*1977 in Dej, Romania, lives in Cluj-Napoca, Romania.
With fine pencil drawings, Ciprian Mureşan retraced the 88 pages of a publication about the artist Piero della Francesca (early Renaissance). Although it sounds absurd at first, in a certain sense it emulates a classical, traditional artists' mode of training by copying the great masters. In the absence of the originals, you have to rely on second-rate copies and prints. Ciprian Mureşan goes as far as to say he cannot make any distinction between words and images. He simply copies the entire book. This conceptual approach, which may indeed involve an element of skepticism about the state of art, has proven successful for him in two ways. He maintains his enjoyment of the process of drawing as an elemental artistic reflection yet at the same time highlights the absurdity of this activity.
The work 'Palimpset, Artforum September 1990' by Ciprian Mureşan is one drawing out of a series of 15 large scale drawings: a composition made by superposing copies of art reproductions. The images copied are sourced from the international artmagazine Artforum advertisements for the specific month in 1990, drawing something of a mental map of the international art scene of a moment.
Through the meticulously copied advertisements, the series of 15 large-scale drawings reconstructs a history of contemporary art yet to be written, adding another layer of mediation between the viewer and the original artwork. This layer, making 'artistic' what was 'commercial' and hijacking a copy into the condition of an original, casts a new eye on the advertised events, linking them precisely to their place, and moment, of presentation. Drawing extends in Muresan's work to its historical framework, as a means of learning art history and acquiring the skills of Old Masters.
A cultural skill that is massively underestimated is that of tying a bow. For the small video work 'Untitled (shoelace) Ciprian Mureşan recorded his son tying his shoelaces the first time he managed to master this challenge.