Born in Sibiu in 1981, the Romanian artist Alex Mirutziu creates technologies of ephemeral reciprocity. Through his films, sculptures, and performances, he confronts what is different within us through strategic actions which bring about the illusion of living by complicating order. In his projects, the premise is that of identity as a problem and a task for ourselves to transgress, hoping for peace at the price of constant uneasiness. The artist often touches upon the theme of the difficulty of dying and the necessary engagement with one’s own ruination, or déchirure, understood as a civil responsibility to transcend a personal psycho-physical predicament.

As part of his theoretical practice, the artist has lectured at (The Royal College of Arts, London, Von Kraal Theatre, Estonia, Konstfack, Stockholm, Bezalel University of Art and Design, Tel Aviv) and has collaborated with artists/writers/musicians/designers/philosophers among which, Grit Hachmeister (DE), Elias Merino (ES), Graham Foust (US), Graham Harman (US). His work has been shown at Power Plant, Toronto, Glass Factory Lab, Boda, Mucsarnok Kunsthalle, Budapest, Center for Contemporary Art and National Museum, Warsaw, Museum of Contemporary Art, Bucharest, Kunsthalle Mulhouse, Kunsthalle Winterthur, Kunsthalle Bega, Centre for Contemporary Art, Tel Aviv, Royal Academy of Arts, London, and Venice Biennale.

LIMP CAPITAL operates within protocol events. It lays claim to the mind-fuck-be-your-embarrassing attitude of the operator, where speech is drooling, where speech is fetish.

The operator subscribes to no impulse, no fact, opting to turn off their brain and reinforce the subtle capital of ignorance. Its jump-cut structure advocates for the looser-self, for dance without analysis. The body becomes limpified, ornamental, where limp represents the compression of antithesis, embracing resistance in action and edging toward capital. What is anticipated is the expression of an advanced masculinity detached from the virile forms of pleasure.

The protocols are governed by a type of achievement through abandonment and surrender of sovereignty. The goal is to achieve a type of meaning that resolves itself, releasing from speculation and interpretation, owing to its serious blurring effect whose difficulty in delivering a product, becomes capital.

"During my time at Workshop Foundation in Budapest, I embarked on my project Limp Capital. 

I was not only provided with rehearsal space at Trafó Budapest, but also with connections to local dancers, choreographers, and collectors. Engaging with this small, but vibrant community during a presentation of my work-in-progress was an enriching experience. The gathering felt intimate, like a family meeting, and offered valuable insights into the ethos and values of the local art scene.

In addition, the Workshop Foundation arranged a visit for me to the art space Adaptér in Budapest. With the support of Petrik Alexandra, I explored new possibilities for my future endeavors as both a visual and performing artist. 

Brigitta Kovácz and Gergely Talló of Workshop Foundation were invaluable partners during my residency. From our first email exchange to the day-to-day coordination in Budapest, their excellent mediation ensured a smooth process. They even went the extra mile to connect me with a local videographer, András Szombathy, who documented my process and the final outcome of the residency. This collaboration was a significant highlight of my experience."