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Valeriu Mladin (birth date and place: May 12, 1958, Lipova, Arad County) – romanian visual artist, University Lecturer at Photo-Video and Computerized Image Processing Department within the National University of Arts in Bucharest. Artistic genres in which he expresses are: drawing, painting, sculpture, photography, video, installation and performance. Studies and Academic Activity: Institute of Fine Arts ”Ion Andreescu", Cluj-Napoca,1982; Member of the Plastic Artists Union

“The increasingly pronounced transformation of Picasso into a recognizable commodity of mass culture, especially within the society of the information spectacle, becomes an inexhaustible resource for benign-critical statements, such as Valeriu Mladin’s installation The Young Ladies of Avignon – The Blue Period, which refers not only to Picasso’s ever more revealed and debated love life (already since the 1990s) – with all its complications and abuses – but also to the growing

This video represents an attempt to depict what was discovered behind the two photos, selected from a longer series, as will be seen, as well as to reveal how they were taken in the year 2016.   A dull thud was heard one day from one of the 18 windows of my spacious studio, located on the upper floor of the house where I live. Engrossed in work, I hadn't intended to investigate what had happened.   About two weeks later, on a chilly late autumn morning, stepping onto the stud

This large-scale installation was created together with my wife, Carmen Paiu, for the international exhibition “EARTH”, hosted by the Art Museum of Timișoara in 1992, curated by Ileana Pintilie. It was displayed in two rooms without ceilings, doors, or windows, in an unrenovated wing of the museum – located in the very square where people had been killed during the Revolution. The installation, conceived in a ready-made spirit, consisted of 22 life-size human sculptures made

THE POLICE ARE ON OUR SIDE - PERORMANCE - HELIOS GALERY - TIMIŞOARA, 1991 Who Shot at Us? – performance staged at the Helios Gallery in Timișoara, 1991, in the post-revolutionary cultural context, when theaters and exhibition halls stood empty, and the public’s attention was focused entirely on the events of December 1989. Artists Carmen Paiu, Constantin Răducanu, and Valeriu Mladin were brought to the opening in handcuffs, escorted by two police cars with sirens, and delibe

MENGELE'S COLLECTION  - INSTALATION - VENICE BIENALE,  1997 MENGELE'S COLLECTION is a ready-made installation created in three versions, exhibited at the Art Gallery in Sfântu Gheorghe (Romania, 1994), at 134 Gallery in Český Krumlov (Czech Republic, 1994), and at the Venice Biennale (1997). The work combines hundreds of dental casts placed on cardboard pedestals with 100 photographs of human mouths. Although the title alludes to a notorious doctor from history, the installa

THE INFANT (2004) is a remake of Velázquez’s Infanta Margarita of Austria, conceived as a painting-object in a ready-made technique. The work consists of two canvases, with the figure’s dress constructed from hundreds of empty oil paint tubes, fixed with polyurethane foam. By turning the residues of the artistic process into image, the piece reflects on creation, materiality, and the transformation of painting itself. At its first exhibition, Infanta was immediately noticed

2020 Lansare „Azur de Lisabona” – album bilingv cu texte semnate de peste 50 de personalități române HotNews AGERPRES Almedina – „Azul de Lisboa / Azur de Lisabona” 2019 „Freatic 3: Îl opun pe A lui 1” – Lumea Credinței Expoziție „Oglindiri” @ Galeria ICR Lisabona (2 sept.) – Modernism.ro Expoziție „Identități vizuale” @ Muzeul de Artă, Piatra Neamț (5 iunie) Artportfolio OnlineGallery Rețeaua Literară YouTube – Teodor Moldovan Ziare.com Expoziție „Bestiar Politic 3” @ Galeri

Attitudes, Habits and Political Grimaces  Notable in Valeriu Mladin’s work is the relationship between subject and image, always inscribed within concise morphological limits. The development of the chosen theme generally presupposes serialization, each part of the whole constituting itself as a variation. The artist conceives his projects da capo al fine, maintaining in his discourse the optimal measure of the narrative from which he departs, regarded as iconographic source.