Cuando el ser humano se enfrenta con realidades que tienen en el cosmos su origen



Por Salvatore Russo - Crítico y Conservador de Arte

 

Escribir sobre Romeo Niram no es sencillo. Estamos hablando de un artista que ha sido capaz de desarrollar un lenguaje de todo punto personal para expresar sus ideas. Un artista ligado a la figuración conceptual que abandona la figuración clásica para proyectar al hombre a enfrentarse directamente con una realidad inmaterial identificable en el cosmos. Niram, a pesar de su juventud, ha sabido confrontar los problemas actuales que afrontan sus colegas contemporáneos de manera, en mi opinión, muy superficial. Como ejemplo, analizando su ciclo pictórico "Humanografía" podemos percibir una Donna que, consciente de su belleza, se muestra segura de sí misma, tanto como para desafiar con su mirada al hombre que sucumbe al deseo. En este ciclo se abandona el componente erótico al preferirse una suerte de conciencia racional que lleva la mujer al mostrarse, al mismo tiempo, como la única dueña de su cuerpo. A través de un juego de perspectivas de luces y sombras Romeo Niram busca trazar un hipotético laberinto mental en el cual el espectador se convierte en protagonista. Estas figuras no son sólo objeto de la mirada, sino de un comentario de modo tal que expresen un juicio de valor sobre el verdadero mensaje que el artista intenta transmitir a través del velo de una luz que a veces "invade" la figura y otras la "silencia" ocultándola dentro del misterio de la oscuridad. Sería un error muy grave considerar a Niram un artista figurativo. A la perfección señalada de Boticelli en Niram se asocia toda la racionalidad y la conceptualidad del signo que encontramos en Emilio Vedova.

 

Muy interesante es también el ciclo "Diario Mircea Eliade". Niram nos lleva a recordar a los grandes del pasado. Cualquiera seguramente va a reconocer el acto de querer transformar la memoria individual en memoria colectiva cuyo significante se vuelve significado, y lo hace por medio del signo que para Fernand de Sassure constituía el emblema de la lingüística contemporanea. Signo y simbolo, sin embargo, que en Niram retornan a "escena" como la muy bella representación Goffmaniana, los grandes hombre del pasado como Camões, Pessoa, Saramago, Brancusi, Einstein etc. Así, en sus obras hay un hombre que no teme subirse al escenario y mostrar en qué se ha convertido. Bambalinas en que Romeo Niram prefiere dejar a todos aquellos artistas que tienen miedo de enseñar sobre su lienzo sus "confesiones" artística, prefiriendo un tipo de pintura comercial que, para mí, no les lleva a ninguna parte.

 

Bajo mi punto de vista, el ciclo más interesante es aquél dedicado a la connivencia entre Arte y Física. Me refiero a aquél en que se confronta a Constantin Brancusi con la Teoría de la Relatividad de Albert Einstein. El escultor rumano está muy unido al físico más famoso del mundo. El cosmos se reinterpreta por Niram sobre la base de los escritos de Einstein y de las obras de Brancusi. El cosmos se transforma en una entidad tangible que ahora sólo quiere ser leída. La musa dormida encuentra su hogar en el infinito. En una de sus representaciones, además, la figura de "Miguel Ángel" está a un paso de tocar aquella relatividad descrita en la fórmula E=mc2. Lo que Niram hace es una recolocación espacial del "ya" visualmente conocido. Pero su gran mérito es haber sabido narrar visualmente situaciones que residen en el caos racional de su mente. Por primera vez una importante ley de la Física se une al mundo del arte y el autor de esta gran empresa ahora tiene un nombre, el cual es Romeo Niram.

 

Salvatore Russo es crítico y conservador de arte que vive y trabaja en Roma

 

 

 

 

 

 

 

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.

 

 

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.

 

 

 

Dr. Andrea Diprè es crítico de arte y comisario de exposiciones que desarolla su actividad en Roma, Florencia y Milano.

 

 

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El Relativismo de Romeo Niram

 

en Azay Art Magazine

 

por Antonella Colannino, crítico de arte

 

 

Hay algo que cambia en Romeo Niram, una trascendencia inmanente que libera al hombre de todo prejuicio y supera el límite de su propio actuar. Un intelectualismo que se nutre de la pasión a través del espacio de la mente y el mundo físico. Una pintura culta y compleja que pone en relación los diversos lenguajes artísticos con evidente referencia al surrealismo de Dalí, a la metafísica de De Chirico y al primitivismo abstracto de Brancusi, por citar algunos ejemplos. Una pintura con fuertes referencias simbólicas y un nivel narrativo profundo, atenta a las problemáticas sociales. Niram vive su dimensión de artista suspendido entre el pasado y el presente, entre el deseo de afirmar la propia libertad y la plena conciencia de que el arte está en el fondo en relación con todo el ámbito del conocimiento. La liberación del hombre de todo prejuicio y la superación de todo límite se expresa en la lisa fluidez del color y en la atenuación de las zonas de contraste a través de las sombras que remarcan la intensidad y los matices de la emoción. Los sentimientos como la pasión y el erotismo ocupan un espacio abstracto se funden en la inconsistencia de un color evanescente. En Niram se puede hablar de pasión intelectual, un valor erótico que se descubre en la sugestión de hermosas formas y el particular lenguaje corporal que exalta la imagen de una mujer sensual. La relación entre el pintor y la modelo se renueva en un diálogo psicológico, íntimo que deja paso a las sensaciones y las delicadas ansias.

 

Aflora la idea de una mujer socialmente afirmada y dominante en la propia sensualidad, una ambigüedad de rol que se expresa a través de la Humanografía, una escritura visual que no emplea la palabra sino el cuerpo como instrumento de comunicación en el cual el juego erótico se narra dentro de una estructura compositiva de técnica fotográfica. “Con Humanografía Niram ha escrito el mayor ensayo pictórico contemporáneo sobre el misterio femenino”, ha afirmado el escritor español Héctor Martínez Sanz, subrayando con ello la fuerza del lenguaje visual del artista y el rol eterno de la mujer en el misterio de la belleza. Su constante referencia a la belleza se extiende a la reflexión sobre el movimiento de la materia y sobre la relación entre el universo infinito de los números y la filosofía del pensamiento. Una relación que tiene su máxima afirmación en la revolución del lenguaje plástico de Constantin Brancusi (1876-1957) quien sostuvo “que hay que subir muy alto para ver más lejos”. Sus obras más representativas “La puerta del beso” y “La columna del infinito” son evidentes referencias en la obra de Niram, el cual pone en relación la fórmula de la relatividad de Einstein con el arte abstracto y primitivo de Brancusi (Brancusi E=mc2). Una ecuación que une arte y física, que aproxima el principio matemático a la mutabilidad de la naturaleza y a la transformación de la materia, donde el tiempo es infinito y el espacio encerrado en límites definidos. Un universo donde el arte es el punto de equilibrio de todo el complejo.

 

La pintura de Romeo Niram se alimenta de citas cultas extraídas del imaginario surrealista de Dalí, del amor a la antigüedad, acompañados de las enorme sombreas de la modernidad del lenguaje metafísico de De Chirico y del abstraccionismo revolucionario de Brancusi, una personalidad particular no clasificable dentro de los grandes movimientos de vanguardia, no obstante de sus relaciones con el dadaísmo y la amistad con Duchamp que lo introduce en el mercado norteamericano. En Romeo Niram esta complejidad de relaciones entre las disciplinas del conocimiento está representada por la simbología del espejo que refleja graduados los objetos proyectando la forma, aunque revelando al mismo tiempo la esencia más íntima. La imagen reflejada es la proyección de los diferentes niveles de conocimiento de la cosa que se muestra ante nuestros ojos revelando aquel infinito oculto y contenido en la materia. El arte tiene, por tanto, el don de la revelación, la capacidad de disolver las barreras del conocimiento y abarcar la infinitud en la estética de las formas.

 

 

 

 

 

 

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IL RELATIVISMO DI ROMEO NIRAM

 

Di Antonella Colaninno – critico d’arte

 

C’è qualcosa di mutevole in Romeo Niram, una trascendenza immanente che libera l’uomo da ogni pregiudizio e supera il limite del suo agire. Un intellettualismo che si nutre di passioni aprendo gli spazi della mente ai luoghi della fisicità. Una pittura colta e complessa che pone in relazione i diversi linguaggi dell’arte con evidenti riferimenti al surrealismo di Dalì, alla metafisica di De Chirico e al primitivismo astratto di Brancusi, solo per citarne alcuni. Una pittura con forti riferimenti simbolici e con un livello di narrazione profondo, attenta alle problematiche sociali. Niram vive la sua dimensione di artista sospeso tra passato e presente, tra il desiderio di affermare le proprie libertà e la consapevolezza che l’arte è in fondo, in relazione con ogni ambito della conoscenza. La liberazione dell’uomo da ogni pregiudizio e il superamento di ogni limite di confine si esprime nella resa fluida del colore e nell’attenuazione delle zone di contrasto attraverso le ombre che raccontano l’intensità e le sfumature delle emozioni. I sentimenti come le passioni e l’erotismo occupano uno spazio astratto e si effondono nell’inconsistenza di un colore evanescente. In Niram si può parlare di passionalità intellettuale, di un valore erotico che comunica nella suggestione di forme avvenenti e in un particolare linguaggio del corpo che esalta l’immagine di una donna sensuale.

 

Il rapporto tra il pittore e la modella si rinnova in un dialogo psicologico, intimo cha lascia trapelare sensazioni e delicate trepidazioni. Affiora l’idea di una donna socialmente affermata e dominante nella propria sessualità, un’ambiguità di ruoli che si esprime attraverso l’Humanographia, una scrittura visiva che non usa la parola ma il corpo come strumento di comunicazione nel quale il gioco erotico si narra all’interno di una struttura compositiva tecnico fotografica. “Con l’Humanographia Niram ha scritto il più grande saggio pittorico contemporaneo del mistero femminile” ha affermato lo scrittore spagnolo Hèctor Martinez Sanz, sottolineando in questo, la forza del linguaggio visivo dell’artista e il ruolo eterno della donna nel mistero della bellezza. Il suo costante riferimento al bello si estende alla riflessione sulla mutevolezza della materia e sulla relazione che intercorre tra l’universo infinito dei numeri e la filosofia del pensiero. Una relazione che trova la sua massima affermazione nella rivoluzione del linguaggio plastico di Constantin Brancusi (1876-1957) il quale sosteneva “che bisogna salire molto in alto, per vedere molto lontano”. Le sue opere più rappresentative “La porta del bacio” e “La colonna dell’infinito” sono evidenti riferimenti nelle opere di Niram il quale pone in relazione la formula della relatività di Einstein con l’arte astratta e primitiva di Brancusi (Brancusi E=mc2). Un’equazione che unisce arte e fisica, che avvicina il principio matematico alla mutevolezza della natura e alla trasformazione della materia, dove il tempo è infinito e lo spazio chiuso entro limiti definiti. Un universo dove l’arte è il punto di equilibrio di questa grande complessità.

 

La pittura di Romeo Niram si nutre di citazioni colte desunte dall’immaginario surrealista di Dalì, dall’amore per le antichità, accompagnato dalle grandi ombre della modernità del linguaggio metafisico di De Chirico e dall’astrattismo rivoluzionario di Brancusi, una personalità particolare non collocabile all’interno dei grandi movimenti di avanguardia, nonostante i suoi rapporti con i dadaisti e l’amicizia con Duchamp che lo introdusse nei mercati statunitensi. In Romeo Niram questa complessità di relazioni tra le discipline della conoscenza è rappresentata dalla simbologia dello specchio in grado di riflettere gli oggetti proiettandone le forme ma svelando al tempo stesso l’essenza più intima. L’immagine riflessa è la proiezione su più livelli della conoscenza delle cose che si svela ai nostri occhi rivelandoci quell’infinito racchiuso nell’involucro della materia. L’arte ha dunque, il dono della rivelazione, è in grado di sciogliere le barriere della conoscenza e di racchiudere l’infinito nell’estetica della forma.

 

 

 

 

 

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Encuentro con Romeo Niram

 

Azay Art Magazine

 

Por Tina Pastor Ibáñez – crítica de arte

 

 

Empiezo a visualizar detenidamente en la web las imágenes que ha pintado Romeo Niram. Saludo con gozo estas páginas digitales, voy diciendo adiós a los egregios catálogos de peso y precio insostenibles. Además puedo ver a Niram en un vídeo dando retoques con su pincel a La Puerta del Beso de Asturias donde están retratados los Príncipes de Asturias, Felipe y Letizia. El título y algunos elementos del cuadro los ha tomado de la escultura Puerta del Beso de Brancusi, que se encuentra en Rumania; hay un símbolo muy bonito de esta escultura que Niram ha asociado a la pareja principesca, el del beso, representado por dos medios círculos unidos.

 

Me llama la atención el título “Ensayo sobre la lucidez” y leo que es una serie de pinturas que ha trabajado Niram influido por diversas disciplinas: literatura, cine, arquitectura, filosofía y teología. Deduzco un trabajo de reflexión global que profundiza en sí mismo pero que a la vez establece lazos con otras expresiones y otros pensamientos, no es poco el empeño.

 

 

Hacer arte es comunicar, acercarse al otro con la expresión propia, claro que, hay que hacer un esfuerzo de lucidez para que la intención llegue lo más abierta posible, quien disfruta de la obra de arte también tendrá que estar dispuesto a abrirse a sus manifestaciones internas. Las claves las aporta el propio artista. Y veo en Niram que esas claves o códigos los interacciona con rigor para que el mensaje llegue abierto.

 

El arte plástico es espacial y creo que Niram construye muy bien las arquitecturas casi misteriosas de sus composiciones, en una de ellas queda imbricado el rostro fragmentado (o sugerido) del poeta portugués que escribió estos versos con el color de sus sentimientos y que la memoria recuerda:

 

Es tal vez el último día de mi vida.

Saludé al sol, levantando la mano derecha,

pero no le saludé diciéndole adiós;

le hice un gesto de que me gustaba verlo antes: nada más.

(Fernando Pessoa, Poemas de Alberto Caeiro)

 

Sigo con esta serie de “Ensayo sobre la lucidez”, me sobrecoge la imagen de un desnudo masculino asaetado por largas cruces, ¿qué nos quiere decir el artista? No hay escenografía, solamente una sombra negra tras el cuerpo desnudo que sufre una implacable lluvia de cruces penetradas en la carne y mostrando su desvalimiento, es curioso que las cruces se contrasten en grises y blancos, los colores con los que se modela el cuerpo del joven. Obra abierta, sin embargo, que nos sumerge en el tiempo de las historias antiguas y recuerda a Sebastián, el soldado romano martirizado por orden del emperador al tener conocimiento de que profesaba el cristianismo.

 

Iconografía intensa y múltiple, así veo las imágenes de Romeo Niram. En el vídeo sobre los retratos de los herederos al trono de España, cita a tres maestros básicos: Leonardo, Dalí y Brancusi.

 

 

Los dos primeros realistas (Dalí surrealista) de profundos significados, y Brancusi abstracto, igualmente de profundo significado. Realismo, surrealismo, abstracción, tres maneras de expresar imágenes fundamentales en el arte desde principios del siglo veinte. La síntesis de estos estilos lleva a Niram a intercambiar formas diferentes para crear la imagen, las dota de una fuerza interna.

 

Me atrae la invención que se ve en La fórmula de Dios pintura de la serie “Brancusi E=mc2”, en primer plano el huevo cósmico sobre una especie de caja circular, y detrás, enmarcados en el universo: a la derecha, la versión de la creación de Adán por Miguel Ángel, Dios señalando a un solitario Adán; a la izquierda, Eva encumbrada en mandorla como el Todopoderoso, con abundante pelo suelto y rodeada de jóvenes, no está sola, aquí hay alegría.

 

Como una diosa señala con su brazo E=mc2 en dirección al ovalado huevo cósmico que guarda en su interior otra vez la fórmula de Einstein.

 

Esta famosa fórmula universal relaciona la energía y la masa adentrándonos en la transformación de los cuerpos. Teoría religiosa y científica, creación del hombre y explosión del universo, en el centro ese embrión transparente como algo mágico.

 

Ciencia y poesía nuevamente. Podríamos adentrarnos en la noche de los tiempos cuando las diosas eran honradas por colaborar tan grandemente al milagro de la vida. Un símil poético se me ocurre: la diosa ofrece sus tibias manos y el hombre cree soñar. Pintura y poesía tienen una cosa en común, contar la historia con los elementos esenciales.

 

When man is faced with realities that have their origins in the cosmos

 


By Salvatore Russo


Azay Art Magazine

 

Writing about Romeo Niram is not easy. We're talking about an artist who has been able to develop a personal language to express his ideas. An artist who is linked to conceptual figuration and  abandons classical figuration in order to project the image of a man who deals directly with an immaterial reality, identifiable in the cosmos. Niram, despite his youth, has managed to confront the current challenges that his contemporary art colleagues face, in my opinion, in a very superficial way. For example, by analyzing the series of paintings "Humanographia", we can see a self-confident Woman, aware of her beauty, able to challenge with her glance the man who succumbs to the desire. In this cycle, the erotic component is left behind and priority is given to some sort of rational consciousness that allows women to claim sole ownership of their body. By means of lights and shadows, Romeo Niram traces a hypothetical mental labyrinth in which the viewer becomes the protagonist. These figures are not only a mere object of a viewer's glance, but also a comment by which one can  a judgment of value about the true message that the artist tries to convey through the veil of a light that sometimes "invades" the figure and sometimes "silences" it, by hiding it within the secret of  darkness. It would be a terrible mistake to consider Niram a figurative artist. To the perfection of a Botticelli also present in Niram, we can furthermore associate all the rationality and conceptuality of Emilio Vedova.

 

The  series "Mircea Eliade - a Diary" is also of great importance. Niram brings to our memory the great men of the past. Any viewer is unmistakingly able to recognize the act of trying to transform the individual memory into a collective one, whose sign becomes meaning, and he achieves this by means of the symbol that Fernand de Saussure considered to be the emblem of contemporary linguistics. Sign and symbol, however, which with Niram return to "the scene" as the beautiful, Goffmanian representations of the great men of the past such as Camões, Pessoa, Saramago, Brancusi, Einstein and so on. Accordingly, in these works, we see a man who is not afraid to get on stage and show us what he has turned into. This is the back stage in which Romeo Niram prefers to abandon all those artists who are afraid of showing on their canvases their artistic "confessions" and who chose some sort of commercial painting, which, in my opinion, does not get them anywhere.

 

According to my point of view, the most interesting series is the one dedicated to the complicity between Art and Physics. I am dwelling upon those specific paintings in which Constantin Brancusi is confronted with Albert Einstein's Theory of Relativity. The Romanian sculptor is very close to the most famous physicist in the world. The cosmos is reinterpreted by Niram on the basis of Einstein's writings and Brancusi's works. The cosmos becomes a tangible entity that only asks to be read. The Sleeping Muse finds her home within the infinite. In one of his representations, in addition, Michelangelo's figure almost touches that relativity described in the formula E = mc2. What Niram manages to accomplish is a spatial recollocation of what is already visually familiar. Nevertheless, his great merit is to have known how to visually narrate situations which happen within the rational chaos of his mind. For the first time, an important law of physics joins in the world of art and the author of this great enterprise now has a name, that of Romeo Niram.

 

 

 

 

 

 

 

 

 

 

 

THE PARALLEL AND NEVERTHELESS PERFECTLY PLAUSIBLE WORLD

OF ROMEO NIRAM

 

 

by  ANDREA DIPRÈ, art critic

 

Azay Art Magazine

 

In his artwork, Romeo Niram has invented a parallel universe, regulated by its internal, rigorous and infallible law, designed to demonstrate the goodness of a method (his own) over others (the quotidian ones). He seems to believe that there is no difference between what is true for one individual and what is true for many, because human experience, its object, the civilization and its history are a group convention as it has been demonstrated by the anthropologic variety of a region in comparison with others bordering it, starting from an analogue anthropocentric principle. At different latitudes, the Chinese and the Greek civilizations, the East and the West co-exist by means of the cheating of time, because time does not actually belong to conventions and it flows rectilinearly, as the inexorable decay of our bodies proves it. Civilizations overlap each other, living in the same timeline, parallely, but protect themselves with boundaries, fortifications, rivers, mountains, or apartment walls.

 

 

"Anthropocentric" is also "niramocentric". It is the same position as the one sustained  by Senofane, in the 6th century A.C., who justifiably  doubted the existence of the gods, or at least of an Olympus constructed in the image and according to the likeness  of the Greek man: "Men believe that the gods  had a birth and have  voice and body after their own likeness…the Ethiopians claim that their gods are snub and dark, the Thracians that they  are blond and blue-eyed like them; in the same way, also the oxen, horses and lions, if they could, they would imagine their gods after their likeness. Poets have encouraged this belief. Homer and Hesiod also bestowed on each god what is seen as an object of shame and guilt among men: injustice, adultery and mutual treachery.

 

Romeo Niram, just like Senofane, perfectly knows that nothing is relative as that which presumes to be absolute, and this is why he assumes the absolute in his relative particularism, and consecrates it by way of an endless encyclopedia of relations where irony is not a personal ingredient but a universal category. It is true that his image of the world is governed by a demiurgic idea, and that he sees himself as a deity who gives orders and laws, statutes and norms of application to his creation, in order to take it out of the anarchy and chaos of any other possible systematization and  administration. His language explains without explaining, programmatically affirming the differences and the translatability of the form without affecting the substance. It is a subtle way of warning us that his world does not exist and is not "talkable", in the same way that not only doesn't our world exist, but also, neither does any other world whose comprehension is purely conventional.

 

Starting out from these premises, Romeo Niram's world is also totally comprehensible, and, to put it this way, livable.  There is actually nothing Surreal about it, as it may have seemed at first glance.The completed work is a genuine philosophic system of his own, where nothing is casual, instinctive or spontaneous because Romeo Niram, in his quest for discovering new territories and planets never before explored in art, does not squander and has never squandered gratuitously. To him, Art is a mountain of enormous dimensions and ambitions, to him, Art is a continuous origin of marvelous realizations and unlimited potentiality.

 

 

Dr. Andrea Diprè is an Italian art critic and curator who carries out his activity in Rome, Florence and Milan.

 

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THE RELATIVISM OF ROMEO NIRAM

 

By Antonella Colaninno – art critic

 

 

 

 

There is something that changes in Romeo Niram, a sudden transcendence which frees the man from all the prejudice and reach out his own act. An intellectualism that feeds from passion through mental space and physical world. An elevated and completed painting that relates the different artistical languages with obvious reference to Dali´ s surrealism, to De Chirico metaphysic and the abstract primitive of Brancusi, just to give few examples. We talk about a painting with strong symbolic reference and a high deep narative, pending to the social problems. Niram lives his artist dimension between past and present, the desire of express his own freedom and the fully consciousness that art is, after all, related with the entire area of knowledge. The liberation of man’s prejudice and overcoming of all limits is expressed by the smooth flow of colour and attenuation of the contrast areas through the shadows that underline the intensity and nuances of the emotion. Feelings such as passion and eroticism take an abstract place and merge with the fading colour of inconsistency. In Niram one can speak of intellectual passion, an erotic value which can be discovered from the suggestion of beautiful forms and the particular body language that enhances the image of a sensual woman.

 

 

The relation between the artist and the model is renewed in an intimate psychological dialogue which gives the way to sensations and delicate desires. Emerges the idea of a complete and dominant woman in her own sensuality, an ambiguity of role expressed in Humanografia, a visual writing that is not using the word but the body as instrument of communication in which the erotic game it is narrated from the inner compositional of photographic technique. With Humanografia, Niram wrote the major contemporary pictorial essay about the mystery of feminism, according to the Spanish writer Hector Martinez Sanz, who underlines the strength of the artist language and the eternal role of the woman in beauty. His constant reference to beauty extends towards reflection about the movement of matter and relation between the infinite universe of numbers and the philosophy of thought. A relation never better expressed as in the revolution of Constantin Brancusi plastically language, who said “as higher you climb the far you can see”. His most representative works of art “La puerta del beso” y “La columna del infinito” are relevant referring to Niram´s work which puts in relation Einstein relativity formula with the abstract and primitivism of Brancusi (Brancusi E=mc2). An equation that links art and physics approximating the beginning of mathematics to the mutability of nature and the conversion of the matter, where time is infinite and space closed in defined limits.

 

A universe where art is the main point of the entire complex. Romeo Niram´s painting feeds of wise phrases taken out of surrealistic imaginary of Dali, of love to the antique accompanied by the huge shadows of modernity of De Chirico metaphysic language and Brancusi revolutionary abstraction, a unique personality not classified among the big avant-garde movements, though from his connections to Dadaism and friendship with Duchamp who introduces him into the north American market. In Romeo Niram this complexity of relationships between disciplines of knowledge is represented by the symbolism of the mirror which reflects the object graduates projecting the form and revealing at the same time the most intimate essence.

 

The image reflection represents the different levels of knowledge of what we can see in front of us revealing that hidden and infinite content of the matter. Therefore the art has the gift of revelation, the capacity to eliminate the limits of knowledge and includes infinity of aesthetics of the forms.

 

 

 

 

 

 

 

 

 

 

 

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La relativité de Romeo Niram

 

Antonella Colaninno

 

 

Il ya quelque chose qui change dans Roméo Niram, une transcendance soudaine qui libère l’homme de tous les préjugés et atteindre son propre fait. Un intellectualisme qui se nourrit de la passion à travers l’espace mental et le monde physique. Une peinture à l’élévation et complété qui relie les différentes langues artistique avec référence évidente au surréalisme de Dali, De Chirico à la métaphysique et le primitif abstrait de Brancusi, juste pour donner quelques exemples. Nous parlons d’une peinture avec référence symbolique forte et une haute narative profonde, en attendant les problèmes sociaux. Niram vit sa dimension artiste entre passé et présent, le désir d’exprimer sa propre liberté et le bien conscience que l’art est, après tout, en relation avec l’ensemble du territoire de la connaissance. La libération des préjugés de l’homme et de surmonter les limites de tous est exprimée par la fluidité de la couleur et l’atténuation des zones de contraste à travers les ombres qui soulignent l’intensité et les nuances de l’émotion. Des sentiments comme la passion et l’érotisme prennent une place de résumé et de fusionner avec la décoloration de l’incohérence. En Niram on peut parler de la passion intellectuelle, d’une valeur érotique qui peut être découvert à partir de la suggestion de belles formes et le langage du corps particulier qui renforce l’image d’une femme sensuelle. La relation entre l’artiste et le modèle est renouvelé dans un dialogue intime psychologique qui donne le moyen de sensations et de désirs délicate. Émerge l’idée d’une femme à part entière et dominante dans son propre sensualité, une ambiguïté de rôle exprimé en Humanografia, une écriture visuelle qui n’utilise pas le mot, mais le corps comme instrument de communication dans lequel le jeu érotique, il est raconté de l’intérieur de la composition de la technique photographique. Avec Humanografia, Niram a écrit la majeure essai contemporains picturale sur le mystère du féminisme, selon l’écrivain espagnol Hector Sanz Martinez, qui souligne la force de la langue artiste et le rôle éternel de la femme dans la beauté. Sa référence constante à la beauté se prolonge vers la réflexion sur le mouvement de la matière et de la relation entre l’univers infini des nombres et la philosophie de la pensée. ne relation jamais mieux exprimé que dans la révolution de Constantin Brancusi plastiquement la langue, qui a dit “que plus on grimpe la mesure où vous pouvez voir”. Ses œuvres les plus représentatives de l’art “La puerta del Beso” y “La Columna del infinito” sont pertinentes relatives aux travaux Niram, qui met dans la formule de la relativité d’Einstein par rapport à l’abstrait et du primitivisme de Brancusi (Brancusi E = mc2). Une équation qui lie l’art et de la physique se rapprochant le début des mathématiques à la mutabilité de la nature et la transformation de la matière, où le temps est infini et espace clos dans des limites définies.

 

Un univers où l’art est le principal point de l’ensemble du complexe. peinture Romeo Niram se nourrit de phrases sages sorti de l’imaginaire surréaliste de Dali, de l’amour de l’antique accompagnée par les immenses ombres de la modernité de la langue De Chirico métaphysique et Brancusi abstraction révolutionnaire, une personnalité unique, non classé parmi les grands avant-garde mouvements, bien que de ses connexions au dadaïsme et d’amitié avec Duchamp, qui l’introduit dans le marché nord-américain. Dans Romeo Niram cette complexité des relations entre les disciplines de la connaissance est représentée par le symbolisme du miroir qui reflète l’objet diplômés projeter la forme et révélant en même temps, l’essence la plus intime. La réflexion sur l’image représente les différents niveaux de connaissance de ce que nous pouvons voir en face de nous révéler que le contenu caché et infinie de la matière. Par conséquent, l’art a le don de la révélation, la capacité d’éliminer les limites de la connaissance et comprend l’infini de l’esthétique des formes.

 

 

 

 

 

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Meeting with Romeo Niram

 

RENCONTRE AVEC ROMEO NIRAM

 

 

 

Je commence à visualiser attentivement, en Internet, les images que Romeo Niram a peintes. Je salue d’une joie ces pages digitales, dis un adieu aux catalogues illustres de poids et apprécie insoutenables. De plus je peux voir Niram dans une vidéo en donnant des retouches avec son pinceau au seuil du Baiser des Asturies où les Princes des Asturies sont retraités, Philippe et Letizia. Le titre et il a pris quelques éléments du carré par la sculpture la Porte du Baiser de Brancusi, qui se trouve en Roumanie; il y a un très joli symbole de cette sculpture que Niram a associée depuis la paire princière, celui-là du baiser, représenté par deux cercles moyens unis.

 

Le titre m’attire attention “Je répète sur la lucidité” et lis que c’est une série de peintures que Niram influé par une diverse discipline a travaillées : une littérature, un cinéma, une architecture, une philosophie et une théologie. Je déduis un travail de réflexion globale qui approfondit dans lui même mais qui établit à la fois des nouds avec d’autres expressions et d’autres pensées, l’engagement n’est pas peu nombreux.

 

Faire un art est de communiquer, approcher avec de l’autre et la propre expression, l’espace que, il faut faire un effort de lucidité pour que l’intention arrive plus ouvert possible, celui qui jouit de l’œuvre d’art aura à aussi être disposé à être ouvert à ses manifestations internes. Le propre artiste apporte les clés. Et voilà que je vois dans Niram que ces clés ou il interaction des codes avec rigueur pour que le message arrive ouvert.

 

L’art plastique est spatial et je crois que Niram construit très bien les architectures presque mystérieuses de ses compositions, dans l’une d’elles le visage reste imbriqué fragmenté (ou suggéré) du poète portugais qui a écrit ces vers avec la couleur de ses sentiments et qui la mémoire s’éveille :

 

C’est peut-être dernier jour de ma vie.

J’ai salué au soleil, en levant la main droite,

mais je ne l’ai pas salué en lui disant un adieu;

je l´ai fait un geste de qui me plaisait de le voir d’avance : rien de plus.

(Ferdinand Pessoa, les Poèmes d’Alberto Caeiro)

 

Je suis avec cette série de “Essai sur la lucidité”, je vois l’image d’une nue masculine travée par de longues croix: qu’est-ce que nous veut dire l’artiste ? Il n’y a pas de mise en scène, seulement une ombre noire après le corps nu qui subit une pluie implacable de croix pénétrées dans la viande et en montrant son délaissement, il est curieux que les croix sont résistées dans gris et blancs, les couleurs avec lesquelles le corps du jeune est modelé. Une œuvre ouverte, cependant, qui nous submerge dans le temps des histoires antiques et s’éveille à Sébastian, le soldat romain martyrisé par ordre de l’empereur après avoir eu la connaissance de ce qu’il professait le christianisme.

 

Une iconographie intense et multiple, ainsi je vois les images de Romeo Niram. Dans la vidéo sur les portraits des héritiers de la couronne de l’Espagne, il cite trois maîtres basiques : Léonard, Dalí et Brancusi. Les deux premiers réalistes (Dalí surréaliste) de signifiés profonds, et Brancusi abstrait, également d’un signifié profond. Un réalisme, un surréalisme, une abstraction, trois manières d’exprimer des images fondamentales dans l’art depuis des principes du siècle vingt. La synthèse de ces styles amène Niram à échanger différentes formes pour créer l’image, les dote d’une force interne.

 

Elle m’attire, l’invention qui voit dans La formule de Dieu peinture de la série “Brancusi E=mc2?, dans le premier plan l’œuf cosmique sur une espèce de caisse circulaire et derrière, encadrés dans l’univers : à la droite, la version de la création d’Adán par Miguel Angel, le Dieu en marquant un Adán solitaire; à la main gauche, Ève élevée dans mandorle comme le Tout-puissant, avec un poil abondant libre et entourée des jeunes, n’est pas seule, ici il y a une joie. Comme une déesse remarque avec son bras E=mc2 dans la direction de l’œuf ovale cosmique qu’il garde dans son intérieur de nouveau la formule d’Einstein. Cette formule fameuse universelle rattache l’énergie et la masse en nous enfonçant dans la transformation des corps. Une théorie religieuse et scientifique, une création de l’homme et une explosion de l’univers, au centre cet embryon transparent comme quelque chose de magique.

 

Une science et une poésie nouvellement. Nous pourrions nous enfoncer dans la nuit des temps quand les déesses étaient honorées pour collaborer si grandement au miracle de la vie. La poétique similaire me vient à l’esprit : la déesse offre ses flûtes aragonaise et l’homme croit rêver. Une peinture et une poésie ont une chose dans commun, raconter l’histoire avec les éléments essentiels.

 

 

 


 

 


Diario de Pontevedra


Por Fabianni Belemuski



 

Reclaiming the face of the art

 

by Fabianni Belemuski

 

Translated into English

 

Self-portrait. The artist who shows his own image is, to us, the protagonist of a rebirth of his identity. He passes on to the spectator his doubts, quests and desires regarding this self-identity. Miquel Barceló recently exhibited the painting of a gorilla entitled “Self-portrait”. The identification with the world which he lived in and affected him during his trips to Africa and the equivalence between man and animal, giving up the adjectives as Drumond de Andrade said, are present in his work. On the other hand it can also be a fallacy given that the renouncement does not imply, because it would be impossible, the change of the face. As much as he wants it, Barceló cannot live within a primate.

 

Goya reveals in his self-portraits all the possibilities of individual psychology and he manages to emphasize by means of nuances a new definition of the human nature. Face changes in order to express evolution as time goes by, affecting both the personality and the physical body. It is hard to say to what extent a gorilla’s self-portrait may be a significant expression of one’s personality.

 

Romeo Niram chooses a “classical” self-portrait and before creating it he had undertaken various studies on his life and elaborated psychological profiles of his own personality. “Self-portrait is perhaps, paradoxically, the hardest painting to paint because we should be able to know exactly who we are but we do not know it.  One should be sincere and ready to present oneself to the public just as one really is.” In the painting, the artist is naked in front of a future that he contemplates and constructs. The warm, human colours radiate life and hope, thus regaining the canon and forming shapes in a very distinct way to Barcelo’s.  One can glimpse, through a diffusing mirror, at a eulogy to beauty, an optimism loaded with adjectives, which is an aesthetic act in an artistic world that lacks aesthetical norms; it is liberation from the load of the XXth century, a peaceful reclaiming of the human soul, leaving behind the symbolic, the lifeless and lightless abstract.

 

The Occident has seen God dying at the hand of Nietzsche, has lived through the two avant-gardes of the last century, experimenting “the destruction of the forms” (María Zambrano), the break-out of the abstract and the return to a primitivism that was reformulated again and again until it stopped causing reactions. Art has re-invented itself so many times during the last 100 years that it is impossible to define it, to give it adjectives nowadays.

 

One of the aspects that have defined the man in his quality of reasoning being has been the self-conscience. The graphical portrait, re-interpreted by painters throughout the evolution of the fine arts is one of the most important forms of investigations of the human identity. A portrait is like a map, an outline of the personality.  Miquel Barceló painted John Berger as a tormented figure, almost a monstrous one. We can foresee his personality without knowing him. A work of art does not have to be necessarily beautiful. It would be sufficient if it transmitted in a subtle, intuitive way some aspects of the spirit and preoccupations of the character.

 

Barceló, the most international Spanish artist, confesses his pleasure to paint. The pleasure to play with few colours - expressing a free attitude towards reality, the power of the painting – capable of generating intriguing surfaces. In the past, the portrait was centered on a specific deontology that determined and evoked some well-defined traits of representing the identity.

 

Nowadays there is much more freedom, from Mueck and his late hyperrealism to the faceless Madonnas of Onik Sahakian, Dalí’s disciple who did not want to give faces to the Virgin so that he could dilute more of the saint’s identity.  

 

The portraits of the Israelite painter Romeo Niram bear the force of Barceló’s painting but they transmit it differently. His thorough brush is able to catch a Saramago trapped in his dreams, between the walls from which he tries to escape through literature. In this painting, there is also a chess table that completes a version of Saramago that we all know: his political aspect. The chess game represents his struggle for recognition in the world.

 


 

 

Romeo Niram, el hombre de la promoción cultural


por Dorel Schor


Revista ¡Buenos días, Israel!

 



 

Se podría escribir mucho sobre Romeo Niram – el artista y sobre Romeo Niram – el incansable promotor cultural. Sobre él quién está considerado como aportando una grande contribución cultural en todo el mundo por casi todos los medios de comunicación. Porque hay una revista de bellas artes intitulada Niram Art (en 4 lenguas) y porque hay en Madrid un ya célebre Espacio Niram, abierto a todas las artes, que alberga  conciertos y exposiciones, teatro y recitales de poesía, conferencias, lanzamientos de libros y debates.

 

Romeo Niram ha establecido de este modo una relación entre artistas y coleccionistas, entre amantes del arte y galerías, en el punto de interferencia de varias culturas, con mayor enfoque en la juventud.

 

Como artista, es, sin duda, el discípulo de su profesor, el gran pintor Corneliu Baba, enriquecido por su admiración confesada por la maestría de algunos gigantes como Brancusi, Dalí, da Vinci o por el irresistible genio de Einstein.

 

Para Romeo Niram, el encuentro del siglo es entre Einstein y Brancusi…Entre estas dos cumbres, entre estos dos pilares de Sabiduría y de Creación, el artista vislumbra desarrollándose el presenta y da una oportunidad al futuro. Es el autor de una grande serie de pinturas intitulada “Brancusi E=mc2”. Los títulos hablan por sí solas sobre inteligencia y creación: El Comienzo del Mundo, Cosmos, Genesis, Musa adormecida, Miss Pogany en varias hipóstasis artísticas. Los retratos del hombre de ciencia, el genio judío y del escultor, el genio rumano, se convierten en un testimonio  continuo de las raíces de alma y de pensamiento del pintor. Son propicios para Romeo Niram.

 

Niram es el primer extranjero de la Guardia Reales Tercios de España y pintó los retratos de los Príncipes de Asturias, los herederos de la Corona Española. ¿Será ésta la prueba del encerramiento de un largo círculo, empezado en la España de los Reyes Católicos con la expulsión de sus antepasados hace más de cinco siglos? Antepasados ¿qué tal vez hayan llegado, por misterios de la suerte, en los Países Rumanos? ¿Y quienes, sin olvidar sus antiguas creencias y tradiciones, han adoptado también otras tradiciones y sabidurías?

 

Niram es conocido sobre todo en un espacio cuadrilátero  con las puntas en España, Portugal, Israel y Rumanía. Pero, sus creaciones, expuestas con gran éxito en Madrid y Lisboa llegan en galerías y revistas de todo el mundo, se convierten en tema de conferencias de especialidad.

 

¡Y cuándo piensas que este pintor judío-rumano (conforme las enciclopedias) sólo tiene 36 años!¡ Y qué en Israel existe un kibutz que se llama así mismo, Niram!

 

(traducción al español por N.C.)

 

 

            


 

Revista Idei en Diálogo, Bucarest


"Ehyeh Asher Ehyeh

 

 

 

 



"Casa e Jardim",


Portugal

 

Romeo Niram  en "Casa e Jardim", Portugal

 

 

 

 


 

Retratos en la Obra de Romeo Niram


PDF


Texto por: Begoña Fernández Cabaleiro, crítico de arte


Publicado en la Revista Almiar

 

 

La Revista de la Asociación Aragonesa de los Críticos de Arte (Nº. 6)

 

 

Resumen:

 

Este ensayo retraza las correspondencias históricas de pintura y fotografía a partir del comentario de obras de Romeo Niram (n. 1974, Bucarest), artista judío que vive y trabaja en España, donde ha fundado varias publicaciones culturales.

 

Abstract:

 

This essay tracks the historical correspondences between painting and photography, on commenting works by Romero Niram (b. 1974, Bucarest), a Jewish artist who lives and works in Spain, where he was founded several cultural publications.

 

 

El texto integral: aquí








A Pintura de Romeo Niram


por Álvaro Lobato de Faria, Coord. Director MAC Lisbon


Agero Magazine



Romeo Niram, pintor de reconhecido mérito, com personalidade fortemente expressiva, de uma espontaneidade à flor da pele, e de um virtuosismo incontestável, habituou-nos a ser, entre figurativo e abstracto, uma testemunha sensível da nossa época.

 

Entre harmonias e dissonâncias, surgem das suas telas o espírito moderno do questionamento formal, a quebra do espelho fácil da realidade, substituído pela emergência de um "mundo interior", colorido e formas de alma que traduzem um olhar aguçado sobre a vida e a arte.

 

De ano para ano, Romeo Niram, mercê de uma entrega total à sua arte, a pintura, tem vindo a definir-se tanto pela necessária maturação da sua técnica, como pela feição caracterizadamente pessoal que consegue imprimir a todos os seus trabalhos.

 

Essa conquista, em qualidade de matéria, em sensibilidade plástica, foi-se tornando notada nas inúmeras exposições em que já participou, o que justifica o sucesso obtido, passando a ser uma excelente lembrança na memória de todos nós.

 

A sua trajectória artística, mostra-nos com clareza uma ligação fundamental com a pintura. Todo o seu trabalho é como uma caligrafia do espírito, transmissão directa de impulsos, de reflexões, de sentimentos que pouco a pouco se transformaram em matéria, em forma, em pensamento plástico.

 

As suas obras adquirem uma extraordinária dimensão, para a consciência emotiva, criando um mundo de expressão, movimento e visualidade, onde as linguagens se encontram num místico prazer.

 

Toda a sua obra confirma, expressivamente o seu talento e sobretudo a sua técnica, através de um estilo próprio, visão original dos seres, das coisas, concebendo com toda a sua sensibilidade e criatividade, formas que só por si falam e vivem.

 

O que Romeo Niram nos propõe através das suas pinturas, são ideias, pensamentos e conceitos plenos de paixão e energia, contundentes na sua construção e morfologia, uma forma de renovação da Arte através de uma obra responsável levada com directrizes dirigidas a deveres artísticos.

Observando os seus quadros, encontramo-nos perante enigmas, fascínios, universos simbólicos para serem apreciados pela meditação.

 

O entusiasmo e a verdade que Romeo Niram nos transmite, são o sinal com que eu mesmo me identifico e daí ter conhecido, um grande artista e companheiro nos campos da imaginação.


Álvaro Lobato de Faria

Director Cordenador do MAC

Movimento de Arte Contemporânea







Revista Alef - Casa Sefarad Israel






Adevarul

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Artists of the new millenium : Onik Sahakian & Romeo Niram



by Eva Defeses


Revista Niram Art



In the article "Brancusi E=mc2" - Painting Exhibition at Mac, Lisbon, published in the previous issue of Niram Art Magazine, I underlined Romeo Niram's attempt to bring together two different visions, one in the scientific field, of Albert Einstein and the other in the artistic one, of Constantin Brancusi: "This exhibition is dedicated to the encounter that has never taken place in the real world between the physicist Albert Einstein and the sculptor Constantin Brancusi, an encounter that may have taken place in the world of the creative ideas. Romeo Niram tries to find common points, to establish relations between science and art, showing how the human mind can reach, by way of unknown and unexplainable mechanisms, scientifically or artistically, the same genial intuition that can determine the progress of Humanity. Brancusi's sculpture, Einstein's physics, art and science are brought together on Niram's canvas, raising even more questions. (...)".

 

The words "the human mind can reach, by way of unknown and unexplainable mechanisms, scientifically or artistically, the same intuition (...)" came directly to mind when I saw the year mentioned underneath a photo of the painting "The Vision of Albert Einstein" by Onik Sahakian - the year 2007. It is not surprising that two painters coincided on their mutual fascination about the figure of the great physicist and they both portrayed them in their work, but it is at least intriguing that they were both captured by the same inspiration in the same year. In 2007, while Sahakian was painting his "Vision of Albert Einstein", Romeo Niram created the series of paintings "Brancusi E=mc2", in which the portrait of Albert Einstein appears several times. It should be mentioned that the two painters weren't acquaintances at that time, having thus no idea that, at exactly the same time, the other one was painting exactly the same thing - Einstein's portrait.

 

Attracted by this coincidence, I began to study the work of Onik Sahakian and realized that they did not coincide only on one painting. At a closer view, there are several important elements in their art that periodically reappear: stairs, clocks, flowers, floors, walls, chessboards, etc. I tried to venture within their art, disregarding the most important element that binds them together and I failed. Between their two art forms, I had to recognize the overwhelming shadow of Salvador Dali.

 

In the case of Onik Sahakian, the presence of Salvador Dali is more than obvious, even at a personal level. He met Dali in 1950 and they were united in a friendship that lasted for 20 years and culminated in Sahakian's return to painting, at Dali's advice. We can see throughout his work a constant reference to Dali although from a different point of view, as Sahakian himself states that his works are more "lyrical and mystical".

 

The early works of Romeo Niram also present many surrealist elements, as well as sketches after Dali`s paintings. Niram later learned to disguise his surrealistic appetite, without ever renouncing at it. Stubbornly believing Salvador Dali to be the greatest painter of our recent times, Romeo Niram has always been fascinated with the art and life of the Spanish painter, describing, for instance, his own passage through the Academy of Fine Arts of Bucharest with the Dalinian words: "I was the best in the art school. But not because I was very good, but because everybody else was very bad." It is not surprising then, that we can find many similarities with Dali's art in his paintings, like his dedication to technical virtuosity and the taste for creating complex, detailed, thoroughly studied even at the smallest level, artworks.

 

Of course this statement is puzzling. Wasn´t Surrealism the artistic movement that was trying to free art from the control of reason and that underlined the importance of what they called "automatism" - writing and drawing without any conscious control? Attempting to answer this dilemma, the art critic Christopher Masters in the book "Dali" states that "Dali himself had little sympathy with automatism and always composed his paintings with great deliberation. Nonetheless, the imaginative power of his imagery was so great that by 1929, the Surrealist leader Andre Breton admitted: "It is perhaps with Dali that for the first time the windows of the mind are opened fully wide".

 

An important element in both Niram and Sahakian's art is their interest in science, particularly physics, as demonstrated by the works mentioned above, the portraits of Albert Einstein. Once more, the figure of Dali rises between their paintings, having been a pioneer in uniting art and physics, according to the scientific discoveries of his time. "For Dali, the development of nuclear physics exerted a profound metaphysical importance (...). In "The First Sudy for the Madonna of Port Lligat", the image of the Virgin and Child is split into several sections in order to create a rather superficial metaphor for the divisibility of matter. (...) In "Exploding Raphaelesque Head", the image is constructed out of smaller forms as metaphor for the structure of matter and antimatter." (Christopher Masters). Dali`s obsession with time, or the dissolution of time as seen from his dissolving clocks, is also deeply rooted in the revolution that Albert Einstein started and that made mankind's perception of time explode. Einstein`s relativity of time and Dali`s dissolving clocks annunciate the creation of a new love affair, between science and art, continued nowadays on the canvas of Romeo Niram and Onik Sahakian.

 

This short introduction into several directions of Dali's work is meant to create the mirror in which the works of both Niram and Sahakian reflect themselves, a mirror that captures the images and transforms them, to later render them back to our eyes, in a more comprehensible way.

 

We begin our journey into the art of Onik Sahakian and Romeo Niram not on a chronological level, but on an artistic one, trying to identify potential common elements and sources of inspiration. We don´t have to travel very far away, Sahakian's "Vision of India", apart from its very Dalinian influence presents a feminine nude in a reclined position (similar with Gala´s nude in "Slave Market with the Disappearing Bust of Voltaire" - 1940) on a floor resembling a chessboard. The chess pattern can be compared to the one appearing in Niram's "Symbiosis III", while he also chooses the same Dalinian painting for his untitled sketch of 2002".

 

Niram's "Symbiosis" and Sahakian's "Metamorphosis" and "Birth of Aphrodite" combine the same elements in a different artistic vision: plants and flowers embracing feminine nudes, mural background, the combination of vegetal and human elements, more obvious at Sahakian, allusive at Niram. In "Symbiosis I", the roses duo in the left part of the paintings fluctuate their vegetal bodies in the exact same way of the feminine figures at the right - just as Sahakian´s Aphrodite`s is covered on the left side of her body with floral branches. The blue element is also present although in an upside down manner, sky at Onik, water at Niram. At Onik, most of his paintings contain a lineal element, parts of a simplified wooden floor or parts of a wall. At Niram, this background or support element is also present, but it is disposed on the vertical, in the shape of gigantic walls of labyrinth-shaped constructions that aim for the sky.

 

The same verticality is experienced at the upper level of Sahakian's paintings, as seen from his ascending Madonnas or the great amount of space dedicated to the sky. Sahakian´s works appear to have clear separations between the vertical and the horizontal which render them serenity and peacefulness, whereas Niram proposes a more entangled atmosphere, where the limits are not defined, horizontal elements rise up, while the sky is turned into water, labyrinthical and monolithic buildings dominate the space in a continuous inversion of what we may expect; all these elements generate tension and transmit nervousness. The lyrical flow of Sahakian's paintings is not present at Niram, who creates convulsive atmospheres and even when he tries to paint more peaceful scenes, the turbulent element is always present - a fact which is at least intriguing about a work of such incredible technical detail that gives testimony of long and patient hours of labour. A definite surrealistic touch of Niram's "Symbiosis" series is the painter's own confession that he painted these images based on a dream that he recurrently had at nighttime.

 

The same verticality and ascending motion is better seen in Sahakian's works "Adoration of the Holy Spirit" and "Enigma" and in Niram`s drawing "Apocalypse". The religious motif, the ascending images and the staircase that loses its way in the distance are strong elements that demonstrate this intriguing similitude that lies beneath the external, different aspect of their art.

 

The Portuguese heritage is another element that the two of them share, both on a personal and on a creative level, Niram lived in Portugal for a brief period and Sahakian still lives there nowadays. Niram's series of paintings "Essay of Lucidity" is centered on culture figures of the Portuguese environment while Sahakian chooses a more geographical approach in his vision of the caravels in the works "Christopher Columbus" from 1997, which renders tribute, although depicting Columbus, to the Portuguese Discoveries and in "Vision of India", the Portuguese being the first Europeans landing there.

 

In 1996, Sahakian chooses a curious background for the "Birth of Adam and Eve" - an ovoid shape. Thus, the beginning of mankind according to Sahakian started with a primordial egg inside which Adam and Eve are portrayed embracing one another, their bodies still united into one physical being. In 2007, Niram painted a "Beginning of the World" as well, the centre of his painting being also an ovoid - Brancusi`s sculpture that also bears the same name. On the left and right of the ovoid - the portraits of Einstein and Brancusi. Niram proposes a new interpretation of Brancusi´s sculpture by means of the science, or of the physics by means of the art. "The Beginning of the World", the famous egg-shaped sculpture of Brancusi had been created before the scientific community decided the shape of the Universe to be quasi-spherical and Einstein's formula E=mc2 proved to be, after his death, the Formula of the Creation of the Universe. Sahakian's "Birth" of mankind (Adam and Eve) and Brancusi's "Beginning and the World" are unified and explained by this painting of Romeo Niram, in which Einstein's portrait is linked to Brancusi's ovoid, clearly offering a scientific explanation of the obsession of many artists with the ovoid shape - the shape of the universe.

 

Sahakian's work "Pictures in an Exhibition", from 2004, explore deeper this connection between art and physics, not only by the dominating presence of the clock - the time counter, but by illustrating the physics' principle of the light. At first glance, we tend to think that the silhouette of the man who is coming towards us reading an exhibition flyer is doubled in the mirror by the silhouette of the same man seen from the back, fading out in the distance. If it weren't for the trace that recreates the first man`s journey and makes a turn towards the disappearing man, we wouldn't have thought of a more scientific explanation. But the lingering trace tells a more complex story and Sahakian's interest in physics offers the clarification: if one man travels on a road holding a lantern in his hand, parallel to the ground, and illuminating his way, the beam of light from the lantern in front of him always travels on a circular trajectory and returns to him in the back, having described a full circle around the Earth.

 

Three years later, Sahakian returned to his scientific preoccupation in his work "Vision of Albert Einstein", carefully commented upon by Mario Barangea in the article "Reasons of the End of the World". Although I also embrace the line that he follows when explaining the similarities between Niram and Sahakian´s visions of Einstein, I have to disagree with several of his views. The lined floor that stretches to the horizon in Sahakian's painting cannot be interpreted as a "a symbol of intimacy of a parental home". It is a very important element that appears in most of Sahakian's works and I believe it means more than the comfort of a familiar wooden floor (it is also present in Niram's "Essay on Dostoievsky"). The wooden structure similar to that of a floor is indeed a "real", cozy element of our environment, of all our houses, but its sublimation to mere lines that reach the horizon speak of a larger view. The painter loses all specific elements that hold him or his art captive within a definite space and reaches forward, stretches his vision unto the whole world, and beyond; the Earth with its imaginary geometrical longitudinal and latitudinal lines is the perfect pedestal Sahakian´s figures. Furthermore, the art critic sees in the white flags that surround and divide Einstein's face "the desire for peace and for reconciliation of the artist with the visible world". Indeed, Sahakian's paintings offer a feeling of serenity and peace, but although Einstein himself was a well-known peace advocate, the scientific revolution that he started is hardly peaceful - he turned into ashes all our previous perceptions of time & space. My own interpretation of the flags is a bit less angelical, they remind me of the flags implanted in the heart of a conquered citadel after a fierce battle or on a newly discovered land, after a strenuous geographical expedition - they are the victorious flags that Albert Einstein vigorously implanted on the soil of a newly conquered territory of science. By comparing Einstein to an apostle of "new skies and territory" Barangea gets closer to my own interpretation and also magnificently shifts towards Niram`s vision of Einstein as the new Moses of mankind, depicted with the Tablets of the New Torah in his hands - the Formula of the Creation of the Universe, E=mc2 in several paintings ("Cosmos", "Die Gottesformel").

 

I would like to linger a bit more on this vision of Albert Einstein as an apostle, or better said, a Messiah of the Contemporary world that both Sahakian and Niram share. One of the attributes of such a clairvoyant and futurist leader is his capacity for breaking down an old order and revolutionary creating a new one, governed by new laws that are rejected at first, and later embraced by all his followers. Moses revolutionized the Hebrew society by freeing them from slavery and offering the Moral Code of the Torah - which means "law" in Hebrew - creating a totally new world for them and for all mankind. Later on, Jesus turned upside down all our inherited notions of Good and Evil and offered humanity a new vision of morality governed by the Law of Absolute Love. Until Einstein, humanity had strong beliefs on time and space, unwavering concepts that were the foundation of our world. Albert Einstein, the third Jewish visionary in our exemplification, turns upside down all our previous perceptions and theories of time and space, offering the bewildered mankind the absurd, revolutionary idea of the relativity of space and time - his Theory of Relativity.

 

United by the same artistic and philosophical quests, Romeo Niram and Onik Sahakian are artists of the new millennium, not the chronological one, but the visionary new era, who have understood that not only Science can determine the Progress of Humanity. Art, by virtue of the powerful and visionary forces of insight of its creators, can also become a tool of investigation. Separated by time and space but united by their epiphanies, like particles of the same beam of light that, although on separate trajectories, mysteriously undergo the same physical changes, Brancusi, Dali, Sahakian and Niram are only a few of the artists whose Art is an exploration of the Universe both on an artistic and on a scientific level.

 

 

 


 

 

Artículos publicados en la revista AGERO, Alemania


 

 

Autores:


Prof. Dr. Dan Caragea:


"Lectia lui Niram"


"Lectia lui Einstein"


"Foate avea Universul o formula stiintifica validata artistic?"

 

 

 





Prof. Dr. Simion Doru Cristea:


"Humanografia - Lumi suspendate"


"Concertul ideatic"




Andra Motreanu:


"Partida de sah Romeo Niram Vs. José Saramago"


"Eseu despre Dostoievsky"


"Colaj de arte in pictura lui Romeo Niram"



Prof. Mihaela Rogalski:


"Brancusi E=mc2"







El Diario Portugués de Romeo Niram en Lumea Magazin


El Diario Portugués de Romeo Niram en Lumea Magazin







Revista Raíces de cultura judía


Revista Raíces de cultura judía





lRealitatea Evreiasca


Realitatea Evreiasca







Rev. Lumea Magazin


Rev. Lumea Magazin







rev.cultura


rev.Cultura









Literatorul