Roman Tolici

Published to Publications on Feb 19, 2018

​What I like about Tolici is the indifference towards dominant aesthetic doctrines: he mocks the rancid avant-gardes who were calling the shots not long ago, who were forcing the artist to destroy any representation, lest he was accused of crime against conservatism. He does not exhume any radical, surrealist, situationist, abstract or conceptual theory to justify his work, as he does not need to apply an ideology or a theory to illustrate his inspiration. Moreover, he breaks away from the posture of academic subversion, so frequent and so well-paid in the West. One of the most striking aspects about the last decades is, indeed, the reconciliation of the bourgeois and the bohemian, almost interchangeable henceforth, all under the aegis of the art market. The former longs for the freedom and authenticity of the latter, who flaunts his rebellion against the system, so as to sell his works for a good price. It is not only the wealthy who are fascinated with the artists; it works the opposite way as well: the artist wants the panache of subversion, plus a comfortable income. He wants to win on both levels: the harmless transgression and the proceeds resulting from it (see Jeff Koons, Anish Kapoor and Damian Hirst). So many elements that sometimes make one feel that contemporary art has become a big hoax, in the service of a purely capitalist logic. (Pascal Bruckner)


Edited by Roxana Gamart

9,05 x 11.22 inches (23 x 28.5 cm)

260 pages

Fully illustrated

Cover image: Roman Tolici, ​Accident in Amzei Square

Designed by Corina Gabriela Duma; Project coordinator Roxana Gamart; Photos by Adi Bulboacă, Dargoș Trăistaru, Roman Tolici, Dan Bucur; Printed by Master Print in Bucharest

Published by Pandora M, in partnership with Mobius Gallery

ISBN-13: 978-606-8780-80-1

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