Outpost for Contemporary Art's resident artist, Veaceslav Druta, will discuss his work with Curator, Glenn Phillips.
Now based in Paris, Veaceslav Druta is from Chisinau, Republic of Moldova. After completing his studies at the University of the Arts, Chisinau, Republic of Moldova in 1998, Druta attended Le Fresnoy, a national studio of contemporary art in Tourcoing, France (2002-05) and the research program, La Seine, Ecole Nationale Superieure des Beaux-Arts, Paris, France (2004-06). He creates interactive situations using video, performance, music, and sculpture. He views his works as objects and situations that allow him to establish interaction with people. Druta's work has been seen at Museum of Art, Zilina (2007); Centre Pompidou, Paris France (2006); International Biennale, Lasi, Romania (2006); CitySonics, Transcultures, Mons, Belgium (2005); Le Fresnoy, Tourcoung, France (2005), to name a few. Veaceslav Druta is a resident artist at Outpost for Contemporary Art from April 28 - June 1, 2008.
Glenn Phillips is Senior Project Specialist and Consulting Curator in the Department of Contemporary Programs and Research at the Getty Research Institute. He is curator of the exhibition California Video, which is on view at the J. Paul Getty Museum until June 8. He has also organized the exhibitions Photographs of Artists by Alexander Liberman (Getty Center); Time/Space, Gravity and Light (Skirball Cultural Center); Marking Time (LACE.); and Evidence of Movement (Getty Center). He is co-editor with Thomas Crow of the book Seeing Rothko, which was published in 2005. He has organized a number of video series at the Getty, including Pioneers of Brazilian Video Art 1973-1983; Surveying the Border: Three Decades of Video Art about the United States and Mexico; Reckless Behavior; and Radical Communication: Japanese Video Art 1968-88. Prior to the Getty he was Assistant Curator for Special Projects at the Whitney Museum of American Art, where he worked on a number of exhibitions, including No Wave Cinema; The American Century: Art & Culture 1900-2000; the 1997, 2000 and 2002 Whitney Biennial exhibitions; Bitstreams: Art in the Digital Age; and Tony Oursler: The Darkest Color Infinitely Amplified.