by Madeleine Tranter

“Extracting the essence of things” is a broad statement yet common idea. It is a notion best understood as searching for meaning, something we are all familiar with and may have struggled with. For Mircea Cantor, it is one of the many themes he plays with wherein he dissects simple topics and pushes their boundaries and functions. He makes use of specific artistic processes to define the purest meaning or emotion locked within a well-known idea or object. In his words, this is a personal experience that allows him to “extract the essence of things”. Cantor is not the only artist playing with this idea. Other artists such as Alighiero Boetti with his Mappa del Mondo (1989) and Anri Sala with his Dammi i Colori (2003) employ similar tactics as they attempt to unearth the roots of national flags and different colours. Boetti’s map-pieces show the world made up of flags in the shape of that specific flag’s country. The resulting Afghan weavings show the continually shifting political boundaries around the world as the flags change shape and size. For Albania artist Sala on the other hand, we see a video-explanation of the regeneration process in Albania in Dammi i Colori (2003). This piece makes use of colour and contrasting sound to evoke certain moods and themes while on the surface they appear to simply describe the surrounding cityscape. Both pieces therefore play with simple themes in order to convey complex messages.

Similar notions manifest in three main forms throughout Cantor’s Rennie Collection show including religion, astrology, and calendar significance. Although Cantor is not necessarily in practice or belief of any of these categories explicitly, he makes use of them in his art because he approves of humanity’s interest in extracting concrete meaning from naturally occurring phenomena such as the cycle of the seasons or days. In turn, the specific meanings that can be derived from such phenomena may be insignificant to Cantor himself but aid in generating complicated understandings of his works. These simple themes (including the use of flags and colour in the previously mentioned artists’ works) are studied in detail to extract their essence and inform the artists’ aesthetic and conceptual statements.

For Cantor, the two works unequivocally referencing religion in the show are Chaplet (2007-2014) and Rosace (2007). In Chaplet, the title alludes to prayer beads and is contrasted with the form of a barbed wire fence. In Rosace, the rose window of the Notre Dame Cathedral is symbolized by the circular motif of the crushed soda cans. Additionally, the shape of Rosace mimics that of a mandala, further signifying different religious practices around the world such as Buddhism and Hinduism. Cantor makes no mention of his own religious beliefs. This preserves the unbiased nature of his art; a notion present in many of the pieces in this show. The attempt is most blatant in the reflective protest of The Landscape is Changing (2003) wherein Cantor replaces protester’s placards with mirrors thereby reflecting the city onto itself as a gesture of neutrality. These attempts emphasize his interest in the way society continually searches for significance through topics like religion.

In line with this premise, Cantor has a subsequent work that blatantly makes use of astrology: Don’t Judge, Filter, Shoot (2012). The work’s title directly corresponds to the materials used including the filtration devices – or sieves – penetrated by bullet holes. These bullet holes are not simply a symbol of destruction but are also in the form of constellations including those of the zodiac. Furthermore, the English word sieve translates to constellation in Romanian. The hints to astrology cannot be missed in this work but once again, the artist is not showing a personal belief per se, but an interest in the contrast of the ancient and contemporary search for meaning in the stars.

Cantor’s reference to the significance placed on calendar dates is prevalent in both 2012 (2005) and A Fost Odata… (Once Upon a Time…) (2002). The first title directly references the end of the world predictions by ancient Mayan societies which was largely taken out of context by various religious sects in a media-fueled frenzy. Yet, the cyclical nature of the piece itself suggests Cantor’s belief in the opposite. In A Fost Odata (Once Upon a Time…) on the other hand, Cantor displays his natal chart – a reading based on his birth date, birth time and birthplace. Again, Cantor uses this reference ironically as he has deliberately scratched out any identifying words in the natal chart attempting to create a generic template rather than one specific to him.

These five works are the most obvious keys in the exhibition to Cantor’s theme of “extracting the essence of things”, but the theme can be found in almost every work he creates. Whether it be in reference to religion or the stars, the artist is concerned with the true nature of an object or idea. This pure understanding is the foundation for his labyrinthine works as a collective and propels his works both aesthetically and contextually into a complex narrative.