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The Banquet, 1994 |
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400 X 60 X 70 cm., mixed
media (paper, linen, collage, wood) |
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Among the works exhibited at the 1997 Venice Biennial
was a long table with 13 books, titled "The
Banquet",
which immediately makes you think of Plato and his dialogue on
love. But at the same time, the table in itself, the number of
books and their biblical sizes remind the viewer of The Last
Supper and the Christian concept of love. The artist establishes
a conceptual continuity between Greek philosophy and Christian
Orthodox dogma. Bitzan says this piece "reminds us of our
solid cultural tradition."
Anca Ionita
|
"In Review" Magazine
Assistant Editor |
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The Silent Books...Nicolaus
Olahus, 1995 |
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150X 65 X 350 cm. Mixed media (China ink on paper collage,
wood, leather) |
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Tree based on the
biblical story of King David |
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The Fairies (Sanzienele)
- 15 pieces, 1996 |
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160 X 35 X 20 cm. each
piece, wood, linen, mould |
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The richness and power of suggestion of the graphical,
pictorial, objectual sign are exquisite. "The Fairies" ("Sinzienele")
Bitzan also presents
in the Biennial complement the high culture narrative of the
"Library" zone, as products of the popular
mythology. As a whole, at stake is the fascination of the human
imagination and creativity.
Adrian Gutza
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"The Mirrored Time"
- An extract from the 1997 Venice Biennial's catalog |
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The Library (Water, Fire,
and Earth), 1992 |
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Mixed techniques |
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Composition for Drawing
and Color Study, 1995 |
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Mixed techniques |
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"Between center and absence"
- this formula
of Michaux, who had so often attempted to plunge into "turbulent infinities" - would be an appropriate representation
of the tension to which Bitzan's chimera is subjected.
Dan Haulica
|
Honorary President of the International
Association of Art Critics |
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The Last Judgement, 1995 |
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110 X 12 cm. Mixed techniques |
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The Tower, 1992 |
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Mixed techniques |
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Ministry of Culture (Bucharest)
collection |
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His "Tower" 1992, a mammoth and magnificent reading
table supported on hand-carved legs with busts resembling a composite
of a Baroque portrait and angelic putty, contains sheets of weathered,
ocher, hand-made papers with unreadable script piled atop each
other, the leaves forming a mound of suggestive occult knowledge
far removed in appearance, intellectual substance, and teleological
import from the synthesized floating computer information of
the present. "The Tower" is an anachronism appealing to the
alchemical past upon which the simulated future draws unconsciously.
Kristine Stiles
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Duke University, Durham, North
Carolina |
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