A solo exhibition by Constantin Flondor with works from the group111 founded 1966 with Stefan Bertalan and Roman Cotosman toSigma group founded 1969 with Stefan Bertalan and Doru Tulcan till present.
Thoughts on Flondors Biography – A Brief Anthology on Life and Work
1966 Group 1+1+1, Stefan Bertalan, Roman Cotosman, Constantin Flondor, the union of three individual personalities was founded
1969 Group 1+1+1 takes part in the Elemente+Prinzipien Constructivist Art Biennal in Nürnberg. Bertalan: Black Behaviour, Visual Identity I, II, Invariable Rhomboidal Shape; Cotosman: Quaternar I, Chromatic Fugue; Flondor: The Glass King’s Pawns, Undulating Mirage, Pulsating, Continuous.
Gottfried Sello: “For the first time, Eastern and Western artists are equally represented in an international exhibition. Finally, the artists coming from Eastern communist bloc are no longer regarded as the impoverished relatives.“ (Excerpt from Zeit Journal, April 25).
“Insufficiently adaptable, we ended up developing a loneliness/solitude in three” – is his diagnosis of the first founders of the group from Timisoara. Its very name 1+1+1 was suggesting the association of three individualities that would not give in gregariously to any easy loquaciousness. The unexpected success at the Constructivist Biennial Exhibition in Nürnberg in 1969, the surprise the Romanian performance in that big competition stirred – prompting highly significant praise, from Max Bill for instance, one of the European veterans of the movement with a celebratory retrospective exhibition there – could have upset this balance between the theoretical stand and the actual practice of the creative act.
Sigma 1 Group, 1969 – approx 1980 Members: Stefan Bertalan, Constantin Flondor, Doru Tulcan, Ioan Gaita, Elisei Rusu, Lucian Codreanu / Sigma 1continues and increases the experience of Group 1+1+1.
The Group’s Manifesto and Principles
- The study of ways leading to form; ordering principles
- Integrating and getting familiar with borderline fields of study; psychology, cybernetics, bionics, mathematics, and architecture
- Nature and the environment – a place for research and action
- The development of a pedagogical manifesto
- Investing forms with usefulness. The aesthetics of useful forms
- The diversification of configuration media (paper, cardboard, wood, acrylic glass, aluminium, synthetic fibres)
- The employment of photography and film (S8 mm) as knowledge and representation media
Due to the fact that nature cannot speak for itself, the artworks exhibited can be considered platforms that encourage connections between nature and viewer.
When thus strengthened he returned to painting – as he was writing in 1984,“Painting becomes again my primordial magma” – his talent had acquired the confidence of a profound order and quiet intensity.
“There’s always a geometry working in me” – Flondor explains in a diary entry – “a thirst for organisation tensing the forms”.
Aristippus of Cyrene, a bright and defiant philosopher and a disciple of Socrates, who tells us a piece of ancient story. He’s at sea on a ship that’s stranded on the Syracuse coast. The first thing the philosopher notices is a geometrical figure drawn on the sand. “And at once he realizes” – the text says – “that he’s among Greeks, among wise people, and not among Barbarians.”
As a shy question that does not press for answers, as a sacred wondering that pulls the artist out of the self-sufficiency of the self, what this kind of painting wants today is a supreme freshness, verging on innocence. That innocence simply and definitively invoked by Luchian when his hidden eye reflected “the shadow of a cloud passing over an orchard, a drop of dew shimmering on a blade of grass!” As Arghezi heart-rendingly said on the painter’s death, he, the painter of the impalpable, was thus “honest as a blade of grass”.
Quotes by Dan Haulica (Honorific President of the International Association of Arts’ Critics) and Adina Drinceanu (From the Catalog „If a DandeLION Could Talk“)