Exhibition Category: Past Exhibitions

The pandemic has changed the way we relate to each other, to life in general, and perhaps in the most radical way, it has changed the dynamics of the performative scene. We have learned to constantly adapt, to look for new means, to survive, to find ways to get in touch with the public, even when it seemed impossible. We are going through a period that has generated uncertainty, mistrust, frustration, but also a period that has given rise to necessary searches and unexpected, hybrid productions, proof that theatre will always find forms of survival. The series of the 4 performances work in progress creart / Teatrelli and “The Walks” by Rimini Protokoll are, without a doubt, the “stubborn” creations of these times:

The collective performance “INT.EXT” was created at a time when theatres were closed, being designed as a statement-manifesto, a guerrilla-type show, presented not on a stage, but in the showcases of Galateca contemporary art and design gallery. A performance about the status of the independent artist and about the meaning of art in today’s world, fundamentally modified by the consequences generated by the pandemic.

“The Widow Boy” is a performance that delves into the deep intimacy of interpersonal relationships, social stigmas and talks about the intimate and political wounds of the world. After this long isolation, theatre can become an art of healing.

„4 Speeches” performance installation was conceived as a polyphonic, democratic exposition, meant to question – with specific means – the current pandemic issue: individual versus society versus political system versus consumerist or militant policies.

Dual – a performance about friendship, about its duality, about the many facets of this strange relationship, especially in the context of behavioural changes caused by the pandemic. An invitation to look at friendship beyond the cliché and, at the same time, a form of search for the means of artistic expression.

THE WALKS by Rimini Protokoll, an international co-production, an experimental performance that grasps walking as a theatrical scenario. Created as a smartphone app, “The Walks” is a collection of 9 short audio-guided walks designed for specific locations in any city in the world and an invitation to rediscover and interact with your surroundings. Voices, sounds and music transform, step by step, familiar places into scenery and different landscapes into authentic theatre scenes.

Thanks to the artists for their creative power! Thanks to the photographers (in alphabetical order) – Bogdan Botofei, Adi Bulboacă, Adi Tudose, Mihaela Tulea – for the document – photos! We thank our partners – from Goethe-Institut Bucharest and the French Institute in Romania to JTI and UniCreditBank – for their involvement, support and, above all, trust!

“Contemporary life is very colorful and, sometimes, beauty is confused with bright, coloured screens. The artificial has become, and it is, our <beautiful > of everyday. The layer created by the burnt oil does the same thing that a screen does, producing a seductive chromatic, which attracts you like a rainbow. Only in this case, <beautiful> is created from a used substance, from a waste”, confesses Bogdan Spătaru.

In the Dual installation, Bogdan Spătaru follows the tensions and contrasts that emerge from the meeting of the materials. This tension is the point of connection with the tension of bodies in space when meeting the objects from the performance about friendship – DUAL, a Teatrelli work in progress production.

Bogdan Spătaru (b. 1981) is a visual artist, set designer and graphic artist.

How much time do we spend a day staring at our smartphones? What would a half face-to-face conversation look like if even when we are next to each other we talk by messages? How real is actually the interaction between us now, when we all are immersed in online?

In the WE ARE SUPER OK exibition, the artist Mircea Moroianu aims to examine, with humor and with a dose of irony, the social alienation we are facing now, in the era of virtual interaction.

“When I draw, I’m like a scanner. My drawings are syntheses and opinions about what I see beyond the first layer of a thing, of an event. As a very dear person once said, I draw ideas, not vases with flowers. Sometimes I think of a drawing for days and – when I see it clearly enough – I draw it in a few minutes”, Mircea confesses.

Topics covered in the WE ARE SUPER OK exhibition include alienation by technology, turning away from ourselves, chronic indecision and adapting to a toxic relationship.

The video installation “Are we Super OK?” tells the story of the migration of our lives in online and is based on the text of the play “Super OK”, written by Mircea Moroianu and awarded by several theatres in Romania.

Mircea Moroianu is a visual artist, musician and writer, and currently works in communication, as a copywriter. His drawings were exhibited in Galateca and Artfooly galleries, at the Romanian Design Week festival in 2017 and 2018 and in Greece, at Art Athens.

Butterflies et al. is a collection of audio-visual works exploring the metaspace of chaos theory models. From a background of chaotic trajectories emerge structures that point towards introspection; despite the system’s sensibility, from wherever one starts traversing it, it seems to evolve in a similar manner but peculiarly different enough.

Title description:
At the advent of Chaos Theory sits Edward Lorenz, a meteorologist trying to mathematically simulate a simplified model of the atmosphere. Despite not achieving what he desired, the solution space of the equations he devised contains a series of infinite distinct curves that remind of two wings. In pop-culture, movies like Jurassic Park (1993) and The Butterfly Effect (2004) popularised the term “butterfly effect” and quotes such as Jeff Goldblum’s “A butterfly can flap its wings in Peking, and in Central Park, you get rain instead of sunshine.” The title Butterflies et al juxtaposes the two sides of a deep matter mathematical theory as an academic practice and popular culture, a medium in which advanced concepts can be diffused.

Sebastian Comănescu is a Computational Designer/New Media Artist based in Bucharest. After graduating from “Ion Mincu” University of Architecture and Urbansim in 2018 he is currently studying Interactive Technologies for the Performing and Media Arts at UNATC Bucharest. Professionally he has worked in Bucharest and London as well as taking freelance design contracts with collaborators in Poland and the Netherlands. His artworks were featured in collective exhibitions internationally (at Ars Electronica
Festival) as well as locally (at BIOS and Romanian Creative Week). Since 2020 he established his own Studio that focuses on a research-based approach when developing Design, Architecture and New Media Projects. At the core his work methods take inspiration forms natural forms and phenomena that are translated into informed designs based based on a computational approach.

Links:
Social: https://www.instagram.com/ko.om.a/
Web: https://sebastienkoma.com/

For a long time, the world was seen – and created – from the visual angle of men.

EUNIC Romania proposes a change of perspective and invites us to look through the eyes of women, more precisely through the camera lens and through the achievements of some notable female directors, screenwriters and producers, who have marked the film industry. Through this event, we want to balance the scales of genres in artistic creation, giving not only to Caesar, but also to women what belongs to … everyone.

Cinefemina is a recognition of the artistic excellence of women, but also a rescue from forgetting some notable names, which, since the silent film period, have contributed to the birth and maturation of the seventh art. After all, the arts have always been patronized by Muses, right?

The first edition of the CINEFEMINA festival, organized by EUNIC Romania, in partnership with creart, in The Movie Garden – Cinema & More, between June 8 and 18 2021, is complemented by an exhibition of portraits dedicated to the female directors included in the program, as well as a festival presentation trailer.

INEVITABLE Exhibition – Denisa Berceanu
Curator: Cristina Milea

“INEVITABLE is an amalgam of feelings from a long, uncertain and oppressive period. The illustrations cover a wide range of personal feelings visually transposed into a clear, repetitive form, but also with various accents and dynamics. Similar or different, each heart recounts the events of a day in isolation.” – Denisa Berceanu

“INEVITABLE is an imprint left in a cocoon under a pillow since 2020, in an apartment from a world that has experienced a spiritual heart attack in unison. Intimate palette of moods from white to black with the value of ‘common points’, hatched in a cycle of its own regeneration. ” – Cristina Milea

Denisa Berceanu (b. 1994) is an independent visual artist. She studied at the “Romulus Ladea” High School of Fine Arts in Cluj-Napoca, graduated from the University of Art and Design (UAD) – Sculpture department and studied scenography at the University of Arts in Târgu-Mureș. She collaborated with Târgu-Mureș National Theatre – Liviu Rebreanu Company, Animact Association (Ariel Theatre), but she also worked independently, signing the scenography of several shows in collaboration with Adonis Tanța.

Cristina Milea creates costumes and sets. She has a master’s degree in artistic recycling since 2010. In 2020 she won the UNITER prize for “Best Scenography”. After 12 years of experience in theatre (over 65 productions), she redirected her artistic searches to new forms of expression: experimental creative recycling techniques applied to costumes. As a result, she created a platform called ȘARLATAN (Charlatan) , where social commentary meets visual art.

The exhibition took place in the context of the work in progress performance 4 DISCURSURI (4 SPEECHES): Olga Malâșeva / Nicoleta Lefter / Vlaicu Golcea / Mihai Păcurar, after “Free Hugs” by Olga Malâșeva / translation: Raluca Rădulescu

A Cabaret Burlesque Theatre Production by Răzvan Mazilu

Photographed by Mihaela Tulea, Florin Bondrilă, Dragoș Toader

An invitation to enter the universe of a theatre-dance production signed by Răzvan Mazilu, as well as the universe of the Berlin Cabarets of the 20s, where nothing was too bizarre and everything was allowed to be experimented.

Mon Cabaret Noir is a unique, complex and emotional performance, having as starting point the story of Anita Berber – dancer, choreographer, actress and model with a huge success in the 20s, the golden era of the cabarets. Hardly known in Romania, she was an avant-gardist, a rebel and eccentric person.

With: Răzvan Mazilu, Ilona Brezoianu, Anca Florescu, Alina Petrică, Ana Bianca Popescu

Costume design: Răzvan Mazilu / Stage design: Romana Țopescu și Dragoș Trăistaru

A TEATRELLI production (2015).

Stay safe, stay apart, but reconnect in light!

On Christmas time, more than ever, you feel the need to reconnect with loved ones. In this year full of uncertainties, we have to stay apart physically and closer by heart. But when the light is on in every house, we are able to reconnect with each other in and by light and this makes us believe there is still hope. 

The light – a symbol for new beginnings and winter holidays. It invites us to look to the future, to the days to come and the joy of being alive. For Creart Gallery, we’ve created a light installation – a galaxy of hope – which reminds us that we are together, part of the universe, wherever we are.

It is our invitation that in times when we cannot physically travel, we let ourselves be carried, in dreaming and in light, to the stars. Let’s ignite the spark in our souls and let ourselves be guided not by darkness, but by forms of light, materialized in design objects.

About WOOBA:
We create lighting installations and at the same time we build a sustainable brand, based on the principles of the circular economy. We design urban, geometric objects to meet the most important current trends in taste and style. In this process, we develop a local economic chain of important impact, using recycled wood materials, biodegradable plastic joints and 3D technology. That’s how WOOBA was born: as a new form of light. Light for the soul. Light for the future.
https://wooba.ro/

I love taking photographs and spending time with family and friends. If I were to describe my work, I would use these 3 words: eye- heart- brain. I am fiercely curious and my camera is my partner in seeking beauty and showing the world through my eyes. I am fortunate to be able to spend a good amount of time on personal projects, travelling and collaborating with a team of awesome people. My work is about a state of mind, about feelings and the search the details in images that capture the human aesthetics – the relationship between human and motion. (Mihaela Tulea)

”The theatre is my sanctuary, the place that makes my soul richer, where I can juggle with time, a space where magic surrounds you in all its aspects. There are theatre shows that I have seen dozens of times (without exaggeration), they are the revelation of the invisible world often blowing in my neck”, confesses Mihaela. The closeness to the involuntary seduction of the actor, to the mystique of the role and the fascination of the language makes Mihaela’s photography recompose the meaning and emotion of the encounter with the stage.  (Eugen Rădescu)

Born and raised in Bucharest, Mihaela Tulea is a visual artist, an image creator with a strong base on human emotion and expressive storytelling. The connection between subject and photographer defines her work. She creates images primarily for companies, theatres and publications. She also works a lot in the area of portrait photography. She won different awards at photography competitions including: Nikonisti Photo Contest 2014, Malta International Photo Award 2018, Imagine Timisoara Festival 2019 and many more. Her works have been published in various magazines and on different websites, including: Nikon Pro Magazine, Forbes, Avocați de top, TV Mania, Theatre Public (France) and Nikonisti.ro. She had exhibitions at Odeon Gallery, The Museum of the Municipality of Bucharest – Suțu Palace, during Reforma Photo Days 2 (at Atelier 030202), at Galateca – Contemporary Art and Design Gallery. 

Eugen Rădescu is a cultural manager and curator, with a background in moral relativism and political ethics. He wrote for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 (2005), the exhibitions “How Innocent Is That?”, “Common Nostalgia” at Pavilion, “Hidden Shadows/Roma stories” at Mobius Gallery, Bucharest. He is co-editor of PAVILION – journal for politics and culture, co-director of Bucharest Biennale and the chairman of the organisational board of PAVILION and BUCHAREST BIENNALE. He is member of the selection board at apexart New York. He held different lectures at several institutions such as apex (New York), Badischer Kunstverein (Karlsruhe), Casa Encedida (Madrid), Paris Photo (Paris), Gulbenkian Centre (Lisbon), Kunsthalle (Vienna). He published the book “How Innocent Is That?” at Revolver Book Berlin and “QUEER. Istorii ilustrate” at Black Button Books, Bucharest. He is a lecturer at the University of Bucharest and an associate professor at the Babeș-Bolyai University, Cluj- Napoca. He lives and works in Bucharest.

”Safety Room implies the existence of an aseptic space, unaltered by the flow of fake news.  Possible only in the case of a total decoupling from any source of information – mass media, online, mouth to mouth, etc. – it is stated only as a “stop game”, not as a definite solution. Protected from “contamination”, there is always the risk of alienation, of a brutal exit from the scene, of leaving the world as it is and as we know it at this moment. The lack of correct information can lead, of course, to regrettable anomalies, which are sometimes difficult, if not even impossible to remedy. Therefore, Safety Room is NOT a solution! It is just a useful respite for analysis and reflection.“ (Cătălin Burcea)

“Cătălin Burcea is conceptually analysing the non-action caused by the impossibility of certainty. The impossibility of prediction implies the main impossibility to distinguish. On the other hand, safety creates its own problems. Burcea raises questions and even debates the accepted societal mechanisms that often produce errors. Cătălin Burcea’s conceptual approach is permanently “time-specific”. Always connected to socio-politically themes, always paying attention to the social reactivity.” (Răzvan Ion)

Cătălin Burcea is a visual artist. He has exhibited, among others, at New York Foundation for the Arts (NYFA); JCE Biennale (6) – Beffroi de Montrouge, Paris; AltroQuale, Jesi, Ancona; National Contemporary Art Museum, Bucharest; Victoria Art Center, Bucharest; Calina Gallery, Timisoara; ARCUB Gabroveni, Bucharest; ALERT Studio, Bucharest; VIENNAFAIR, Vienna; Contemporary Art Ruhr, Essen; Centre for Contemporary Art Ujazdowski Castle, Warsaw; Spatiu Intact Gallery, Cluj-Napoca; Knoll Gallery, Vienna. He is co-founder and project coordinator at ALERT studio (White Code), Bucharest. In 2018 he was selected to represent Romania in the exhibition “How We See Things” organized by Austrian Embassy in Bucharest, through the Austrian Cultural Forum, on the occasion of the Austrian Presidency of the Council of the European Union. He lives and works in Bucharest.

Răzvan Ion is a theoretician, curator and cultural manager. He was an associate professor and lecturer at University of California, Berkeley; Lisbon University; Central University of New York; University of London; Sofia University; University of Kiev etc. He has held conferences and lectures at different art institutions like Witte de With, Rotterdam; Kunsthalle Vienna; Art in General, New York; Calouste Gulbenkian, Lisbon; Casa Encedida, Madrid etc. He is the co-founder of Bucharest Biennale, Pavilion Journal and Reforma Photo Days (toghether with Eugen Rădescu). As an artist he has exhibited in Bucharest Biennale, Poznan Biennial, SKC Gallery – Belgrade, National Museum of Art – Cluj, ICA – Bucharest, NY Experimental Festival, InterFACES – Bangkok, Centro Cultural del Matadero – Madrid, International Photo Ljubljana, Going Public – Milano, CCA Ekaterinburg, National Museum of Art – Timișoara, ICA Budapest, New Langton – San Francisco etc. He was a professor at the University of Bucharest, where he teached Curatorial Studies and Critical Thinking. Recently he was the curator of Bucharest Biennale 8, together with Beral Madra. He is the coordinator and chief curator of creart Gallery since 2017. He is the founder of Spinnwerk – Kunstverein Wien. He lives and works in Vienna and Bucharest.