Exhibition Category: Past Exhibitions

“Blue door is a work-in-progress project, part of an exhibition construction, named Apocalypse/Beatus, a photomontage series, inspired by Spanish Beatus from the 11th Century. Beatus are medieval Iberian manuscripts consisting of interpretations and commentaries on the Apocalypse of John or Book of Revelation. The apocalypse is a term that announces the end of this world but, at the same time, a new beginning, the ultimate happiness (after the tragic). Blue door talks about the interpretation of those terms in a performative manner, through an object and a human presence, searching for meditation. Blue door is a performance/installation inspired by the interior of the building where Arantxa Etcheverria has her artist studio, a house built by Marcel Iancu in 1934. Blue door continues the meditative explorations opened by Red Door: an architectural detail from Arantxa’s studio will be rebuilt and used in a performance on the subject of apocalypse and promised happiness.“ (Eugen Rădescu)

Arantxa Etcheverria (born in 1975) is a French artist. She has studied visual arts at Villa Arson in Nice and scenography at the National Theatre in Strasbourg. From 2013 she is developing an artistic practice based on modern architecture inspired by her studio in Bucharest.  No matter if we speak about paintings, installations, videos or photomontage, all her works are the result of a very precise analysis of the space geometry. She has exhibited in Art Safari (2018), ArtEncounters (2017), Architectures, BARIL Gallery, Fabrica de Pensule, Cluj-Napoca (2016, solo); DADADA, Media Art Festival, Art Museum of Arad (2016); A Dialogue in Silence, Electroputere Club, Craiova (2016); Comedy, Art On Display Project, Musette Kube, Bucharest (2015, solo); Video Zoom Romania, Museo di Roma / Sala Uno, Roma (2015); Corner, Calina Gallery, Timișoara (2014, solo); Objects of Desire, Sabot Gallery, Fabrica de Pensule, Cluj-Napoca (2014); Studio/Structures, National Museum of Contemporary Art – – Annex, Bucharest (2013, solo); BB6 – Bienala Internațională de Artă Contemporană București (2013). She is represented by BARIL Gallery, Cluj-Napoca. She lives and works in Bucharest. 

Eugen Rădescu is cultural manager, curator and theoretician, with background in political science (specialised on moral relativism and political ethics). He wrote for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 with the theme “Identity Factories”, “How Innocent Is That?” , “presently i have nothing to show and i’m showing it!”  and “Common Nostalgia” at Pavilion Bucharest. He has published the book “How Innocent Is That?” at Revolver Book Berlin. He is co-editor of PAVILION – journal for politics and culture and co-director of Bucharest Biennale (with Răzvan Ion) and the chairman of the organisational board of PAVILION and BUCHAREST BIENNALE. He is a member of the selection board at apexart for the programs “Franchise” and “Unsolicited Proposal Program”. He has held different lectures at several institutions such as apex, New York; Badischer Kunstverein, Karlsruhe; Casa Encedida, Madrid; University of Arts, Cluj. Also he is professor at Bucharest University and Babeș-Bolyai University, Cluj. He lives and works in Bucharest.

„I’ve always liked to peek inside people’s homes and I’ve always found evenings very poetic, when everybody is at home. And, I believe that windows are opening inside, not only on a physical level, but also on a symbolic one. This time of year, before Christmas, I see Bucharest apartment buildings as a giant advent calendar, in which every window hides a personal story. For one second or two I’m becoming part of this story.” (Andreea Chirică)

„Curiosity is a basic element of our cognition, yet its biological function, mechanisms, and neural underpinning remain poorly understood. Andreea Chirică analyzes and reflects on the social mechanism of curiosity. The desire to get to know the lives of others gets deeper around the winter holidays, when it seems to us that Santa is through the neighbours.“ (Răzvan Ion)

Andreea Chirică is a visual artist and graphic novelist. She published her first graphic novel “The Year of the Pioneer” in 2011, which was part of New York and Barcelona Comic Cons. Her second graphic novel “Home Alone” was exhibited during Romanian Design Week and won the illustration award at “The most beautiful books of 2017” national competition. She published comic strips and illustrations in The Guardian, Die Tageszeitung, LA Times, Re:public Sweden, Elle Romania, Scena9, DOR etc. She exhibited at Residenzpflicht Berlin, Kunstraum Walcheturm Zürich, Visual Kontakt Cluj, Creart Gallery Bucharest, Mora Center Bucharest, National Museum of Contemporary Art Bucharest etc.

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. Lives and works in Vienna and Bucharest. 

Image: Andreea Chirică, „Inside Out“, drawing on paper, 2019.

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“Bulboacă creates the image by generating new, surreal places, even beyond the concept of the stage director or scene designer. He transforms the theater photography into staged photography, being familiarized with the visual language of cinema and selecting the visual elements with great care. Thus, his images wake up the narrative memories in the mind of the audience, who builds up a story of her/ his own even before seeing the play. Using everyday memories, as well as the dramatic memory of the audience, Bulboacă’s images generate an entirely personal aspect. Bulboacă is the artist-photographer who provides a static image and allows the audience to build up the beginning, middle or end of her / his own narration.“ (Răzvan Ion) 

Adrian Bulboacă is a photographer specialized in theater photography. He took the first photos at the age of 16. He has photographed over 1000 productions in all national theaters in Romania and has worked with directors of all generations, among them Radu Afrim, Mihai Măniuțiu, Gianina Cărbunariu, Silviu Purcărete, Alexandru Dabija, Catinca Drăgănescu, Bobi Pricop, Eugen Jebeleanu, Radu Nica, Carmen Lidia Vidu and others. He has documented the entire working process on Robert Wilson’s „Rhino“ show and has photographed Robert Lepage’s productions in three European cities. He has exhibited in different locations, among them the National Museum of Contemporary Art – Bucharest, the Kalinderu Palace – Bucharest or the Romanian Cultural Institute in Paris. 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 of creart Gallery since 2017. Lives and works in Vienna. 

Image: Adi Bulboacă, “A Commedia del’Arte Exercise “ (director: Tudor Lucanu), print on paper, 2012

“Two different constructs is the project where I archive iconic images which belong to a geographic area – Dobrogea – that supported successive stages of massive population movements, from and towards Asia, which successfully experimented the concept of good neighbouring and conflict avoidance for tens of generations.
On a historical scale, the migration can be seen as an ongoing process, the element of a complex and invisible system which “drives” us and which re-establishes, at apparently random time intervals, the geostrategic map of resettlement routes.
The change of perspective in the way we approach cultural, political, religious differences leads to the construction of a new logic, capable of harmonising contrasting elements, of dissolving borders, of smoothening misconceptions and of generating a pacifying mission.
In Two different constructs, I propose tolerance and acceptance as essential tools for adjusting aspirations and interests, therefore removing any kind of domination.” (Loredana Stancu)

“In Two different constructs, the work-in-progress project of Loredana Stancu, we deal with a somehow joyful meeting, at least for now…
On one side is the western woman, modern, free of all constraints. On the other side is a type of construction with different architectural specifications, an easily recognisable landmark of a conservative religious culture.
We refer here to the constructions of the Islamic cult – masjids, mosques etc.
Loredana Stancu is fascinated by these atypic constructions whose minarets, most of them, are thrown towards infinity in a decisive way, almost violent, however – on a subliminal level – she realizes the contrast between the two entities: herself versus the construction per se.
In over 3 years of analytic work, Loredana Stancu rigorously documented a series of akin constructions which describe an imaginary course filled with seduction, the map of a familiar territory – Dobrogea – the place where different cultures coexist in a natural and enchanting way through diversity and colour.
In front of every construction, the artist has photographed herself, full figure, vertical as the minarets, precisely like a postcard as souvenir, to recall a normality possible at one time.
Two apparently incompatible constructs meet casually at the same time, in the same space.
Here, now, this kind of meeting is still possible. It is unknown for how long. In a future governed by increasing intolerance and radicalism, this type of normality is questionable.
Even so, how can this normality be preserved?
It depends on many factors which rather relate to how the social, political, economic, religious layers will settle.
It depends on how the organic fibre of human civilisation will function in the near future.
It remains to be seen…” (Cătălin Burcea)

Loredana Stancu is an visual artist. She works and mainly exhibits photography and drawings, these being her favourite mediums, however, for specific projects, she sometimes also uses painting or video. In her long-term projects, by reflex she researches and archives symbols, stereotypes, iconic images specific to different cultures/civilisations. Without claiming to decrypt their semiotic valences automatically, she is interested in the way the actual image is constructing itself and what are the parameters which determine its power of seduction. Given the relatively long periods of the work-in-progress type projects, she exhibits extremely rare and only to point out, when needed, some essential registers in the structure of her projects. In 2011 she exhibited at ALERT studio her first series of photographs in the form of an oversized photo-installation called “The Particle Moderator”, the first act of the “Urban Signs” archive. Her artistic practice currently assumes numerous minimalist-subversive interventions in public or alternative spaces in different locations like: Berlin – 2005, Athens – 2007, Kassel, Frankfurt, Linz, Brno – 2007, Istanbul – 2005, 2011, Paris – 2008, Warsaw – 2014, Vienna – 2014, 2016, Cluj – 2017, Bucharest – 2000, 2003, 2009, 2018. She works and lives in Bucharest.

Cătălin Burcea is an visual artist, co-founder and project coordinator of ALERT studio, an artist-run space in Bucharest. Between the years 2009-2018, he curated a series of projects of the „White Code” program platform at ALERT studio. In 2014 he also curated the “Multo Post Futurum” exhibitions within the New Energies event (Romania Focus), organised by ViennaContemporary – Vienna, as well as “1’45” / A great future is behind us” at Contemporary Art Ruhr – Essen. Among other things, as an artist he exhibited at 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; The Paintbrush Factory, Cluj-Napoca. Recently he was selected to represent Romania in the exhibition “How We See Things” organized on the occasion of the Austrian Presidency of the Council of the EU. He lives and works in Bucharest.

”No one falls in love with the aim of hurting the object of her/his affection, much less hurting herself/himself. But, this happens often. Still, humans, nations can go directly from being in love to the state of war. The strategy of love requires the all-powerful enchantment of seduction. The aesthetics of seduction is a different topic to be discussed.
Love, as well as geostrategy, is studied as a pseudoscience. It is a fact that love and geostrategy have many things in common. Both create wars, alliances, build empires, destroy nations. Love has lost its strategy.
’Geostrategic Love’ is a research theme that has evolved in an exhibition, being undertaken in the Desert of Arabia, the Black Sea and the Arabian Sea. On each shore we discover a game. On one hand a woman is joggling, on the other hand a volley net suggests an abandoned game because of the insupportable heat. Two strategic zones in this global equation with the game in between. The human presence – in fact the most important presence – is almost unnoticed. I had the same feeling when photographing both images: love and abandonment. If we look closer the object of love seems to have a different structure. The real structure.
Strategic thinking needs to get back in touch with love. ‘Geostrategic Love’ can be a new theory that should be studied at the academy.“ (Răzvan Ion)

“For Răzvan Ion knowledge and love are two elements commonly used in his artistic practice. Knowledge through love, love through knowledge. ’Geostrategic Love’ emphasizes a strong contrast between the existence of love and the impossibility of existence in the absence of love. Contrast that can be discovered also in the symbolism of water. Water is both a boundary and a link between the areas separated by it. Things that appear to be antagonistic at a first look, but that have much in common when analyzed closer. The photo oversteps the classic exposure mode. The artist interferes with it by reinforcing and emphasizing certain elements or by projecting distint images on the photo.” (Theodor Moise)

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 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 is a professor at the University of Bucharest where he teaches Curatorial Studies and Critical Thinking. Recently he was the curator of Bucharest Biennale 8, together with Beral Madra. He is the coordinator of creart Gallery since 2017. Lives and works in Vienna and Bucharest.

Theodor Moise is an artist, graphic designer and curator. He exhibited in many contexts, edited books and magazines. Recently he was selected by Art Theorema – Imago Mundi Highlights to be part of the collection of 2019. He was assistant curator and graphic designer for Bucharest Biennale 8 – “Edith your future”, as well as graphic designer and one of the curators of the Photography Festival ”Reforma Photo Days 1”. His works include from photography to video, object, installation, photography and drawings. He exhibited in the National Museum of Art in Cluj, creart Gallery Bucharest, Art Theorema – Imago Mundi Highlights and Fantom Berlin etc. He lives and works in Vienna and Bucharest.

“The subtle line between life and death, time, superstitions and gender are the axes around which my creation is built. My art is, to a large extent, an archive of human diversity, a reflection on the fragility of the human universe, mapping the anxiety of birth and death. I collect various objects, fetishes, photos, ultrasound images and clothes (such as my mother’s wedding dress, my father’s overalls, on which he wrote his last words, a book of practical tips from my grandmother – passed through generations) and put them in relation to beaded objects, as a precious and fragile anatomy (such as Heart, Stomach, Placenta).” (Magdalena Pelmuș)

“As we speak …” somewhere a star is born and somewhere else another star dies. Magdalena Pelmuș proposes an emotional, but rational speech about the toughest and most natural processes of life – from birth to death. A path that should be read as a key of approaching all these processes in a natural way, optimistically and sarcatiscally – perhaps that is why irony and sarcasm are the most spectacular attributes used by postmodernity. There is a sort of anxiety about existence, but the artistic practice proposed by Magdalena Pelmuş invites us to shake ourselves from black and grey and embrace the color, the pathos, the sparkle.” (Eugen Rădescu)

Magdalena Pelmus, visual artist and performer, was born in 1974, in Constanta, Romania. She graduated the Art University in Bucharest and became a co-founder of SURSA group (in 1999) and of Loading Open LAB – artist-run space (in 2006). Since 2000 her works were exhibited in biennials, museums and galleries like Bucharest Biennale 3 – International Biennial of Contemporary Art Bucharest (2008); Art Print Biennial, Vilnius,(2008); Miniature International Biennial, The Modern Gallery, Gornji Milanovac, Serbia (2008/2018); Snapshot Romania, Contemporary Artists from Romania, Treviso, Italy (2014); E-Biennale III , Victoria Art Center, Bucharest, RO (2015); Sofia Arsenal Contemporary Art Museum (MAC), Bulgaria (2016); Art Encounters Biennale-Balamuc, Timișoara, Romania (2017); Imago Mundi, Salone degli Incanti, Trieste (2018). Her works can be found in private and state collections, in Romania and abroad, like the National Museum of Contemporary Art, Bucharest; Luciano Benetton collection, Italy; European Investment Bank, Luxembourg; Art Museum, Dobrich, Bulgaria; Carrefour des Arts, Normandy, France; M21, Langenlois, Austria; The Modern Gallery Cultural Center, Gornji Milanovac, Serbia. She lives and works in Bucharest.

Eugen Rădescu is a cultural manager, curator, and theoretician, with a background in political science (specialized on moral relativism and political ethics). He wrote for various magazines and newspapers. He curated, among others, Bucharest Biennale 1, with the theme “Identity Factories”, “How Innocent Is That?” , “presently i have nothing to show and i’m showing it!” and “Common Nostalgia” at Pavilion Bucharest, as well as “Hidden Shadows/Roma stories” in Mobius Gallery Bucharest. He published the book “How Innocent Is That?” at Revolver Book Berlin. He is co-editor of PAVILION – journal for politics and culture and co-director of Bucharest Biennale and the chairman of the organizational board of PAVILION and BUCHAREST BIENNALE. He is a member of the selection board at apexart New York, for the programs “Franchise” and “Unsolicited Proposal Program”. He held different lectures at several institutions such as apex, New York; Badisher Kunstverein, Karlsruhe; Casa Encedida, Madrid; Paris Photo, Paris; Gulbenkian Centre, Lisbon. He is a professor at Bucharest University and Babeș-Bolyai University, Cluj. Lives and works in Bucharest.

”I am working with a series of pieces based on the idea of myself as a prepper artist. I use my artistic work to secure the potential dark future we are facing. What do I need as a person to survive? How can I use my present work to help out in different future scenarios and, at the same time, express the obvious damage we all participate in? When I started the Apocalypse Insurance series I did it with a large amount of critic to the whole idea of <just make sure you and your family is safe>, which is the model that the insurance industry is based on, as well as the preppers are into.” (Linda Tedsdotter)

”Linda Tedsdotter always questions the social context in the form of multimedia and spectacular installations. Her work intensifies the experience of the spectator in a very particular way and raises questions which have never been formulated in this way. Apocalypse Insurance is an ongoing concept which has different forms. In Bucharest, we will show a new part of the concept imagined in a very unexpected installation. Tedsdotter uses the seduction of power-game that makes the exhibition desirable.” (Răzvan Ion)

Linda Tedsdotter is a visual artist based in Gothenburg, Sweden. Her works have been presented since 1998 in several museums of modern art, festivals and galleries, as the Kaohsiung International Arts Festival in Taiwan (China, 2003), the Museum of Contemporary Art in Zagreb (Croatia, 2004), Moderna Museet in Stockholm (Sweden, 2006), Palais the Tokyo in Paris (France, 2013), OFF Biennal Cairo (Egypt, 2018) etc. Futhermore, Tedsdotter also works as an independent curator and is at the moment the International Coordinator of the residence program at Konstepidemin Gothenburg. Tedsdotter has been a board member of several art institutions such as Röda Sten and Gothenburg Biennale, the art magazine Paletten and the artist run gallery Box. Lives and works in Gothenburg, Sweden. www.tedsdotter.com

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). He is a professor at the University of Bucharest where he teaches Curatorial Studies and Critical Thinking. Recently he was the curator of Bucharest Biennale 8, together with Beral Madra. He is the coordinator of creart Gallery since 2017. Lives and works in Vienna and Bucharest.

“One composite, one single structure, one paradigm or style of approach. But could be enough to understand what is happening around? Our need to see what we see is boosted by our way of thinking and by the perspective that we have, considering the society where we live is based on these notions. but not as individual elements, but as a universal social context. The begging, as new, and postmodernity as a temporary moment and new space for society. We see around us, up and down – we can approach perspectives, but how we can agglutinate them, such that we can create an ideal reality and not a simulacrum. Cornel Lazia’s photography talks about an ecosystem, consisting of buildings, people, a way of living, urban obsessions.

In his photography, Cornel Lazia explores the idea of a new code of the cities, reinterpreting the relation between human and structure, having the intention to create an ideal city which lives and breathe in an imaginary dimension, depositing aspirations that feed with inspiration. Personally, this selection shows the multitude connections with this “humans congestions”, real human reactors witch feed the progress and the hope.” (Eugen Rădescu)

Cornel Lazia started snapping pictures in 1990, the year that marked the end of the communist era in Romania. Shortly after he joined the film school in Bucharest he started shooting short feature films. “Phoenix” and “Mimi” are two of his films that would set the tone of his later works. Phoenix was a festival movie that witnessed the return of one of the famous Romanian folk-rock bands, “Phoenix”, to the Romanian scene after they had been in exile for 20 years. This was just the beginning of a fusion between his passion for photography and his interest in music. In the years to come, Cornel started photographing the emerging music scene of Bucharest. His photography helped make the statement of different artists, from the early underground days of bands Șuie Paparude, DJ Vasile, BUG Mafia, Omul cu Șobolani, Deceneu, to name just a few. His work was widely used in everything from CD covers to magazine editorials, and some of the first music videos to surface on the newly created music market. “Mimi”, a second short film, illustrates the more serene qualities of his work. A lot of Cornel’s contemplative side can be seen in his fashion work: portraits, model books, and fashion editorials in various glossy magazines like Elle, Beaumonde, Tabu, Cosmopolitan, and One. Sought after for his precise lighting techniques and his clean and spontaneous style his advertising work includes a wide range of subjects and clients. Currently based in Bucharest, Cornel enjoys capturing snapshots of everything that challenges the ideas of modern city. He lives and works in Bucharest.

Eugen Rădescu is a cultural manager, curator, and theoretician, with a background in political science (specialised on moral relativism and political ethics). He wrote for various magazines and newspapers. He curated, among others, Bucharest Biennale 1 with the theme “Identity Factories”, “How Innocent Is That?” , “presently I have nothing to show and I’m showing it!” and “Common Nostalgia” at Pavilion Bucharest. He published the book “How Innocent Is That?” at Revolver Book Berlin. He is co-editor of PAVILION – journal for politics and culture and co-director of Bucharest Biennale and the chairman of the organisational board of PAVILION and BUCHAREST BIENNALE. He is a member of the selection board at apexart for the programs “Franchise” and “Unsolicited Proposal Program”. He held different lectures at several institutions such as apex, New York, Badisher Kunstverein, Karlshrue, Casa Encedida, Madrid, Paris Photo, Paris, Gulbenkian Centre, Lisbon. He is a professor at Bucharest University and Babeș-Bolyai University, Cluj. Lives and works in Bucharest.

“Images tend to live differently than we like to believe. We throw them out into the world and enjoy the idea that they encrypt controlled significations, infused into a cultural smear of invariability. We think that they subside into a knot of emotional tropes, even if we seem to ask them to discreetly circumvent. Passing through several processes of appropriation, the image (especially the photographic image) ends up stumbling (at least from an exhibition standpoint) into translating the three-dimensional into the two-dimensional. Opening a speculative path to the visual and turning over ready-made significations, we invariably reach the 0 point of culture – play. I propose moving the cognitive from the collective imaginary into the empirical one and take the images out for a game (and us too, along with them). Allow them to lay, build, spin. Allow them to hide and unfold as they please. Let us touch them, not only gaze at them.” (Sabina Suru)

Sabina Suru is an artist who works with photography as a few do. Constantly she finds new forms and the exposing differs from on space to another and from one concept to another. She explores an infinity of forms, dimensions, reflections, transparent shapes, getting new forms of perception of the reality. Exploration which is more like a game, a game she is playing continuously. Suru is speaking about many mechanisms of speculations and interpretation of the image. Image which is transformed and modified repeatedly of the succession of lenses and a different shapes who are between the image and the viewer. From the first image to the final one there are countless systems of obsessive research of the way an image can be analysed. Sabina is so positioned closer of the concept of the image trough photography. (Theodor Moise)

Sabina Suru (b. 1986) lives and works in Bucharest. She is active in photography and intermedia, being interested in the way narrative and object-oriented approaches can participate in a widening of the formal, conceptual and exhibition spectrum of photography. She held exhibitions locally and abroad – White Noise Gallery [IT], Brush Factory, Mezanin, Quadro Gallery, Workshop 030202, Anca Poteraşu Gallery, MateriaRepositorium, Linotip, MNAC Bucharest, Art Museum of Cluj etc., having also published locally (Exposing Movement) and internationally (Svaya, Apofenie Magazine, etc.).

Theodor Moise (b. 1996) is an artist, graphic designer and curator. He exhibited in many contexts, edited books and magazines. Recently he was selected by Art Theorema – Imago Mundi Highlights. He was assistant and graphic designer for Bucharest Biennale 8 – “Edith your future”. His works includes from photography to video, object, installation, picture and drawings. He exhibited in Museum of Art in Cluj-Napoca, Creart Gallery, Fantom Berlin and other spaces. He lives and works in Bucharest.

“Non-verbal communication, transposed through light and smoke, determines steel to represent just a personal and ideal vehicle for fusing the two, the whole actually being an utopia. Something that only appears present. The sculpture communicate with the space as a whole- I used light and smoke to fill every atom in the room. The entire composition is dominated by the strong contrast between materials, and, by homogenising them, I made the sculpture breathe, and speak to the spectator.” (Daniel Rădulescu)

“The light unveils new meanings of the steel, a priori impenetrable. The experience becomes the content of exposure. The object becomes secondary and impact of the spectator/viewer the concept. The intersection between matter and light in connection with space will put you in a different perspective than expected. Image of the entire exposition becomes cinematic, make you think to “Stranger Things”. Daniel Rădulescu is self-conscious, self-referential, push the limit of the other more than himself or the medium.” (Răzvan Ion)

Daniel Rădulescu is an independent artist and graphician. He studied traditional graphics at „Hans Mattis Teutsch” college in Brașov and sculpture at sculture departament at Arts University in Bucharest. He exhibited in Bucharest National Library, LaBorna art contemporary gallery, UNAgaleria, Qreator, Palatul Știrbei, Palatul Ghika, Palatul Noblesse, galeria Occidentului, Palatul Parlamentului, and in Cluj-Napoca,Timișoara, Brașov and Roubaix(France), in the frame of „La Braderie de l’Art” at La Condition Publique. He had a solo show at Kube Gallery Bucharest and one at “Helvetia luxury watches”.

Răzvan Ion is a theoretician, curator and cultural manager. He was an associate professor 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). 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 of creart Gallery since 2017.