Nicodim presents “DEMOFLASH II” featuring the art of Razvan Boar running through July 11, 2020 at its gallery in Bucharest, Romania. CLICK HERE to view. “That discourse one might call the poetry of transgression is also knowledge. He who transgresses not only breaks a rule. He goes somewhere that the others are not; and he knows something the others don’t know.” ― Georges Bataille, Story of the Eye. Razvan Boar’s “DEMOFLASH II” exists as a divided whole—two rooms, two realms of consciousness.
The first room is a massive free-form mural, completely executed in an oxygen-heavy blood red. Line drawings of partially-remembered comics by Andrea Pazienza and Herluf Bidstruf flirt with and defile matchsticks and Roman columns; a giant, male deviant with a phallic, dripping nose weeps at an apparent admonishment from an emaciated Mickey Mouse; an ample-bottomed woman seated on a tree stump somehow balanced on a powerline turns her back on bold letters spelling “RAZVAN” to consider a painting of a knife and the number 8. The sheer amount of visual information is a direct challenge to the narrative structure typically associated with the comic characters that populate the walls in the room. The words in the bubbles they speak are literal red herrings, cajoling the viewer to focus on semantics when The Big Picture is all around us.
Improvised drawing, for Boar, is The Big Picture, the language on which his practice is built. He calls this TOTALCOMMUNICATION—the ability to confront and convey his influences, nostalgia, joy, depression, grapplings with art history and his own role in it all at once, at maximum volume.
TOTALCOMMUNCATION, then, becomes the skeleton to which the second room gives flesh. Figures and forms, matchsticks and bones that were scrawled on the walls in the first room now colonize the second on raised canvases and sculptures that cover the floor, the dominant red ceding ground to softer shades of yellow, blue, green, and purple. In the third dimension, his curvy comic characters become reminiscent of Henry Moore or Dimitrie Paciurea, his matchstick heads become Brancusi’s beard. Here, Boar’s explosive, id-driven tendencies are given a comfortable-enough space in which to reside, more poetry to properly communicate their perversions. It’s nice to live there with them for a moment.
Razvan Boar (b.1982, Lugoj, Romania) lives and works in Bucharest, Romania. Boar received his MFA in painting from the National University of Arts in Bucharest, Romania. In 2011, Boar was the recipient of the Constantin Brancusi fellowship at Cite Internationale des Arts, Paris, granted by the Romanian Cultural Institute. Recent solo exhibitions include DEMO FLASH, Passerelle Centre d’Art Contemporain, Brest, France (2019, solo); EZ Valley, Nicodim Gallery, Los Angeles (2017, solo); STUMP LUNCH, Ibid Gallery, London, United Kingdom (2015, solo); and Cameo, Ana Cristea Gallery, New York (2013, solo). On view thru May 28 – July 11, 2020; http://www.nicodimgallery.com/