Protagonisti, 90 x 76 cm, 1999, ulei pe panza

Victor Hagea

S-a născut la  Lupeni, Hunedoara, România. Stabilit în Germania din ianuarie 1985

• Studii:
Liceul de muzica si arte plastice, Tg. Mureş
Institutul de Arte Plastice şi Decorative „ION ANDREESCU”, Cluj. Specialitatea: Pictură
 www.victor-hagea.de

The Chosen One, 130 x 100 cm, 2001, oil on canvas

   •Distincţii
1996 Membru corespondent al Academiei Internaţionale <<Greci Marino>>, Vercelli, Italia 1999 Cavaler academic, departmentul Arte, Italia 2009 Marele Premiu Internaţional “Pieter Paul Rubens” – Ai Maestri Del Colore, Florenţa 2010, Marele Premiu Internaţional “Rembrandt” – Ai Maestri Della Luce, Florenta

Dream  (Fortune-teller), 100 x 85 cm, 2001, oil on canvas

 • Expoziţii (selecţie):
1980 Bienala Bucureşti
1984 Bienala Bucureşti
1988 Salonul Independentiţor, Grand Palais, Paris
1989 Salonul Independenţilor, Grand Palais, Paris
1990 Salonul Independenţilor, Grand Palais, Paris
1995 Competiţia Internaţională ART’95, New York
1995 Salonul Independenţilor, Paris
1996 Salonul Internaţional de Arta Contemporana Nisa, Palais des Expositions
1996 Salonul Independenţilor,, Paris
1997 Salonul Independenţilor,, Paris
1999 Salonul Independenţilor,, Paris
2001 – 2004 expune la OPERA Gallery Paris-New York-Singapore-Miami-Hong Kong-London-Monte Carlo-Seoul
2002 Salonul de toamnă, Paris
2003 Salonul de toamnă,, Paris
2004 – 2005 „Labyrinthe & Irrgärten“ Schloss Hohnhardt, Dellarte
Incepand din 2004 expune prin intermediul diferitelor galerii de artă din Paris
2005 Europ’Art, Palexpo, Geneva
Târgul Internaţional de Artă, Gent, Belgia
2006 Art en Capital, Grand Palais, Paris
2009 Münchner Künstlergenossenschaft königlich privilegiert 1868, Haus der Kunst, München /
Salonul anual al Artistilor münchenezi privilegiat Regal 1868, Haus der Kunst, München
2010 Münchner Künstlergenossenschaft königlich privilegiert 1868, Haus der Kunst, München / Salonul anual al Artistilor münchenezi privilegiat Regal 1868, Haus der Kunst, München
2011 Münchner Künstlergenossenschaft königlich privilegiert 1868, Haus der Kunst, München /  Salonul anual al Artistilor münchenezi privilegiat Regal 1868, Haus der Kunst, München
2012 Münchner Künstlergenossenschaft königlich privilegiert 1868, Haus der Kunst, München /
Salonul anual al Artistilor münchenezi privilegiat Regal 1868, Haus der Kunst, München

The Tissue Of Ariadne, 100 x 85 cm, 2002, oil on canvas

•Publicaţii:  
1991/92/, 94/95, 98/ 99 WHO’s WHO IN INTERNATIONAL ART
1988/89/90/95/96/97/99/2006 SALON DES INDÉPENDANTS
1998 Münchner Merkur, No. 243
2002 SALON D’AUTOMNE, Paris; WORLD OF ART, Issue 5, Volume 2
2003 WORLD OF ART, Issue 6, Volume 3  100 CONTEMPORARY ARTISTS (Masters Of Today), Volume 1, ISBN: 91-89685-05-9
SALON D’AUTOMNE, Paris
2005 EUROP’ART, Genève;  BEAUX-ARTS MAGASINE, iulie 2005
2006 DROUOT-DICTIONNAIRE COTATION ARTISTES 2006, LAROUSSE Diffusion
2007 –CONTEMPORARY GLOBAL ART– THE ARTIST CONTACT
DROUOT-DICTIONNAIRE COTATION ARTISTES 2007, LAROUSSE Diffusion
2008 MASTERS – 117 Contemporary Artists, ISBN-10: 9189685180
DROUOT-DICTIONNAIRE COTATION ARTISTES 2008, LAROUSSE Diffusion ISBN: 978-2-9524215-2-2
TRENDS – 136 Contemporary Artists, ISBN-10: 9189685172
VICTOR HAGEA AMAZING ART ,ISBN 13: 9789189685239
2009 DROUOT-DICTIONNAIRE COTATION ARTISTES 2009, LAROUSSE Diffusion ISBN: 978-2-9524215-3-9
INTERNATIONAL ENCYCLOPAEDIC DICTIONARY OF MODERN AND CONTEMPORARY ART, FERRARA, ITALY
LEXIKON DER PHANTASTIISCHEN KÜNSTLER, Gerhard Habarta ISBN: 9 783837 084276
MUT No. 504, 505, 506, 507
2010 ARTELIBRE • Arte y Liberdad V • ISBN:10: 84-15126-03-4
MUT No. 510, 512, 516, 517
2011 INTERNATIONAL CONTEMPORARY ARTISTS Vol. II, New York ISBN: 9789609329859
MUT No. 524
2012 MUT No. 531, 534, 538 2013 LEXIKON DER PHANTASTIISCHEN KÜNSTLER, Gerhard Habarta, 2 Editier, ISBN-10: 3837084272  MUT No. 541

The Children Of Cronus, 100 x 85 cm, 2002, oil on canvas

 Pictura ca spectacol.
Forma fiind copilul spatiului, se purifica în lumina si se imbraca în umbra neobisnuitului. Necunoscutul apare travestit in haina cunoscutului, învitat la balul formelor pasagere. Prin jocul luminii si al umbrei se deschide poarta spre lumea realitatii polare ce îsi tradeaza în fiecare moment starea initiala cochetând cu opusul sau. In aceasta scena a capriciului dialectic, vacanta pe care o ia forma manifestata în dorinta ei de repaos, e umila ei dorinta de a se înalta pentru a putea renaste în aspectul triumfator al eternei vârste de aur . O vârsta  a carei menire se îndreapta spre identificarea cu indimenticabilul  starii din care printr-un gest prea temerar s-a desprins.
Eternul pulseaza în forma manifestatului, invitând spectatorul sa asiste la ritualul prin care realitatea iasa din carcasa propriei  prejudecati pentru a se reintoarce în Paradisul ce o data l-a cunoscut. Draperii ce ascund mirajul lumii, se retrag în fata eului temerar explorator de teritorii necunoscute. El se fugareste pe sine în eterna miscare giratorie a lui Cronos, parca pentru a se ajunge  din urma si a-si depasi devenirea. Este traseul tainic al norilor magelanici navigatori de spatii  nedefinite, domiciliati în cadenta eternitatii unde melodia pendulelor în suspensie acompaniaza cântecul sirtelor pe tarmul regasirilor pasagere.
In zbuciumul polifonic al lumii dialectice, tacerea statuilor la unison nu este decat musica înca nescrisa a sferelor. Ochiul este scena spectacolului unde regizorul devine propriul sau actor pentru a trece bariera de la capatul noptii întâlnindu-se astfel cu lumea sub chipul poesiei. Definitul isi ia ramas bun de la propriul sau cadru acceptând invitatia la voiajul înca neînceput cu destinatia ultimei cunoasteri.

Prolog:
Omul cu tichia  albastra a lui Jan van Eyck ma urmarea cu privirea lui patrunzatoare de când eram copil, parca pentru a-mi reaminti de fiecare data o datorie pe care atunci nu o întelegeam si anume de a restitui picturii demnitatea splendorii ei originare.

Genesis, 100 x 85 cm, 2003, oil on canvas

La peinture en tant que spectacle
La forme étant l’enfant de l’espace, se purifie dans la lumière et se revêt dans l’ombre de l’inhabituel. L’inconnu apparaît travesti dans le vêtement du connu, invité au bal des formes passagères. Par le jeu de la lumière et de l’ombre la porte s’ouvre  vers le monde de la réalité polaire qui trahit à chaque moment son état initial coquetant avec son contraire. Dans cette scène du caprice dialectique, le congé que prend la forme manifestée dans son désir de repos, c’est  son humble souhait de s’élever pour pouvoir renaître  dans l’aspect triomphant de l’éternel âge d’or. Un âge dont la mission s’élève vers l’identification à l’état inoubliable dont il s’est détaché par un geste trop téméraire.   L’éternel frémit sous la forme du manifesté, invitant le spectateur à assister au rituel par lequel  la réalité sort de la coquille de son propre préjugé pour rentrer au Paradis qu’il avait connu une fois. Des voiles qui cachent le mirage du monde, se retirent devant le moi, vaillant explorateur des théories inconnues. Il se poursuit soi-même dans l’éternel mouvement circulaire de Cronos, comme pour se rattraper et dépasser son devenir. C’est le trajet mystérieux  des nuages  accompagnant Magellan, navigateurs des espaces indéfinis, logés dans la cadence de l’éternité où la mélodie des pendules en suspension accompagne le chant des syrtes sur la terre des retrouvailles passagères. Dans le bruit polyphonique du monde dialectique, le silence des statues réunies  n’est que la musique encore non écrite des sphères. L’œil est le décor du  spectacle où le metteur en scène devient son propre acteur pour franchir la barrière du bout de la nuit rencontrant ainsi le monde sous le visage de la poésie. Le défini  prend adieu de son propre contexte tout en acceptant l’invitation au voyage encore non entrepris, ayant pour destination finale la connaissance.

Prologue :
« L’homme au bonnet bleu » de Jan van Eyck me guettait de son regard pénétrant depuis que j’étais enfant, comme pour me rappeler chaque fois un devoir qu’alors je ne comprenais pas, précisément celui de rendre à la peinture la dignité de sa splendeur originaire.

Genesis, 100 x 85 cm, 2003, oil on canvas

Painting – as a form of performance
As shape is the child of space, it purifies in the light and dresses in the shadow of the unusual. The unknown appears changed by the form of the well-known, invited to the party of the ephemeral shapes. The game of light and shadows opens the door to the world of polar reality which is continuously betraying its initial state by flirting with its opponent. Within this scene of dialectical caprice, the vacation taken by the shape, translated in its desire for resting is nothing but its wish to rise in order to be born again in the triumphant aspect of the eternal golden age. An age which is meant to head for the identification with the unforgettable state which it valiantly once left behind. The eternal is pulsating as if it were the obvious, inviting the spectator to attend the ritual through which reality is leaving the chest of its own bias in order to return to the Paradise it had once known. Curtains concealing the magic of the world surrender in front of the brave ego , explorer of virgin territories. He is chasing himself in the eternal merry-go-round movement of Cronos , as if he were to reach himself from behind and going beyond his own being. It is the mysterious route of Magellan’s clouds, sailing on indefinite spaces, living in the cadence of eternity where the tune of the suspending pendulums accompany the song of the drifting  sand on the shore of the ephemeral rediscoveries.
In the polyphonic torment of a dialectical world, the omniscient silence of the statues is nothing but the unwritten music of the spheres. The eye is the stage of  a performance where the director becomes his own actor in order to overpass the barrier at the end of the night , thus encountering the world as a piece of poetry. The unambiguous is saying goodbye to its own context, accepting the invitation to the never started travel whose destination will be the ultimate knowledge.
Prologue: The Man in a Blue Turban by Jan van Eyck had been watching me with his sharp look ever since I was a child, as if to remind me every time of a duty which then I would not understand – namely to give back the painting the dignity of its initial splendor.

Still Life with Chilean Wine, 44 x 36 cm, 2004, oil on canvas

Im Mittelpunkt meines künstlerischen Schaffens steht der Mensch in Verbindung mit  seinen Tätigkeiten, Handlungen und Wünschen, die sein Schicksal bestimmen und formen, der Mensch der seine “Surrealität” schafft.  Wenn ich meinen Stil charakterisieren würde, so kann ich ihn eher als “magischen Surrealismus” mit fließenden Grenzen zwischen Realität und Traum bezeichnen. So möchte ich den Zuschauer als  Zeuge einer Wechselwirkung der Zustände einladen, wo die Realität in den Traum entflieht und der Traum nimmt wiederum realistische Züge an.  Im Gegensatz zu den anderen Vertretern der Kunstströmungen stelle ich nicht die klassischen Werte der Kunst in Frage, sondern ich versuche sie in einer neuen Weise und einem aktualisiertem Zusammenhang zu verwenden. Der Satz von Delacroix “Die Malerei soll ein Fest fürs Auge sein” hat für mich an Aktualität und Bedeutung nicht verloren, sondern sie eröffnet mir neue Perspektiven für die Umsetzung meiner Ideen.

Still Life with black pot, 36 x 44 cm, 2004, oil on canvas

WERK
Victor Hagea gilt als ein virtuoser Vertreter seines Fachs, einer, der die Mittel der traditionellen Malerei – sowohl stilistisch, als auch technisch – wirksam entfalten kann; seine konzeptuelle Richtung wird des Öfteren in den Schmelztiegel des Surrealismus (bzw. fantastischer Realismus) platziert, was nur teilweise stimmt, denn Hagea gelingt, durch seine eigenständige Symbolik, sich von der Nebelfelder einer bestimmten Art der Realitätsverfremdung zu trennen. Der Seilschaft der „Trompe l’oeil“-isten hält er sich fern – denn, während diese, das „Trompe l’oeil“ als Zweck betrachten, wird dies bei Hagea lediglich als ein Mittel (unter vielen anderen-) angewendet. Der Künstler hat sein Kredo – anlässlich eines Gesprächs mit der Kritikerin Nicoletta Isar[1] – wie folgt dargestellt: „Im Mittelpunkt meines künstlerischen Schaffens steht der Mensch in Verbindung mit seinen Tätigkeiten, Handlungen und Wünschen, die sein Schicksal bestimmen und formen – der Mensch, der seine <Surrealität> schafft. Wenn ich meinen Stil charakterisieren würde, so kann ich ihn eher als <magischen Surrealismus>, mit fließenden Grenzen zwischen Realität und Traum bezeichnen.[2] So möchte ich den Zuschauer als Zeuge einer Wechselwirkung der Zustände einladen, wo die Realität in den Traum entflieht und der Traum nimmt wiederum realistische Züge an. Im Gegensatz zu den anderen Vertretern der diversen Kunstströmungen, stelle ich nicht die klassischen Werte der Kunst in Frage, sondern ich versuche sie in einer neuen Weise und einem aktualisiertem Zusammenhang zu verwenden. Der Satz von Delacroix “Die Malerei soll ein Fest fürs Auge sein” hat für mich an Aktualität und Bedeutung nicht verloren, sondern sie eröffnet mir neue Perspektiven für die Umsetzung meiner Ideen“.

The Window Of Heaven, 82 x 61 cm, 2005, oil on canvas

Artistul si-a exprimat crezul sau artistic cu ocazia unei convorbiri cu criticul de arta Nicoletta Isar dupa cum urmeaza: In centrul creatiei mele artistice sta sta omul in conexiune cu faptele, actiunile si dorintele sale, determina si formeaza destinul – omul care isi creaza propüria lui <suprarealitate>. Daca mi-as caracteriza stilul, l-as defini mai degraba <suprarealism magic> cu delimitari nedefinite intre realitate si vis. Astfel as dori sa invit spectatorul pentru a fi martor la alternanta starilor, unde realitatea evadeaza in vis, iar visul la randul sau ia trasaturile/aspectele realului. In opozitie cu alti reprezentanti ai altor curente artistice, eu nu pun la indoiala valorile clasice ale artei, ci incerc sa le utilizez intr-o noua maniera si intr-un (nou) context actualizat. Afirmatia lui Delacroix “Pictura trebuie sa fie o sarbatoare pentru ochi” nu si-a pierdut pentru mine nici actualitatea si nici importanta, ci ea imi deschide noi perspective implementatarii/transpunerii ideilor mele artistice.

Frames, 82 x 61 cm, 2005, oil on canvas

The artist has expressed his artistic creed during a conversation with the critic Nicoletta Isar as follows: “The focus of my artistic creation is the human being in connection with his activities  , actions and desires which determine and form his fate – the human who creates his <surreality>. If I had to characterize my style, I should call it <magical surrealism> with indefinite boundaries between reality and dream.  So I would like to invite the spectator to be witness to the interaction of the states where the reality escapes into the dream and the dream will turn to some aspects of the reality. In contrast with other representatives of the various art movements, I do not doubt the traditional values of art, but I try to find a new way and to use them in an updated context. The assertion of Delacroix “The painting must be a feast for the eye” is for me still up to date and significant and it opens up for me new perspectives to implement my artistic ideas. “

Heroes Of Studio, 82 x 61 cm, 2005, oil on canvas

L’artiste a exprimé son credo artistique à l’occasion d’un entretien avec le critique d’art Nicoletta Isar comme suit:  Au centre de ma création artistique est l’homme en connexion étroite avec ses actions, ses faits  et ses désirs qui déterminent et forment son destin –l’homme qui crée sa propre „surréalité”. Si je caractérisais mon style , je le définirais plutôt de „surréalisme magique” avec des déterminations indéfinies entre réalité et rêve. Donc, je désirerais  prendre  le spectateur  à témoin de l’alternance d’états d’âme, où la réalité s’évade dans le rêve et à son tour le rêve prend les traits du réel. Contrairement à des représentants d’autres courants artistiques, je ne mets pas en question les valeurs classiques de l’art, au contraire j’essaie de les utiliser d’une nouvelle façon et dans un nouveau contexte mis à jour. L’affirmation de Delacroix „La peinture doit être un régal pour les yeux” n’a  perdu pour moi ni son actualité ni son importance, mais elle ouvre de nouvelles perspectives à la transposition de mes idées artistiques.
Forgotten Things, 52 x 43 cm, 2005, oil on canvas

THE PICTORIAL SPACE CHÔRA OF VICTOR HAGEA –  A HOSPITABLE SPACE OF CREATION AND IMAGINATION

Dreamy, pneumatic bodies, wrapped in opaline, iridescent folds projected onto wide un-perspectival shores – these are the fascinating pictorial visions of Victor Hagea. Reflexions of the imaginative aspiration of Man towards the Flight, towards Eternity, his dreams metaphorically contain and make visible the un-stained body in its original transparent light – the primordial space, lost and now solely visible as in a dream, as in a mirror.
Donner à voir: to make visible the in-visible, the imaginable – this is the titanic task of the artist, his sacrosanct “offering” to the viewer: to make dream shine forth again. Yet the dream must be un-veiled and re-discovered by the beholder in a rite de passage, a graceful play of initiation. This is the ritual performance proposed by the artist to his viewers: a magic tableau vivant set up as a “theatre of enchantment” whose director is the artist himself.  But what kind of space could that be this space that is and it is not? This dream space is the chôra space, the only space that could contain the uncontainable body of the dream, that airy spatial motion that makes bodies mystically move upwardly in a paradoxical manner: moving by themselves, and as if being carried out by some cosmic  aspiration of the invisible spirit.
Chôra space is, according to Plato’s Timaeus, the primordial space, the matrix (ekmageion), the womb and the receptacle in which the original creation takes place. She is a third kind of reality (tríton génos), a space-in-the-making, and in-between, which is and it is not, visible and in-visible: the space of imagination! Chôra is anything but a cosmic mirror in which perpetual being would be reflected, the memory-image of the primordial cosmos, the antidote (pharmakon) against oblivion. But the ground offered by chôra is abyssal, because chôra’s reality could be grasped only through a “bastard thinking,” as in a dream. Therefore, said Plato, to look at chôra is as if “we look at it as in a dream.” (52b) To look at Hagea’s images is as if to look into a huge cosmic mirror, an intriguing specular and spectacular image, reflecting the exquisitely rich surface of the folds, the deceitful textures of the Play. Dreaming is, according to Socrates, mistaking an image for its original (Republic 476c). But if the dream confounds the image with the original, it also discloses that which one dreams, the hidden sacrosanct Image, and this is a great reward for the viewer, the invaluable gift offered to him by the artist. Therefore, Victor Hagea’s chôra is such a hospitable space.
Nicoletta Isar, 8th January 2009

Window, 82 x 61 cm, 2006, oil on canvas
Lights And Shadows, 82 x 61 cm, 2006, oil on canvas
Pyramid of ephemeral encounters, 61 x 82 cm, 2006, oil on canvas
Summer Clouds, 80 x 60 cm, 2006, oil on canvas
Italian Project, 70 x 70 cm, 2006, oil on canvas

Romance, 80 x 60 cm, 2007, oil on canvas
The Castle Of Cinderella, 160 x 120 cm, 2007-08, oil on canvas
Rebus, 100 x 80 cm, 2008, oil on canvas
November, 75 x 105 cm, 2007-08, oil on canvas
Still Life With Blue Vase, 29 x 37 cm, 2008, oil on canvas
Waiting for Icarus, 85 x 100 cm, 2008, oil on canvas
Queen Of The Fairytales, 95 x 82 cm, 2009, oil on canvas
The Mirror, 90 x 76 cm, 2009, oil on canvas
The Remains Of The Day, 37 x 29 cm, 2010, oil on canvas
Escape, 100 x 80 cm, 2010, oil on canvas
The last act, 100 x 130 cm, 2011, oil on canvas
The mystery of shadows, 100 x 80 cm, 2012, oil on canvas
The unseen ways, 85 x 100 cm, 2012, oil on canvas