TAIL END – VLAD OLARIU - by ROMINA-CRISTINA BUDACĂ -

 Has anything changed over time, or is everything still as it was at the beginning of the world, only now with the promise of transformation and progress? Is power the reason for our evolution, or have certain symbolic forms also played a role? These are the questions Vlad Olariu invites us to consider through his exhibition, TAIL END.  

     The exhibition took place at MATCA art space in Cluj-Napoca, Romania, between  April 12 – May 9 2025. Although the space is modest in size, it is well-suited for an  emerging artist. Consisting of two levels, MATCA was founded by three independent  artists with the goal of showcasing contemporary art that reflects and engages with  today’s social issues.  

 Vlad Olariu is a visual artist specializing in sculpture and installation, both of which are present in this exhibition. A graduate of the University of Art and Design in Cluj-Napoca,  he continues to live and work in the city. His work often revolves around the idea of monumentality, but especially around contrasts and contradictions. Creating at a time when sculpture and especially installation is often met with skepticism, Vlad aims to demonstrate that what he creates is indeed art, by working with unconventional materials,  such as polystyrene, cement, concrete, drywall, and wood, which he transforms to mimic more "precious" materials such as bronze.  

 In terms of medium, the artist’s choices may appear ,,unusual” or even controversial to  some, but this perception is likely shaped by audiences unfamiliar with contemporary art.  A visitor’s first impression upon entering the gallery may be one of confusion – particularly if they are not acquainted with Olariu’s previous work. Why confusion?  Because at first glance, the works resemble other famous sculptures, a reaction the artist  intentionally aims for, challenging the notion that his work lacks originality. But then, we  might ask ourselves: what actually makes these works original? 

 While the sculptures may be ,,inspired”, they carry entirely different messages and  symbolism. Olariu seeks to bring classical themes into the present, reshaping them to  resonate with today’s society – making them relatable, yet prompting viewers to reflect  on the relationship between each work and its title.  

 At first glance, the pieces may appear minimalist or difficult to decode. However, the  key element – and arguably the most significant aspect of Olariu’s works is the materials 

he chooses and how he manipulates them to resemble something else. This technique requires technical skill and deep knowledge.  

 Upon entering the gallery's first room, to the right, one encounters 15 Minutes of  Fame - a row of 14 small terracotta figurines placed on a minimalist shelf. These figurines reinterpret some of the most iconic sculptures in art history, miniaturized as if to be displayed or consumed by visitors. The artist seems to critique these works,  suggesting that even the greatest artistic achievements can be reduced to kitsch or souvenirs, quickly consumed and stripped of their grandeur. Olariu reflects on how the artistic canon is overtaken by contemporary culture, where grandeur becomes notoriety. 

 Also in the first room, commanding attention through its striking blue color and its  position directly across from the entrance, is Flying Monkey, created from resin and  MDF. The piece resembles a three-dimensional graphic composition, outlining a hybrid  creature – a monkey with large wings, caught in a dynamic pose, seemingly ready for flight. The work presents a fusion of the human, animalistic and fantastical. By choosing a monkey (an animal closely linked to human evolution) and combining it with wings (a symbol of transcendence), Olariu creates a powerful visual and conceptual contrast between corporeality and liberation. The fact that the monkey is framed suggests a tension between apparent freedom and imposed boundaries.  

 Arguably the most striking work upstairs is Study After Laocoon After Laocoon, made from cellular concrete – a difficult material to sculpt, but one that Olariu handles masterfully in creating a bas-relief. The title clearly references the famous sculpture Laocoon and His Sons. By repeating the name "Laocoon" and adding the word "study", Olariu comments on the idea of replication, reinterpretation, and the inherited myth of artistic greatness.  

 TAIL END is an exhibition that challenges not only the eye, but also the mind. It is the kind of art that refuses to sit quietly on a pedestal – it draws you in, compels you to reconsider art history, and question inherited values. Through a sculptural language both ironic and powerful, Vlad Olariu transforms the gallery into a field of symbolic tensions between classical form and contemporary distortion. It is a raw, immersive experience,  a reencounter with sculpture as a living, breathing territory, one that does not just fill space, but boldly claims it.