfect his talent, taking it beyond the known boundaries of artistic audacity. We can see his exaggerated and energetic anthropomorphism everywhere: a superworld of muscular, naked athletes, either triumphant or damned. Nobody until him, and much time afterwards, had dared throw out of the sky the fearful and pious “flabbiness” that springs out of the Christian feeling of the being, and to replace it with the paranoid and arrogant “vigor” born out of his own Bible on Man. With Michelangelo, energetic personalism, if I am allowed the expression, reaches its artistic plenitude.

 

400 years later, Constantin Brancusi will “overthrow” the Renaissance artist’s grandiloquence by fiercely opposing it with a new paradigm of sculptural masterfulness, replacing the anthropomorphic with the scheumorphic. In other words, his art will voyage down into the abysm of the mind and the senses in order to reveal the Idea and the Symbol, united in the universality of the Form. Brancusi’s answer, like Einstein’s in Physics is, therefore, a new formula.

 

Die Gottesformel (God’s Formula) should be looked at starting with the second ground where Niram places a creationist diptych (the same canvas upside down as in The Law of Relativity): religion and science are now facing each other.  On the right side of this “painting within painting” the artist draw, after the ceiling of the Sistine Chapel, the birth of Adam, the first man. On the left, however, there is a Goddess (I think this may be the appropriate term) whose facial features hardly belong to the Renaissance and who releases Einstein’s formula of energy. Both Gods are surrounded by a retinue of infants and children. We are, without any doubt, in front of an artistic heresy. Is this a mere whim?  Of course not. The creation of the World is, according to Niram, double, fruit of the Supreme Couple (the masculine and the feminine as arch principles) who gives birth to the physical Universe (matter and energy), the Noetic (religion and science) Universe and the Human one (body and soul). With Niram, energy, science and alma (soul) are feminine, whereas earth (matter), the sacred (religion) and the body are masculine. The Universe, as well as the Man, is nothing but the germination of these interferences.


Allow me to transcribe, according to my knowledge, this niramian Genesis in 6 tempos (the clocks figured in the background).

 

1. In the beginning the Goddess created a small, dense and hot egg. The first hour.

 

2. And the space was without form, and void; and darkness was upon the face of the deep.

 

3. And the Goddess said: "Let there be light!" And she set free the Formula of Energy into the emptiness. The egg exploded and divided the light from the darkness. The second hour.

 

4. And the Goddess saw that the Energy was good. And the Energy transformed itself into Matter.

 

5. And the first star was born. And then another one, and then thousands of thousands of stars. It was the New Year of the Universe. The third hour.

 

6. And then the Earth was born. And God called the dry land Earth and the Goddess called the gathering together of the waters Seas. It was late September. And they saw that it was good. The fourth hour.

 

7. And then God said to the Goddess: "Let the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after his kind, whose seed is in itself, upon the earth". And it was so.

 

8. And the earth brought forth, by will of the Goddess, grass, and herb yielding seed after his kind, and the tree yielding fruit, whose seed was in itself, after his kind: and they saw that it was good. The fifth hour.

 

9. And then God said to the Goddess: "By your will, let the waters bring forth abundantly the moving creature that hath life, and fowl that may fly above the earth in the open firmament of heaven; and it was so.

 

10. And there were born the great whales in waters and the dinosaurs on Earth. It was the 26th of December, but the dinosaurs disappeared after four days, because they were too big and God and the Goddess saw it was not good. And it was so.

 

11.  And then God said to the Goddess: "Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth!" Time: 8 minutes until midnight, the last day of the year.

 

12.  So they created man in God's own image, in the image of God created they him; and they created woman in the Goddess' own image. And then they said unto them: "Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth!" The sixth hour.

 

13.  And on the seventh day God and the Goddess ended their work which they had made; and they rested on the seventh day from all their work which they had made.

 

The History of the World happens, in this “apocryphal” Genesis, condensed within an earthly year because we have almost a “synchrony” on the canvas. The background is, with Niram, the Universe itself where we can sense the curved space (graphically figured with primitive rhomboidal and radiant geometries, like on the Wallachian rugs), the infinite time (represented by the 6 clocks), Gamow’s big-bang and the Supreme Deity of Creation (the primordial feminine principle, Eve), resting, with her back turned, her image reflecting itself in her own space. The God of the Bible does not belong to this physical Universe but only to the “narrated” one of the human, creationist myth.

 

In the foreground of the painting, Romeo Niram transposes Brancusi’s The Beginning of the World, painted as in Cosmos. On it,  as if in a mirror, we can notice Einstein’s tables (the new Moses), with the First Law of Physics and the dictating finger of the Supreme Being (we note down, offhandedly, that the references to God’s hand or finger were “wiped out” from the Greek translation of the Old Testament). Indirectly, Niram proclaims a new world and a renewed credo. New visions will be perhaps imprinted upon the future canvas of human representations (the diptych), taking the place of the old, expired “icons” with already damaged edges. Nevertheless, man will continue to dream, create, hope, no matter what his answer to that “Where are we going?” may be.






Brancusi, Einstein y el origen del universo


Prof. Dra. Begoña Fernández Cabaleiro


Asociación Española de los Críticos de Arte


Miembro AICA (Asociación Internacional de Críticos de Arte)


VIGOMETROPOLITANO

 

 

 

A través de trece obras se recorre el proceso desde el que la inquietud inicial de Brancusi duerme aún en su mente, hasta su total expresión artística primero y científica años más tarde, cuando la comunidad cultural reconoce la teoría formulada por Einstein como una ley. En el desarrollo de este proceso Niram crea un lenguaje propio, de símbolos y de color, que dan la llave para la "lectura" de su obra. Antes del principio del mundo. La musa duerme aún. Brancusi está preocupado por llegar al origen. El espacio ovoide original tiene un cuerpo pero todavía no una cabeza. La figura femenina aún no está construida. La física está por rehacer (Musa durmiente). Es muy notable la presencia de lo femenino en todo el conjunto de la obra. La física es una figura de mujer. Evoluciona en el rostro de una mujer. "La mujer es más práctica. Se asemeja más a la ciencia".

 

Cada obra está realizada sobre lienzo pero cada lienzo está rodeado por tejidos procedentes del trabajo arduo, minucioso y cuidado, ancestral en algunos casos, de mujeres rumanas del mundo rural. El trabajo abstracto y general se une inevitablemente con la tarea concreta y minuciosa. La figura femenina, con la mujer rumana de trabajo duro y oculto. El físico universal con el artista rumano universal. Rumanía, con el mundo hebreo en símbolos tan claros como el propio Einstein o la mano ejecutora de un artista que muestra la Estrella de David en su anillo (Brancusi E=mc2).

 

En este mundo de ideas expresadas con el orden de un lenguaje bien definido desde el principio, también juega la herramienta del color. Luz cálida y terrena. Genio muestra la riqueza lírica que se puede alcanzar experimentando con el color, en toda una gama de degradados y chorreos. Y, presentes, los dos genios, Brancusi y las coordenadas del "taller de trabajo" de Einstein. Porque Einstein tenía como taller un simple cuaderno sobre el que cruzaba dos líneas coordenadas.

 

El diálogo entre estos elementos es hilo conductor del conjunto. Brancusi y Einstein trabajan sobre ese cuerpo de mujer, la física, con el rostro cubierto. En dos lugares distintos, sin verse, sin conocerse ni comunicarse, trabajan en el mismo tema. Miss Pogany los contempla. La cultura, ávida de escribir sobre ellos, también (Ley de la relatividad).

 

Comienzo del mundo une los rostros descubiertos de Brancusi y Einstein. El soporte físico creado por Brancusi para el óvalo que es origen del mundo, contiene la fórmula de Einstein. Y el espacio esférico sostiene al huevo cósmico. Los tejidos más antiguos y de combinación geométrica más rica completan esta escena. La metáfora femenina, el trabajo más arduo, el resultado más rico. Brancusi E=mc2 II, presenta de nuevo el rostro de Einstein y de nuevo se entrelaza con los tejidos más elaborados y antiguos del trabajo rumano femenino. La física se enlaza con los genios. El tapiz alarga sus líneas entre el rostro de Einstein, el taller de Brancusi y el de Niram.

 

El lirismo es mayor en Brancusi E=mc2 I. El fruto del tapiz es alegoría de La puerta del Beso. La fórmula de Einstein sobre el dosel. El taller de Brancusi. La lírica del tiempo en el reloj de arena semejante a La columna infinita. El desordenado taller de Niram, lírica de la ardua creación artística. Su mano realiza el retrato que representa a 1980, año en que la comunidad científica acepta que esa ecuación es el origen de la vida. Las dos semblanzas del artista aparecen entre La puerta del Beso y entre los tapices más elaborados y antiguos de los realizados por las mujeres rumanas, en Brancusi E=mc2 II. Lo femenino alcanza ahí su plenitud. Se entrelaza perfectamente y en ordenada continuidad de líneas dibujadas, con el rostro de Einstein y La columna infinita de Brancusi. Ahora, en el taller de Niram no hay desorden sino un ejemplar de Niram Art porque, cuando la obra está acabada, aparece su crítica, su análisis. La edición literaria. Lo lírico de la creación ha dado paso al orden del resultado. (Pero Niram, hebreo como Einstein, artista rumano como Brancusi, ¿Por qué se introduce?, ¿se equipara en un arranque de inmodestia? o ¿es como un simple y duro trabajador entre las teorías de ambos?).

 

Entre Holograma y Cosmos también cabe la posibilidad de hacer un análisis paralelo. Cosmos. De nuevo las coordenadas que definen el taller de Einstein. El ovoide que es origen del mundo brancusiano, al fotografiarlo, recoge la imagen que se refleja en él y que, en realidad, es metáfora de su contenido intelectual. Albert Einstein recibe la fórmula del origen -las Tablas de la Ley- de la mano divina que se la desvela. La elipse que sirve de soporte no está aún delimitada, perfilada. No se puede decir más con menos colores. El fondo negro del universo aún oscuro y la materia drapeada flotando. Holograma. El iris esférico contiene en la pupila el ovoide original sostenido por la elipse del universo. Su soporte es la ecuación einsteiniana. Como un rayo láser que permita mirar en un solo punto el conjunto de la pieza, también el artista, en palabras del poeta:

 

Siempre es todo ojos.

 

No te quita ojos.

 

Se come las palabras con los ojos.

 

Él, el siete ojos.

 

Es el cien mil ojos en dos ojos.

 

El gran mirón

 

Como un botón marrón.

 

Y otro botón.

 

El ojo de la cerradura

 

Por el que se ve la pintura[1].

 

 

Es quizás por eso por lo que Brancusi no mostró nada nuevo. Mostró de una forma nueva.

 

[1] ALBERTI, Rafael: Picasso, el rayo que no cesa. Barcelona, Ed. Polígrafa, 1975.

 



 

Pintura y escultura. Espacio y volumen


Revista Almiar - Margen Cero



por  Begoña Fernández Cabaleiro




Comunicación presentada por la autora a la inauguración de la exposición de pintura "Brancusi: E=mc2" de Romeo Niram, organizada por el  ICR Madrid, Nov. 2007


 

La exposición del pintor Romeo Niram "Brancusi: E=mc2" tiene como idea fundamental establecer una relación entre el pensamiento de Einstein y la obra del escultor Brancusi. Niram traduce esta relación y la consiguiente escultura de Brancusi a pintura.

 

El planteamiento de la obra de Niram me llevó a introducir su obra a través de un anális -somero- del concepto de espacio en la pintura occidental y su traducción a volumen en la escultura de cada periodo.

 

La pintura se ha desarrollado tradicionalmente sobre una superficie plana. Con el paso del tiempo, sin embargo, y siguiendo los datos que la ciencia iba aportando sobre el concepto de espacio, los artistas fueron cambiando su técnica de ejecución y llegaron a crear el efecto de tridimensionalidad sobre superficies bidimensionales. A partir de ahí, los experimentos e innovaciones fueron constantes. Igualmente, la traducción a escultura de las formas de cada etapa planteó sus propios problemas. Poniendo en contacto el pasado y la contemporaneidad se puede analizar cada momento con sus problemas característicos.





Reflexoes a exposiçao de pintura Brancusi E=mc2


por Dan Caragea / Revista Agero, Folheto Exposiçao ICR Lisboa

  •  

«O que fizeram Mallarmé e Joyce nas letras, Cézanne e o movimento de Montparnasse na pintura, Satie e os de Arcueil na música, Jeanes, Heisenberg e Einstein nas matemáticas e filosofia, Brâncusi fê-lo na escultura.»

V.G. Paleolog, Brâncusi-Brâncusi, Scrisul Românesc, Craiova, 1976

  •  
  •  

A arte plástica de Romeo Niram é, antes de mais, uma provocação. O seu público deverá ultrapassar os limites compreensivos e a perplexidade „repulsiva” que a presença dos retratos de algumas personalidades, mas também de contemporâneos e íntimos do artista pode provocar. (Vejo-me olhando para mim em um dos quadros chave da exposição e não consigo solucionar convenientemente a ideia de ser olhado e reconhecido). Por isso, a saída lúcida desta armadilha afectiva só pode fazer-se malgré le public.

 

Não consigo determinar por enquento o número daqueles que iram manifestar um verdadeiro interesse por esta nova e intrigante visão artística. No obstante, gostaria de dizer que as minhas meditações sobre a arte de Romeo Niram me conduziram a descobertas realmente inesperadas, partindo de um entendimento holográfico da sua obra. E isto porque existe em Niram uma ordem desenvolvida e uma ordem envolvida nas suas telas: o todo encontrar-se em fragmento tal como o tempo se concentra no momento.

 

Romeo Niram situa-se entre os muito poucos artistas de hoje que decidem um caminho original, trazendo problemas „duros” no espaço das artes plásticas.

 

O primeiro destes problemas (histórico) seria o regresso à sabedoria, à lição, tal como acontecia na pintura europeia antes do Renascimento, dominada por aquele trágico confronto entre consciência crítica e existência trágica.

 

O segundo problema (formal) estaria ligado à tentação da loucura, a uma profusão dos sentidos, a uma rede de significações que arrisca a perder a figura, devido a um excesso referencial, e que implica um olhar mediado paciente, de estudioso.

 

O terceiro problema (epistemológico) estaria ligado ao recurso à ciência, e cujos “ciclos” são, na minha opinião, a consciência («Ensaio sobre Não Lucidez»), o outro («Simbioses», «Humanografia»), a humanidade («Ensaio sobre Lucidez») e o Universo («Brâncu?i: E = mc2»).

 

Vou insistir apenas sobre o último tema/tentação desta exposição.

 

Niram aproxima, inverosimilmente para leigos, a teoria da relatividade geral do nascimento da escultura moderna, Einstein (e sucessores: Lemaître, Gamow, David Bohm) de Brâncu?i, no sentido da teoria cosmológica do Princípio do Mundo e dos conceitos subjacentes: tempo-espaço, matéria-energia. A forma geométrica deste começo parece ser, na visão de Niram, a esfera (k=+1), o ovóide, para assim dizer (o ovo continente e contido).

 

É, sem dúvida, necessária uma preparação mais demorada da parte do espectador, a insistência nos pormenores, para que ele se aproxime convenientemente das „soluções” do pintor aos problemas acima referidos.

 

Aqui e agora ordenámos apenas as direcções para as quais nos leva o pensamento, não podendo ocultar as implicações maiores desta provocação, por mais desnorteante que esta se revele ao olhos do público preguiçoso.

 

Niram surge, apesar da sensação de espanto e das polémicas que iram surgir, como um novo marco na arte contemporânea, no horizonte demasiado vasto e crítico do pós-modernismo.

 

Cogitemos em conjunto: não poderiam ser as nossas representações cerebrais (cuja abordagem faz-nos descer até Plotin), tal como sugere o neurólogo Karl Pribram, um certo estado do Universo?