Ciprian Mureșan’s artistic practice eschews formal conventions that often characterize artistic styles. Rooted in a skepticism derived from his own experiences, particularly following the fall of the communist regime in Romania, Mureșan’s work acts as a commentary on the cliches of the art world. His video Dog Luv (2009), which employs puppetry, engages in a satirical analysis of human social behaviour, presenting a narrative where a group of dogs critiques humanity through the prism of malice. It is based on a text by playwright Saviana Stănescu. The portrayal highlights humanity’s violent tendencies, using dark humour to both ridicule and deconstruct these traits. A knowledgeable dog figure attempts to uphold decorum during instructional scenes, yet once this authority departs, the emotional tone shifts to that of exclusion and derision, culminating in aggressive behavior amongst the students. This transition from satire to an exploration of peer pressure and dehumanization echoes themes reminiscent of Orwell’s Animal Farm, ultimately revealing a discomforting pleasure in malevolence. The stark visual aspect—marked by monochromatic imagery and the partial visibility of the puppeteers—enhances the work’s uncanny quality while underscoring the role of manipulation in fostering violence. Another work shown in Global Fascisms, Rhinocèros (2006), alludes to the notion of the ‘alien’ or ‘other’ within society. The animal, being both familiar and otherworldly, aligns with the artist’s conceptual intention to challenge preconce ptions about identity and belonging. As the viewer gazes upon the rhinoceros, they are confronted with their perceptions and biases, thereby fostering a critical dialogue about cultural identity and representation.

WORKS IN THE EXHIBITION: Dog Luv (2009), 1-channel video, colour, sound, 30‘ 56"; Rhinocèros (2006), 1-channel video, colour, sound, 25'. Courtesy of the artist