Cristian Ungureanu
Pages 124-128
DOI: 10.5840/cultura20063226


Like other major traditional arts, contemporary sculpture has become, in the third millennium of Post-Christ civilisation, a place where one can meet a great diversity of directions and artistic pursuits. The communication and digital transfer of data and information has favoured the influences and creative substances transfer from areas that never constituted the convenience subject for the posterity of Phidias and Michelangelo, until half a century ago. At the same time millenary practices and procedures, specific to sculpture art, developed a process of exuberant expansion. Many contemporary architectures, for instance, have developed new functions, beyond the traditional aesthetic and utilitarian ones: they become enormous iron, concrete and glass sculptures. In this climate of artistic globalisation, of aesthetic and industrial amalgamation, of the political with the social, of the holy and the profane, of ancient mythology with the hyper- sophisticated urban mythology from west, against the pauperization in the second and the third world, the birth of a genuine artist is a burgeon of a lions foot. By the end of the 90s one talked about the dependence between the number of the really valuable artists and the independent constant of their external appearance and of the degree of recognition that they offer. Vladlen Babcinetchi was born next to the eastern limit of Eminescu’s doina, on the Dnestr Moldavian shore. After a childhood marked by the fantastic dimension of his homeland he became a student at the “Octav Bancila” Art High school in Iasi. A sculptor, artist and an Owl

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