Revisiting his artistic and curatorial activity from the time he worked as a museographer at the Museum of Visual Art from Galați, sculptor Ingo Glass (1941, Timișoara–2022, Budapest) reflects on the importance of this site for his practice. These are years in which he actively contributed to the development of the museum’s collection of contemporary art, travelling in the country, closely following the interests of his generation; it is also the period in which he discovered in the Galați shipyards the metal welding and painting techniques that he introduces in his art. The works from these years call to mind the engineering structures of medieval architecture, their ascetic ratio being enhanced by the blackness covering them. A promoter of abstractionism in the Romanian sculpture, Ingo Glass developed his own working system and his own theory regarding the relation between geometrical shapes and basic colours. Under the influence of the same industrial techniques learned in Galați, Ingo Glass brings colours in his sculpture. The interview lingers on the monumental work Septenarius (1976) made out of red lacquered steel, an abstract structure located on the Danube, characterized by the effort of the sculptural ascension and tension through the use of the semicircle.

Interview: Alina Șerban
Artworks: © Ingo Glass
Archives:  © Glass Family Archive
Budapest, 2022
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Camera: Zsuzsanna Simon
Video editing: Zsuzsanna Simon & Dan Iordache
Subtitles: Diana Bularca
Music: Lucian Mețianu, Pythagoreis, 1970
Parkour & IP visual identity: Radu Manelici
Parkour Video visuals: Sebastian Pren

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Film produced in the frame of the projects “Uncensored Act” and “Collegium”.

The project is part of the national cultural programme “Timișoara—European Capital of Culture in the year 2023” and is funded by the Municipality of Timișoara, through the Center for Projects. Cultural project co-funded by the Administration of the National Cultural Fund.

The project does not necessarily represent the standpoint of the Administration of the National Cultural Fund. AFCN cannot be held liable for the content of the project or the manner in which the outcomes of the project may be used. These shall devolve entirely on the beneficiary of the financing.