Brancusi Reimagined at Timisoara Capital of Culture 2023: interview with Ovidiu Sandor, the commissioner of the exhibition

From September 30, art enthusiasts are to encounter an extraordinary fusion of art heritage, as “Brancusi Reimagined” unveils an unprecedented exhibition in Timisoara, a key part of the Capital of Culture’s official programme. The event marks a historic juncture where, after five decades, iconic sculptures from Constantin Brancusi’s transformative period, sourced from prestigious global institutions like the Pompidou Centre and Tate Gallery, will converge with works from his early years, drawn from Romania’s diverse array of museum and private collections. Business Review sat down with Ovidiu Sandor, the Commissioner of the Exhibition titled “Brancusi: Romanian Sources and Universal Perspectives,” as well as the President of the Art Encounters Foundation, to delve into the intricacies of this remarkable exhibition.

How does the exhibition showcase and honour Constantin Brancusi’s heritage and what significance does this hold for Romania as his country of origin?

The exhibition is a well-deserved symbolic Brancusi homecoming, since the last Romanian exhibition dedicated to the great sculptor happened over 50 years ago. It will be a good opportunity for Romanians to see important works, including some from his mature period, without travelling to Paris or elsewhere. On the other hand, there is also an exhibition debunking many of the associated myths and distorted images of Brancusi. The curatorial concept, the extraordinary loans of key work, and the catalogue complementing the exhibition are even more arguments to come and (re)discover Brancusi. At the same time, this exhibition recovers and addresses Brancusi’s Romanian origins and presents the different stages of his artistic journey.

As Timisoara is the European Capital of Culture, how does the exhibition highlight the city’s connection to Brancusi and his impact on the cultural identity of the region?

I think the exhibition is about Brancusi’s importance for Romanian culture and, as it happens, Timisoara is not only the European Capital of Culture but also the country’s cultural capital this year. We should link Timisoara to Brancusi through multiculturalism and respect for tradition, a mix that has always ensured organic, healthy continuity in the evolution of a society. We are happy to be able to exhibit in Timisoara one of the great values of universal culture and art, as we did with Victor Brauner earlier this year, thus promoting two of the great artists who lived in France and contributed to the excellent relationship between the two countries.

How did the curators manage to gather sculptures from major museums like the Pompidou Centre and Tate Gallery for this exhibition in Romania?

Indeed, securing the loans was one of the most complicated aspects. Owners of such works are usually very selective when it comes to lending them. It was a joint effort, and one that has already paid off. The Art Encounters Foundation had partnered up with Centre Pompidou in previous collaborative projects. At the same time, as exhibition commissioner, I am involved in the work of both Tate and Pompidou. Doina Lemny also ran the Brancusi Studio in Paris for many years and had access to the fabulous Brancusi archives. She has built a solid reputation, and her experience preparing Brancusi exhibitions is invaluable. Together, these factors built the trust needed for these loans to be granted, proving that we can have high-standard exhibitions in Romania, too.

What role does Doina Lemny play as the curator of the exhibition and how has her expertise in Brancusi’s art contributed to the curation process?

Doina has certainly played a decisive role! She is a renowned international expert on the work and life of Constantin Brancusi, having signed the curatorial concept for many other exhibitions dedicated to the Romanian sculptor, both at the Atelier Brancusi in Pompidou as well as in Brussels, as part of the Europalia Festival, with the Sublimation of Form exhibition. Doina’s business card speaks for itself. She lives and breathes Brancusi and she’s dedicated her life as a researcher to the many layers of this fascinating figure. I couldn’t think of anyone better to curate such an exhibition in Timisoara because this exhibition and its proposed concept are at a standard that Doina Lemny masters very well. Long gone to Paris herself, like the artist she loves so much, the exhibition’s curator will stage in Timisoara the most truthful, elegant, and well-informed Brancusi event you’ll ever see.

Read also: Brâncuși in Timișoara: Tickets now available

How does this exhibition compare to previous ones curated by Doina Lemny in terms of scale and significance?

It is the first exhibition in several decades in which Brancusi is placed in a Romanian context. Doina’s expertise and her relationships with the owners of these works and many other people around the phenomenon were essential. “Romanian sources and universal perspectives” is an exhibition that presents in a balanced way the Romanian influences in Brancusi’s work, but also the transformation, the successive refinement of specific themes, and their conversion into universal forms and artworks that are recognisable everywhere. The exhibition will present over 100 works, including more than 20 sculptures, but also photography by Brancusi, drawings, documents, and films. The scale of the exhibition is aligned with the available space and budget constraints.

What are some of the challenges you’ve faced in organising an exhibition of this magnitude and level of international collaboration?

First and foremost, the biggest challenge was securing the loans for the works. Then, last year, the Timisoara National Museum of Art had to undergo a crucial technical upgrade with the unconditional support of the Timis County Council. Organising transport and insurance for such works was an essential and sensitive management element. But there is also a lot about harmonising the way of working between Romanian public institutions (the Timis County Council, the Museum), institutions from other countries (the French Institute, the Museums from which we’ve borrowed pieces, etc.), and a private institution (Art Encounters). But the team we’ve built is diverse and professional and it had a good learning-by-doing stage in preparing the Victor Brauner exhibition. We complement each other, help each other out, and pull together for the same result, even if sometimes we encounter challenges in organising the flow of visitors, communication, etc.

How does the exhibition contribute to promoting Brancusi’s heritage and Romanian cultural identity on a global stage?

As I’ve mentioned, it is the first Brancusi exhibition set in a Romanian context. The international press has shown interest in coming to the grand opening. It’s great that this retrospective is taking place in Timisoara, to be followed by an extensive retrospective at the Pompidou during the Olympic Games in 2024. Then, as you may know, Centre Pompidou will close for renovation for 4-5 years. Later, at the Pompidou’s reopening, the Brancusi Studio will be located at the heart of the refurbished building.

What challenges have you been facing during the planning phase and how do you overcome them? Are there any specific technological or multimedia elements incorporated into the exhibition?

While Brancusi doesn’t need bling to be interesting, the exhibition aims to present Brancusi’s works in their physical shape, just as the artist intended and designed them. The sculpture, the photos taken by Brancusi, the video images he filmed (something quite avant-garde at the time), the drawings, documents, and so on do not need technology to entertain a faithful and spectacular image of the great sculptor. We feel that Brancusi needs to be presented in a pure form, in line with his works.

What are your expectations in terms of the public’s response and what impact do you hope the exhibition will have on visitors’ understanding and appreciation of Brancusi’s art?

We hope it will be an occasion for it to be noticed by audiences in the city and from across the country. It will also be interesting for an international audience. We believe it is essential to present Brancusi in his country, in a balanced display of the Romanian influences on his work, but in the dynamics of the evolution of his oeuvre towards the universal masterpieces that made him famous. It is an exhibition that had to be done and I don’t think there’s a better context than “Timisoara 2023 – European Capital of Culture.” We are aware of a number of cultural initiatives that will take place in the context of this exhibition. From young artists entering a dialogue with Brancusi to theatre plays and other events prepared by various NGOs or cultural organisations, these complementary projects prove the importance of Brancusi for Romanian culture as well as his present-day relevance.

What value do you believe this exhibition brings to the art community and the public? How does it contribute to the broader cultural landscape?

We all think we know who Brancusi is and that we know his work. This exhibition is also an excellent opportunity to discover new things. A chance to see his forms live, which, with all the existing technology, means something completely different when witnessed in public. Revisiting the pillars of Romanian culture is necessary, especially when uncertainty, anxieties, and various crises enfold us. On the other hand, the Brancusi exhibition will leave behind a critical legacy and set up a bar for the Museum’s future projects. We believe this kind of landmark event somehow changes the entire cultural landscape and forces this art community into much-needed questions and discussions about Brancusi’s artistic legacy.

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