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CELLALT CORP
/
THE OTHER BODY

Editura / Published by: UNArte, Bucureti, 2011

ISBN: 978-606-8296-35-7
Traducere / Translation: Carmen Dobre
Layout: Romana & Bogdan Mateia
Tiprit / Printed: CNI Coresi SA

Corpul ca proiect Cultural Contemporan. Provocri teoretice, replici artistice

Cod CNCSIS: ID_1539
PN II - IDEI - PCE 2008
Tip: Proiect de Cercetare Exploratorie
Director: conf. univ. dr. Petru Lucaci
Membrii echipei: prof. univ. dr. Laureniu Damian, prof. univ. dr. Marilena Preda Snc, dr.
Laura Grnberg, asist. univ. dr. Bogdan Mateia, asist. univ. dr. Romana Mateia

The Body as a Contemporary Cultural Project. Theoretical Challenges, Artistic

Reactions
Code CNCSIS: ID_1539
PN II - IDEI - PCE 2008
Type: Research Project
Director: Associate Professor Petru Lucaci, PhD
Team members: Professor Laureniu Damian PhD, Professor Marilena Preda Snc PhD,
Laura Grnberg PhD, Assistant Professor Bogdan Mateia PhD, Assistant Professor Romana
Mateia PhD

Laura GRNBERG
2 META
George ANGHELESCU
Maria BORDEANU
Daniel BRICI
Ctlin BURCEA
Traian BOLDEA
Irina BROBOAN
Francisc CHIUARIU
Larisa DAVID
Darie DUP
Daniel DJAMO
Carmen DOBRE
Loredana DRAGNE
Iosif KIRALY
Petru LUCACI
Flavia LUPU
Bogdan MATEIA
Romana MATEIA
Valeriu MLADIN
Marina OPREA
Christian PARASCHIV
Vlad PETRI
Dan Raul PINTEA
Marilena PREDA SNC
Alexandru RDVAN
Bogdan RA
Petra SITARU
Albert SOFIAN
Bogdan TEODORESCU
Roman TOLICI
Roxana TRESTIOREANU
Diana TROPOE
Mihai ZGONDOIU

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laura
GRNBERG
lauragrunberg@yahoo.com

Alteriti corporale

Embodied Otherness

Rmai sub obsesia corpului i a relaiei noastre ntrupate cu lumea laitmotivul

proiectului de cercetare Corpul ca proiect
cultural contemporan. Provocri teoretice,
replici artistice , oferim prin acest catalog
mrturia unei expoziii centrate pe una din
temele cele mai actuale i relevante n tiinele sociale: tema diferenei, alteritii.

Being still caught by the obsession of the

body and of our embodied relationship to
the world the main motif of the research
project The Body as a Contemporary Cultural Project. Theoretical Challenges, Artistic Replies , we offer in this catalogue the
account of an exhibition centered on one
of the most present and relevant themes
of social sciences: the theme of difference
and otherness.

Cu aceast expoziie s-a ieit oarecum din

tipicul de pn acum al proiectului. Dac
primele evenimente au fost organizate i
fundamentate pe baza unor ateliere teoretice urmate de expoziii de aceast dat
a fost aleas o alt formul. Tema a fost
propus direct artitilor, fr a mai fi intermediat de o serie de perspective teoretice
oferite pe tav nainte sub forma dezbaterilor teoretice. De aceast dat artitii au
fost cei care au invitat specialitii din alte
domenii la reflecii pe marginea propunerilor de pe simeze.
Tema de cas propus a fost CELLALT
CORP, acel corp definit ca fiind cellalt/altfel/altul-diferit n raport cu normele sociale, culturale, economice, politice ale unui
anumit spaiu i timp. Am considerat tema
ca fiind extrem de ofertant i generoas
ca trimiteri teoretice, simbolistic, conotaii. Anything goes sloganul postmodern
cred c se potrivete foarte bine acestei
provocri fcute artistului. Corpul bolnav
definit n raport cu cel sntos; corpul urt

This exhibition somewhat departs from

the usual course of the project. If the first
events were organized and created based
on theoretical analysis workshops followed
by exhibitions, a different approach was
chosen this time. The topic was proposed
directly to the artists, without being mediated by a series of theoretical perspectives
offered as such beforehand as theoretical
debates. This time the artists were those
who invited specialists from other fields in
view of reflecting on their exhibited works.
The proposed general theme was THE
OTHER BODY, that body defined as other/
different/another, exhibiting points of departure from the social, cultural, economic,
political norms of a certain space and of a
certain time. I believe this theme to be very
rich in possibilities and generous in theoretical implications, symbols and connotations.
Anything goes the postmodern slogan
seems to fit very well within this challenge

n raport cu ceea ce cultural numim corp

frumos, corpul siliconat, botoxat fa de cel
lsat n grija naturii i a timpului, corpul
emoional fat de cel raional, etc. Dar la
fel de potivit poate fi reflecia asupra unor
prti ale corpului ierarhizate cultural/social
ca fiind mai importante dect altele (prul
de pe cap altfel valorizat dect cel de pe
corp, snul mai important mediatic i vizual
dect creierul, inima evident mai atractiv
fa de apendic, etc.). Abordrile cu tent social sunt de asemenea la ndemn
corpul majoritarului fa de cel al minoritarului, al iganului fa de romn, al negrului fa de alb, al esticului fa de vestic,
al sracului fa de bogat. Din perspectiva
societii hiper consumului i hiperrealitii
de azi pot fi puncte de plecare teme precum corpul virtual definit prin raportare la
cel real, corpul online i offline... i putem
continua la nesfrit pentru c fr limite
sunt posibilitile de a separa lumea n noi
versus ei, n aa da versus aa nu.

Ancorele teoretice, cele care servesc consistenei temei sunt multiple: de la Platon
la Levinas, de la Hegel la Derrida, de la Sartre i Simone de Beauvoir sau Judith Butler,
mari gnditori au reflectat i au scris despre problematica aferent acestui subiect.
Adic despre ALTERITATE sau DIFEREN,
despre procesele subtile de othering de
transformare ale fiecruia din noi n cellalt, procese ncrcate de stereotipuri,
cutume culturale, negocieri i redefiniri
permanente, de inegaliti i discriminri.
Este de fapt o tem despre mine versus eu,
eu versus tine, noi versus ei, cu singurul
amendament c am dorit-o NTRUPAT.
Nici nu se poate altfel. Corpurile noastre
aceste case misterioase n care trim
sunt n fond autobiografiile noastre. Ele ne
definesc, ele ne fac s fim ceea ce suntem,
aceiai sau diferii unii de alii.
Expresia vizual pe care a luat-o acest gnd
s-a materializat ntr-un proiect artistic care
a inaugurat un spaiu expoziional nou n

brought to the artists. The diseased body

defined in relation to the healthy one, the
unpleasantly looking body as opposed to
what we culturally call beautiful body, the
silicon implanted and botox injected body
against the body which is subject to nature
and time, the emotional body in relation to
the rational one etc. Another equally adequate direction was reflecting on certain
body parts which are subjected to a cultural
or social hierarchy and which are defined as
more important than others (the hair growing on our scalps holds a higher value than
the hair covering the rest of the body, the
breasts are more important from a visual
and media perspective than the brain, the
heart is obviously more attractive than the
appendix etc.). The social approaches are
also only one step away the body of a majority member versus the body of a minority
member, the gypsys body compared with
the body of a mainstream society member,
the black body versus the white one, the
body of the Easterner versus that of the
westerners, the body of the rich compared
with the body of the poor. From the standpoint of the current hyper-consumption and
hyper-reality society, themes such as the
virtual body defined against the real one,
the online body and the offline one can be
starting points for analysis and reflection.
We can go on and on as the possibilities of
separating the world in we versus them, in
an in-group out-group pattern are endless.
The theme consists in multiple theoretical landmarks: from Plato to Levinas, from
Hegel to Derrida, from Sartre and Simone
de Beauvoir, Judith Butler and other such
thinkers who have reflected on and written about this subject. That is, about, ALTERITY OR DIFFERENCE, subtle othering
processes, the transformation of each of us
into our other, processes burdened with
stereotypes, cultural customs, negotiations,
permanent redefinitions, inequalities and
discrimination. In fact the theme points to

capital-Victoria Art Center i care a confirmat pe deplin afirmaia Sunt tot attea
corpuri ci artiti i privitori (OReilly, S.,
The body in Contemporary Art, Thames &
Hudson ltd., Londra, 2009, p.7). Din perspectiva criticului de art expoziia a oferit
o palet stilistic variat semnat de artiti
consacrai dar i de artiti tineri aflai n plin afirmare.
Din perspectiva celuilalt, a privitorului, a
teoreticianului interesat de tematic, expoziia a oferit un adevrat puzzle-o multitudine de abordri, de mesaje directe sau
subtile, de trimiteri teoretice, de stri resimite i triri avute la contactul cu operele
de art. Este indiscutabil mult metafor,
pasti, spirit ludic, prospeime, nonconvenionalism i creativitate n lucrrile expuse. Se simte n acelai timp o atitudine
general estetizant i una mai puin implicat social, rezonnd mai discret cu realitile ntrupate cotidiene, un interes mai
mare pentru introspecie ctre cellalt ntrupat din mine i nu att ctre ceilali
definii n raport cu mine ca etalon. Poate
c sociologul, jurnalistul, analistul politic ar
fi dorit un angajament, conotaii, mesaje
sociale mai evidente conturate de abordrile propuse, mai ales pentru c trim ntr-o
Romnie vdit antagonic n care corpurile noastre sunt ntr-un permanent conflict
cu ale altora (tinerii cu btrnii, romnii cu
rromii, bogaii cu sracii, cei de stnga cu
cei de dreapta, etc.). Poate, pe de alt parte, aceast implicare exist i este vorba
doar de venica barier de comunicare ntre

the opposition between myself and I, I and

you, we and they, with the mention that
we have wished it EMBODIED. There would
have been no other way. Our bodies these
mysterious homes which we inhabit are
in fact our autobiographies. They define us,
they turn us into what we are, the same or
different in relation to others.
The visual expression which this thought
has taken materialized in an artistic project
which inaugurated a new exhibition space
in Bucharest Victoria Art Center and
which fully confirmed the statement: There
are as many bodies as artists or viewers
(OReilly, S., The body in Contemporary Art,
Thames & Hudson ltd., London, 2009, page
7). From the standpoint of the art critic,
the exhibition has offered a varied stylistic
range signed by established artists as well
as emerging ones.
From the standpoint of the other, of the
viewer, of the theorist interested in this
theme, the exhibition offered a true puzzle a multitude of approaches, subtle or
direct messages, theoretical references,
states and experiences upon coming into
contact with the works of art. Without any
doubt, there is a high degree of metaphorization, pastiche, playfulness, freshness,
non-conventionalism and creativity in the
exhibited works. At the same time one can
notice a general aesthetizing attitude with
a diminished social involvement, discretely
resonating with the quotidian embodied realities, a more pronounced interest for in-

Noul figutativ / Galeria Victoria Art Center / 27 octombrie 2011 15 noiembrie 2011

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artist i cellalt, comunicare care trebuie

construit pe nelegere i cunoatere reciproc a limbajului specific fiecruia. Din
acest punct de vedere expoziia a deschis
puni de comunicare. Nu a fost ermetic,
autosuficient ci, dimpotriv, a fost o invitaie la dialog. Un dialog despre (pre)judecile noastre despre alii ntrupai, despre
ceilali din fiecare din noi, despre corpurile
noastre i (nu sau) ale altora prin intermediul crora dm sens vieii de zi cu zi.

trospection targeting the other by the self

and less the others defined in relation to
the self as unmarked term. Perhaps a sociological, journalistic, and political approach
would wish for a more heightened involvement, for social connotations and messages
which are better outlined in the proposed
approaches, especially when living in a
clearly antagonistic country in which our
bodies constantly get into conflict with other bodies (young versus old, mainstream
population versus gypsies, rich versus poor,
leftists versus rightist etc.). On the other
hand perhaps this involvement exists and
entails only the old communication barrier
between artists and the other, communication which needs to be built on the understanding of each others language. From
this point of view the exhibition has opened
communication channels. It was not a hermetic and self-sufficient one, but an invitation to dialogue... a dialogue focusing
on our prejudices about embodied others,
about the others within ourselves, about
our bodies and (not or) the bodies which
belong to others who give meaning to our
daily lives.

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Tupu II / print pe pnz / 130 x 120 cm / 2010

2
META
0723218489
metacult@gmail.com
http://metacult.ro/2meta/

Lacul lui Lamartine

The lake of Lamartine

Stadiul oglinzii a fost nlocuit de stadiul

video. Nimic nu scap, azi, acestui soi de
captare a imaginii, de captare a sunetului,
de priz de contiin imediat, simultan.
Nimic nu mai are loc fr ecran. Nu mai
exist oglind. Identitatea vie, aceea a subiectului, implica oglinda, elementul reflexiei. (...) Nu mai avem cu adevrat dreptul la
propria noastr imagine, ci la o nregistrare
instantanee n timp real. n timp real nu
mai exist nici mcar distana unei imagini.
Or, ca s exiti pur i simplu, este nevoie
de o distan de la sine la sine. Abolirea
acestei distane ne condamn la o reproducere nesfrit, la un soi de imortalitate
derizorie. (Baudrillard)

The mirror stage has been replaced with

the video stage. Today nothing can escape
this type of image and sound capture which
has a firm grip on the immediate and simultaneous conscience. Nothing takes place
outside the screen. There is no mirror anymore. The living identity of the individual
involves the mirror as an element of reflection. () We no longer are truly entitled to
our own image but to an instant recording
in real time. In real time there isnt even
the distance of an image. But in order to
simply exist, we need a distance from oneself to other selves. The annulment of this
distance condemns us to an endless reproduction, to some sort of small-time immortality. (Baudrillard)

Dar despre Lamartine nici nu este vorba

acum.
Another Body 2META

But were not event talking about Lamartine.

Another Body 2META

Pieta / print pe pnz / 120 x 200 cm / 2009

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Cancer / ulei pe pnz / 60 x 50 cm / 2011

Idle / tehnic mixt pe pnz / 100 x 100 cm / 2009

george
ANGHELESCU
artistalpoporului@yahoo.com
http://www.artistalpoporului.blogspot.com/

Un anonim gest protestatar, o naiv luare

de atitudine schiat n cteva fraze pe o
bucat mototolit de hrtie este abandonat pe strad. Gsesc aceast curiozitate
i o reciclez. Devine fundalul unui al doilea demers ideatico-vizual. l caut pe acest
revoluionar ifonat de Tranziie i gsesc
n strigtul su primitiv (ce nu-i gsete
ecou n epoca antifonat a individualismului) ceea ce pare a fi semnul cancerului. El este cellalt, este aproapele meu,
este o figur n care nu m recunosc i pe
care ncerc s o portretizez pentru a o/m
cunoate. i cu toate astea, fractura aprut ntre noi persist dar nu schimb cu
nimic universul meu sau/de al su.
nstrinarea este un microcosmos steril n
care paradisul este n trecut iar fericirea
este permanent aruncat n viitor, prezentul
este doar dulce nostalgie i Permanena
continu n sufocanta frustrare de a nu tri
n cea mai bun dintre lumile posibile.

An anonymous protesting gesture, a nave

taking of position outlined in a few sentences scribbled on a crumpled piece of paper is abandoned on the street. I find this
curiosity and I recycle it. It becomes the
background of a second conceptual-visual
endeavor. I look for this revolutionary who
was crumpled by the Transition and I find
in his primitive cry (that does not echo in
the sound proof age of individualism) what
seems to be the sign of cancer. He is the
other, my fellow man, he is a figure in which
I do not recognize myself and which I try
to portray for knowing him/myself. However, the break which appeared between
us persists and does not change my or his
universe.
Alienation is a sterile microcosm in which
paradise lies in the past while happiness is
permanently projected into the future. The
present is just sweet nostalgia and continuous Permanence in the stifling frustration of not living in the best of the possible
worlds.

Interludiu / acril pe pnz / 150 x 84 cm, 150 x 178 cm, 150 x 84 cm / 2008

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Balmain II / ulei pe pnz / 100 x 120 cm / 2010

maria
BORDEANU
0746187621
maria.manea@gmail.com
http://www.pictura.ro/

Atunci cnd privim o fotografie contemporan, imaginea privitorului e focalizat pe

atributele vestimentare, ele fiind asociate
unui alt ir lung de reprezentri. Informaiile fashion, i pun amprenta asupra vitezei
cu care se deruleaz imagini, structuri, tendinte sau elemente-unicat. n prezent majoritatea publicului nu are access la anumite
piese sofisticate, pentru care exist o anumita fascinaie. Creaiile valoroase coexist
cu cele efemere, sistemele de ierarhizare a
obiectelor se schimba cu rapiditate.

When we look at a contemporary photograph, the image of the attention of the

viewer focuses on clothing features which
are associated to another long string of
representations. The fashion information
influences the speed with which images,
structures, trends or unique elements unreel. At present, the majority of the public
does not have access to certain sophisticated items for which a certain fascination has
been built. Valuable creations coexist with
ephemeral ones, object hierarchy systems
change rapidly.

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Balmain I / ulei pe pnz / 100 x 120 cm x 2 piese / 2010

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Mesti / ulei pe pnz / 90 x 55 cm / 2011

daniel
BRICI
danibrici@yahoo.com
http://danielbrici.blogspot.com/

Fascinaia pentru lumina din ochii marginalilor i pentru accidentele ontologice

petrecute n spaiul nelimitat al lumpenburgeziei, al mahalalei i al nomadismului
iat crezul unei poetici vizuale pe care artistul Daniel Brici o relev n Pret-a-Porrtrait. Lumea periferiei, a srciei, are poveti
care vorbesc n imagini i culori pregnante.
Tuele sunt tot attea straturi dintr-o existen sedimentat de biografii, lumini i cdere n jocul de umbre.

The fascination for the light in the eyes

of the marginals and for ontological accidents occurred in the unlimited space of
the lumpenbourgeoisie of the slum and of
nomadism this is the credo of a visual
poetics which the artist Daniel Brici shows
in Pret-a-Portrait. The universe of the outskirts, of poverty contains stories which
speak in striking images and colors. The
lines are layers of an existence deposited
by biographies, lights and shadow play.

Daniel Brici nu este nici maniheist, nici

propagandist pentru salvarea rromilor. El
este un artist care tie c nimic n natur
nu e numai negru sau numai alb, c natura
uman produce surprize estetice i spirituale n zonele sociale cele mai defavorizate.
Lecia sa de portret e una a bucuriei de a-l
descoperi pe Cellalt!

Daniel Brici is neither a Manichean nor a

propagandist for the salvation of the rroma.
He is an artist who knows that nothing in
nature is just black or white, that human
nature produces aesthetic and spiritual surprises in the most unprivileged social areas.
His portrait lesson engenders the joy of discovering the Other!

Dan Mircea Cipariu

Dan Mircea Cipariu

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Mesti / ulei pe pnz / 90 x 55 cm / 2011

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Efta / ulei pe pnz / 40 x 30 cm / 2011

Xurdorro / ulei pe pnz / 40 x 30 cm / 2010

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Untitled # 008 / digigrafie pe hrtie / 80 x 120 cm / 2008

ctlin
BURCEA
uno_catalin@yahoo.com
http://www.catalinburcea.ro/

SEROTONIN 2 # innosins este un serial

n care se povestete despre imposibilitatea de a ne conserva inocena specific
unei anumite vrste din copilrie. Efortul,
ncercarea de a o recupera, face ca totul s
par deopotriv artificial i absurd.

SEROTONIN 2 # innosins is a series in

which we are told stories about the impossibility of preserving the innocence specific to a certain time of childhood. The effort and the attempt to recover it renders
everything artificial and absurd.

Uneori, artificial, absurd i strain devine

chiar propria noastr persoan cnd o privim ntr-un trecut mai mult sau mai puin
ndeprtat. Celalalt EU ALTUL.

Even our own being sometimes becomes

artificial, absurd and alien when seen from
the perspective of a more or less remote
past. The other I ANOTHER.

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Untitled # 008 / digigrafie pe hrtie / 50 x 145 cm / 2007

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Iad / tu pe hrtie maruflat pe pnz / 200 x 34 cm / 2011

traian
BOLDEA
boldea@me.com
http://boldea.ro/

Proiectului Demophobia repet acelai personaj, Danutz, n ipostaze mai mult sau mai
puin diferite, construind astfel aglomerri
n care mulimea poate fi perceput ca multiple existene ale aceluiai EU. Astfel Danutz trece de la o demofobie urban la una
interioar. Imaginea semnelor unei coloane
de ziar, micarea unui fir de pr dintr-o uvi, ntrebrile existeniale ale sardinelor
mpachetate ntr-o conserv.

Demophobia repeats the same character,

Danutz, in more or less different stances,
thus constructing agglomerations in which
the crowd can be perceived as multiple existences of the same I. In this way, Danutz
switches from an urban demophobia to an
interior one. The image of newspaper column characters, the movement of a hair in
a hair lock, existential questions of canned
sardines.

Lucrarea Necrophobia caut s defineasc

universul personajului aflat lng sicriu.
Oferindu-i suport, ngheat de durere,
speriat de inevitabila moarte, nfricoat i
hipnotizat de trupul fr via, cuprins de
claustrofobie n momentul identificrii cu
corpul mort, gnduri care aduc haos sau
revelaie...

The work entitled Necrophobia seeks to

define the world of a character next to a
coffin. Trying to comfort himself, frozen by
pain, terrified by his unavoidable death,
frightened and hypnotized by the lifeless
body, overwhelmed by claustrophobia when
identifying with the dead body, these are all
thoughts which wreak havoc or bring revelation...

Necrophobia, detaliu / tu pe hrtie maruflat pe pnz / 200 x 34 cm / 2011

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Invidia / ulei pe pnz / 20 x 25 x 7 cm x 4 piese / 2011

irina
BROBOAN
irina.broboana@gmail.com
http://irinabroboana.blogspot.com/

Imaginile propuse sunt instantanee fragmentate, incomplete, ce i permit privitorului s adauge piese n puzzle, s recompun (re-construiasc) povestea sau s
adauge noi dimensiuni synopsis-ului lacanian pe care ni-l prezint artista. Fie c i
smulge cu sadism roadele frumuseii, fie
c i suprapune organic, n cheie absurd
obiectul adorat i, implicit, furat Celuilalt,
atmosfera general este una de relaxare
i firesc, aspect ce atenueaz considerabil
amprenta tragic i misterioas.
Aezarea intenionat a corpului sub lumina
rece, necrutoare, de aparatur medical
i dezvluirea metodic a tuturor detaliilor
accentueaz procesul mecanic de transformare a femeii n brbat sau, n cheie livresc, a artistei Irina Broboan ntr-un ofer
de TIR de vrst medie.
De ce ofer de TIR? Pentru c la ntrebarea
mea n cine voiai s te transformi?, rspunsul a fost ntr-un ofer de TIR.
Simona Vilu

The proposed images are fragmented

and incomplete snapshots which allow the
viewer to put in pieces of the puzzle and to
recompose (reconstruct) the story or to add
new dimensions to the Lacanian synopsis
which the artist presents. Either sadistically
ripping the fruits of beauty, or organically
and absurdly overlapping onto oneself the
adored object which was implicitly stolen
from the Other, the general atmosphere is
relaxed and natural, fact which considerably decreases the tragic and mysterious
overtones.
The deliberate placement of the body under
the cold and unforgiving light of medical
devices and the careful unveiling of all details accentuate the mechanical process of
transforming the woman into a man or the
artist Irina Broboana into a middle-aged
truck driver.
Why truck driver? Because when I asked
her what she wanted to transform into, she
replied into a truck driver.
Simona Vilu

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Invidia / ulei pe pnz, obiecte / 80 x 100 x 120 cm / 2010

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Shade 12 / ulei, cerneal tipografic pe backlit / 80 x 120 cm / 2011

francisc
CHIUARIU
0721768457
contact@francisc-chiuariu.ro
http://www.francisc-chiuariu.ro/

Cutnd natura lucrurilor

Looking for the nature of things

n cutarea identitii celuilalt corp realitatea se poziioneaz ca un portal ntre dou

lumi. Lumea care se stinge fizic lsnd memoriei o bibliotec a amintiriilor i lumea
noua n care corpul vizibil prezent i caut completare n cellalt corp, cel spiritual.
Dezintegrare fizic rmas doar n contur, a
trecut deja dincolo de formalitatea existentialist n spatele imaginii unde prsete o
destinaie i se reformeaz n alt corp.

Looking for the identity of the other body,

reality positions itself like a portal between
two worlds. The world which physically
fades away leaving to the care of memory
a library of memories and the new world in
which the present visible body looks for fulfillment in the other body, the spiritual one.
The physical disintegration which is expressed as an outline, has already passed
beyond the existentialist formality behind
the image where it leaves a destination and
reforms in another body.

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Shade 03 / ulei, cerneal tipografic pe backlit / 120 x 80 cm / 2011

43

Shade 04 / ulei, cerneal tipografic pe backlit / 120 x 80 cm / 2011

44

Unfamiliar (2) / nregistrri video webchat / 01:41:00 / 2010

larisa
DAVID
0723652009
dalarisa@gmail.com
http://vngc.tumblr.com/

Lucrriile investigheaz conflicte i crize legate de identitate n special dedublarea

la nivel personal i colectiv.

The works investigate identity conflicts and

crises especially the creation of alter egos
at a personal and collective level.

45

Mixed Identity / video / 01:05:00 / 2011

46

47

48

Auriga / metal / 160 x 170 x 60 cm / 2009

darie
DUP
0722630146
dup_sculptor@yahoo.com
http://www.dariedup.ro/

Cred n limbajul propriu al sculpturii, care

nu e nici literatur, nici filozofie, nici scenografie, nici muzic, nici teatru. Cred c,
din nelegerea limbajului, decurg toate celelalte lucruri.

I believe in the language specific to sculpture, that is not literature, philosophy, scenography, music nor theater. I believe that
all other things follows from understanding
the language.

Sculptura este dincolo de imagine. Ea

nu presupune forma n sine deoarece ea
aparine unui neles mult mai amplu, supunndu-se unei relaii i al unui spaiu care
poate fi nlocuit. Sculptura poate presupune
i golul, vidul, sau spaiul gol.

Sculpture is located beyond image. It does

not presuppose form in itself, since it belongs to a wider meaning, being subjected
to a relation and a space which cannot be
replaced. Sculpture can entail empty or
void spaces.

Poate prea o contradicie, dar cu ct se ndreapt mai mult ctre gndirea abstract,
cu atta ea ctig n limbaj, iar pe msur
ce se apropie ctre reprezentare ea pierde
din limbaj.

This may seem contradictory, but the more

sculpture turns to abstract thinking, the
more its language enriches. Conversely, the
more it draws closer to representation, it
looses its language.

49

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Catafalc / metal / 200 x 120 x 50 cm / 2009

51

52

Index / digigrafie pe hrtie / 50 x 70 cm / 2010 2011

daniel
DJAMO
dndjamo@yahoo.com
http://danieldjamo.blogspot.com/

Index e un proiect amplu, n curs de facere, ce ncearc s rescrie Revoluia Romn

din 1989 prin intermediul mrturiilor celor
implicai, cutnd s o individualizeze. Proiectul dorete s extrag mostre din vieile
i experienele revoluionarilor att de dinainte, ct i de dup cderea lui Ceauescu,
surprinse n interiorul caselor lor, extensii
ale sinelui, pentru a oferi o imagine clar a
ceea ce sunt i ceea ce au fost.
Fiecare fotografie este nsoit de o amintire dramatic i personal a acestora, din
timpul Revoluiei Romne.
Nimeni nu le cunoate numele i, totodat,
nimeni nu tie dac sunt sau nu eroi. De
fapt, nimeni nu tie realul puls al revoluiei i
adevrata trire a ei n afara celor implicai
(acelora dintre ei care au supravieuit).
Mi-am nceput seria fotografic n Noiembrie 2010, dorind s-i neleg i s-i cunosc
pe cei ce au adus libertate i au fcut posibil infuzia capitalismului n ar. Am vrut
s tiu dac sunt mulumii de felul n care
arat Romnia i s aflu dac sacrificiul lor
a meritat muli au fost mpucai, unii iau pierdut membre, alii i-au pierdut prieteni.

The project entitled Index tries to rewrite

the 89 Romanian Revolution by giving it an
individualizing focus as it traces the experiences of the people involved. The project
tries to extract samples out of the freedom
fighters lives and experiences before and
after the fall of Ceauescu mirrored by
their homes as extensions of themselves.
The final goal is offering a sharp image of
what these people were and what they are
now.
Each photograph is backed by a short story
detailing more personal and dramatic experiences of the Romanian Revolution.
Nobody knows their names and nobody
knows if they are heroes or not. Actually,
nobody knows the true story of the revolution except those involved (those who lived
to tell the story).
I started the photographic series in November 2010, driven by the desire to understand and to get to know the ones who
brought capitalism to Romania. My intention was to find out if they were pleased
with the way Romania looks at present and
if they thought the changes were worth
their sacrifice.

Index / digigrafie pe hrtie / 50 x 70 cm / 2010 2011

53

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HEREAFTER / print pe hrtie / 70 x 50 cm / 2007 2008

carmen
DOBRE
carmen_m_dobre@yahoo.com

Aceast serie fotografic documenteaz fenomenul automutilrii n rndurile deinuilor

din penitenciarele de maxim siguran din
Romnia. Conform tezei lui Michel Foucault,
principiul de baz al sistemului penitenciar
modern este limitarea libertii de micare
prin izolarea deinutului de societate i
supravegherea lui constant n incinta nchisorii. Avnd n vedere c aceast form
de pedeaps const n detenie, corpurile
deinuilor devin eseniale n relaiile dintre
acetia i sistemul de corecie. Condamnaii
se folosesc de vizibilitatea constant a corpurilor lor pentru a protesta mpotriva
administraiei nchisorii i n anumite cazuri
pentru a o antaja. Prin rni autoprovocate
ei indic eecul sistemului care are corpurile lor n custodie i i asigur statutul n
ochii celor cu care mpart celulele.

This photographic series documents the

phenomenon of self-mutilation amongst the
inmates of maximum security penitentiaries
in Romania. According to Michel Foucaults
thesis, the basic principle of the modern
correctional system is limiting the freedom
of movement through isolation from society and constant surveillance on the prison
premises. Since this form of punishment
consists of physical confinement, the bodies of the convicts become instrumental in
the relations between the inmates and the
imprisonment system. The inmates use the
constant visibility of their bodies so as to
protest against the administration of the
penitentiary and in some cases to blackmail
it. By inflicting lacerations on their arms
and torsos and by hammering nails into
their own skulls, they point to the failure of
the system that is in charge and they secure their status among their cell mates.

57

58

HEREAFTER / print pe hrtie / 100 x 70 cm / 2007 2008

59

HEREAFTER / print pe hrtie / 70 x 100 cm / 2007 2008

60

The view / ulei pe pnz / 100 x 140 cm, 100 x 80 cm x 2 piese / 2010

loredana
DRAGNE
0763265447
blonda_toko@yahoo.com

n cazul de fa cellalt corp se definete

printr-un dublu transfer: realitatea virtual
a creaiilor 3D i ficiunea picturii recreaz prin juxtapunere o nou realitate, cea
a emoiei artistice. n umbra imaginaiei
noastre orice corp real poate fi substituit.

In this case, the other body is defined

through a double transfer: the virtual reality of the 3D creations and the fiction of
painting recreate a new reality by means of
juxtaposition. This is the reality of artistic
emotion. In the shadow of our imagination
any real body can be substituted.

61

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Untitled 38 / print pe pnz / 70 x 100 cm / 1990-1991

iosif
KIRALY
0722367275
iosif.kiraly@gmail.com
http://www.iokira.com/

Ileana Pintilie: Cariera ta artistic a nceput

cu performance-ul. Mai joac acesta un rol n
activitatea ta prezent, sau era legat numai
de condiiile specifice regimului comunist?
Care este legtura dintre performance i fotografie n creaia ta?
Iosif Kiraly: As spune ca nceputurile mele
artistice se regsesc n ceva ce eu as numi
fotografie performativa ntrucat acele
performance-uri erau organizate pentru
a fi fotografiate. Avnd n vedere c regimul comunist nu considera performance-ul
o form de art valabil i nu permitea ca
astfel de manifestri s aibe loc n spaii publice, toate lucrrile mele performative au
avut loc n spaii private sau locuri izolate.
Pentru a ajunge la un public, un asemenea
performance trebuia mai nti s devin o
fotografie, ntrucat fotografiile putau cltori n spaiu (de exemplu prin pota, sub
forma unor obiecte Mail-Art) i rezist n
timp, datorit caracterului lor de document.
Acum pot s afirm c pentru mine fiecare performance realizat n timpul perioadei
comuniste a fost un mesaj (fotografic) n
sticl.
(Extras dintr-un interviu publicat n www.
artmargins.com n februarie 2009)

Ileana Pintilie: Your beginnings as an artist

lie in performance art. Does performance
still play a role in your work today, or was
it tied to the specific conditions that existed
under the Communist regime? What are
the links between photography and performance in your work?
Iosif Kiraly: I would say that my beginnings as an artist lie in something I would
call performance photography because
those early performances were conducted
with photography in mind. Due to the fact
that the Communist regime did not consider performance to be a valid art form and
did not allow them to take place in public
spaces, each of those performances was
made (and staged) in a private or isolated
place. In order to reach an audience, such
a performance had to first become a photograph, because photographs could travel
in space (e.g. as Mail-Art objects) and preserved for future audiences. Now I can say
that for me, each performance I conducted
during the period of Communism was a
photographic message in a bottle.
(Excerpt from an interview published in
www.artmargins.com in February 2009)

Trepte 1, 2, 3 / print pe pnz / 100 x 100 cm x 3 piese / 1987

63

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Black therapy / print pe pnz / 100 x 150 cm / 2011

petru
LUCACI
0723648623
petru_lucaci@yahoo.com
http://www.lucaci.ro/

Dincolo de asocierea uzual a negrului cu

durerea, doliul, noaptea, frica, exista i un
alt registru de descifrare a metaforelor negrului: negrul benefic, negrul terapeutic,
negrul vindecator.
Rezultat al unui creuzet subteran chimic
i organic complex, nmolul, acest negru
vindecator al corpului, nglobeaza ntr-o
reet misterioas, dincolo de formula chimic descifrat, capacitile tmduitoare
ale pmntului, fora magic a nnmolirii
corpului uman.
Anestezic, antiinflamator, stimulator, nmolul cel negru, cel umed care devine n lumina i cldur cel uscat, acoper, nclzete,
tmduiete. Corpul, prin paleidoterapie,
cere i ia din natur ceea ce i trebuie i,
n acelai timp, red naturii ncrederea n
forele ei. O relaie terapeutic corp natur.
O relaie ntrupat mediat de negru.

Beyond the commonplace association of

the color black with pain, mourning, night,
fear, there is also another deciphering key
for the metaphors of black: the beneficial
black, the therapeutic black, the healing
black.
Resulting from an underground and organically complex melting pot, the mud, the
black healing of the body encompasses in a
mysterious network, beyond the deciphered
chemical formula, the healing capacities of
the earth, the magical force of muddying
the human body.
Being anesthetizing, anti-inflammatory,
stimulating, the black, humid mud which
becomes in heat and light dry, covers,
warms up, heals. Through paleidotherapy,
the body demands and takes from nature
what it needs and at the same time, gives
back to nature the trust in its forces. A
therapeutic relationship between body and
nature. An embodied relationship mediated
by black.

Black therapy / print pe pnz / 100 x 70 cm x 4 piese / 2011

67

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(In) visible me / print pe pnz / 150 x 100 cm / 2011

flavia
LUPU
flavia.lupu@gmail.com
http://flavia-lupu.blogspot.com/

(In) visible me... Sau un gen de eu pus

ntre paranteze... este o ncercare de explorare a jocului dintre esen i aparen,
dintre diverse paliere de contientizare a
relaiei cu sinele. Manechinul rou concentreaz propriile frustrri, negri, defecte,
decepii, deziluzii, inadecvri, preconcepii
mai scurt ceea se numesc defecte. Ele trebuie, ar trebui, va trebui s rmn ascunse pentru a masca ceea ce suntem, pentru
a ne putea afia lumii ntr-o stare de acceptabilitate care s tind spre admiraie. ns,
din pcate, orict se mineaz detaarea de
manechinul rou, el rmne tot timpul
acolo, nu pleac, doar distana i relaia sa
cu aparentul corp real se modific. Realul
neg existena irealului pentru ca apoi s l
accepte, s l admire, s i-l nsueasc, s
l doreasc, s l urasc, s vrea s i se substituie. Asadar, care este ambalajul i care
este coninutul, de fapt?

(In)visible me... Or a kind of I in between

brackets... It is an attempt to explore the
play between essence and appearance, between the various ways in which one becomes aware of the relationship one holds
to oneself. The red dummy concentrates
ones own frustrations, denial, defects,
deceptions, disenchantment, inadequacy,
prejudices... in short, everything we call
flaws. They must or should or will have to
remain hidden in order to camouflage what
we are so as to be able to present ourselves
to the world in an acceptable condition
that requires admiration. Unfortunately,
no matter how much we act detachment
from the red dummy, it remains there, it
does not leave. It is just the distance and
the relationship with ones real body that
gets altered. The real initially negates the
existence of fantasy, but then it accepts,
admires, undertakes and wishes for it. The
final stage materializes as hatred of fantasy
and the substitution thereof by the real.
Therefore, what is the cover and what is
the content?

(In) visible me / print pe pnz / 150 x 100 cm / 2011

71

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Texturi corporale / media performance / 2011

bogdan
MATEIA
0753414369
mateiassaietam@yahoo.com
http://bogdanmateias.blogspot.com/

Proiecia video pe suprafaa corpului uman

reprezint un sistem de distrugere a formei
corporale i de rematerializare prin schimbarea texturii acestuia cu diferite structuri
i texturi strine anatomiei corpului uman.
Rematerializarea acestor corpuri sugereaz
posibilitatea corelrii noilor pattern-uri cu
aria de preocupri a acestora. Mediul social, cultural i politic i pune amprenta pe
epiderma corporal.

The video projection on the surface of the

human body represents a system for the
destruction of the bodys shape and for rematerialization by means of changing the
structure of the body and by employing
structures and textures which are foreign to
human anatomy. The re-materialization of
these bodies suggests the possibility of correlating the new patterns with the concerns
thereof. The social, cultural and political environment is imprinted on the bodys skin.

75

Texturi corporale / media performance / 2011

76

77

78

Body structured intracellular water / instalaie Light Art / 25 x 25 x 7 cm x 4 piese / 2011

romana
MATEIA
0740476390
romana_cucu@yahoo.com
http://romanamateias.blogspot.com/

Apa din corpul uman reprezint un mediu,

un reactant chimic, metabolic, catalizator, transportor sau controlor n tranziiile metabolice i n transferul de informaii
fiziologice dinamice. ntreaga structur i
funcionarea a corpului uman se bazeaz
pe apa intracelulal i circuitul acesteia n
organism. Corpul uman este o interfa cu
structur apoas.

The water in the human body represents

a medium, a chemical, metabolic reactant,
a catalyst, a transporter or a controller in
the metabolic transitions and in the dynamic physiological information transfer.
The structure and functioning of the human
body is based on the intracellular water and
the circulation thereof inside the body. The
human body is an interface with a watery
structure.

79

Body structured intracellular water / instalaie Light Art / 25 x 25 x 7 cm x 4 piese / 2011

80

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82

FACES / performance / 2009

valeriu
MLADIN
0735118448
valeriumladin@gmail.com
http://mladinvaleriu.blogspot.com/

Imaginile au fost realizatae cu ocazia unui

workshop coordonat de mine n anul 2009,
la sectia FVPCI a Universitii Naionale
de Art, unde profesori i studeni au fost
invitai s fac experimente video cu ajutorul unei camere de mare viteza PHANTOM
V 12, care poate filma pn la 1 milion de
cadre pe secund, fiind cel mai performant echipament de acest gen din lume. E
de reinut faptul c aceast camer a fost
conceput de o echipa de cercettori i designeri romni, din cadrul companiei Vision Research din Statele Unite ale Americii.
Compaia este acum lider mondial n tehnologia de captur a imaginilor high speed i
are o reprezentan n Romnia, unde sunt
dezvoltate i testate aceste echipamente.

These images have been made on the occasion of a Workshop supervised by me in

2009 at the Photography and Video Department of the National University of Arts. On
this occasion, professors and students have
been invited to make video experiments
with the aid of a high speed camera PHANTOM V 12 which can film up to 1 million
frames per second. This is the best equipment of its kind in the world at present and
it was designed by a team of Romanian
researchers and designers from Vision Research in the US. This company is currently
a global leader in the field of capturing high
speed images and has an office in Romania
where such equipment is tested and developed.

Alturi de performance-ul FACES, care ncearc s pun n valoare cu ajutorul acestei camere, deformrile pe care feele noasre le suport n timpul micrii repetete a
capului de la stnga la dreapta, s-au produs mpreun, folosind materii i materiale diverse, i alte experimente care prin
intermediul acestei tehnologii, au reuit s
descompun micarea ntr-un mod spectaculos.

Alongside the FACES performance which

attempts to emphasize, with the aid of the
camera, the deformations of the face during rapid and repeated head movements
from left to right, other experiments have
been produced, using various matters and
materials and the aforementioned technology, thus leading to a spectacular deconstruction of movement.

FACES / performance / 2009

83

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ndoit / fotografie / 50 x 75 cm / 2011

marina
OPREA
0722579123
banshee_02@yahoo.com
http://findthegirl.tumblr.com/

Corpul nu este ntodeauna ceea ce pare.

Poate att de uor s-i schimbe forma, nct ceva frumos devine ntr-o secund ceva
urt. Linia dintre cele dou este fin, iar
omul o trece adeseori fr s-i dea seama.
Urenia este adesea voluntar, dei nu
este voit. Iat cum un corp frumos, armonios, zvelt, devine ceva rigid, uscat, fragil i
uor de distrus.

The body is not always what it seems. It

can easily change its shape, so that it can
oscillate between beauty and ugliness. The
line between the two states is very fine and
man often crosses it unaware. Ugliness is
often voluntary, thought not deliberate.
This is how a beautiful harmonious, lean
body turns into something rigid, dry, fragile
and easy to distroy.

87

ndoit / fotografie / 75 x 50 cm / 2011

88

89

ndoit / fotografie / 75 x 50 cm / 2011

90

Pielea Corpul / Bio Art / 8 x 10 cm / 2007

christian
PARASCHIV
paraschiv@free.fr
http://paras.c.perso.infonie.fr/

Preocupat de timpul fr dimensiuni

spaiale, de acceptarea destinului, deja
scris, modificabil i, dei anticipat, totui
necunoscut, artistul opereaz de la o serie
de lucrri la alta att cu elemente empirice,
intuitive, ct i cu mijloace tiinifice. Blana
de oaie jupuit ca ready made ori imagine cu care lucra la cumpna dintre deceniile VII VIII a fost nlocuit n anii 90
de propria piele amprentat, fotografiat sau clonat i ntreinut temporar n
via n afara corpului. Metalimbajul este
convergent n ambele situaii, deosebirea
fundamental fiind dat de partea etic a
aciunii, de faptul de a aciona n sfera tabuului.
Mihai Plmdeal
Observator Cultural, nr. 605, noiembrie
2011

Being concerned with time without space

dimensions, with accepting ones destiny
which is already written, modifiable and,
although anticipated, still unknown, the artist operates from one series of works to
another both by means of empirical and
intuitive elements as well as by means of
scientific instruments. The ship skin as
ready-made or image with which he worked
at the beginning of the 80s was replaced
in the 90s by his own skin fingerprinted,
photographed or cloned and temporarily
kept alive outside the body. The metalanguage converges in both situations, the
fundamental difference being rendered by
the ethical side of the action, by acting in
the sphere of taboo.
Mihai Plmdeal
Observatorul cultural, no. 605, november
2011

Nomos Corp / Bio Art / 2009

91

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Sinemoretz, Bulgaria / print digital pe pnz, obiecte / 83 x 55 cm / 2011

vlad
PETRI
0722502052
vladpetri2@yahoo.com
http://www.vladpetri.ro/

Autoportret cu bec este o lucrare a fluxului

continuu. O instant a unui moment, proiectat pe pnz i transformat, oferit
privirii i interaciunii cu cellalt. Lumina
declanrii, de atunci se ntoarce acum
prin intermediul instalaiei, proiectnd o
imagine modificat i modificabil. Privirea
n oglind devine un act participativ.

Self-portrait with a light bulb is a work of

continuous flux. A stance of a single moment projected on the canvas and transformed, offered to the eye and to the interaction with the other. The light of the shot
travels the distance between then and now
through the installation, projecting a modified and modifiable image. Looking in the
mirror becomes and engaging act.

95

Autoportret cu bec / ultragiclee print, bec, papion, ntreruptor / 43 x 53 x 14 cm / 2010

96

97

98

Worm Hole / instalaie video / 2010

dan raul
PINTEA
0744342944
contact@ancapoterasu.com
http://www.ancapoterasu.com/

Worm Hole a lui Dan Raul Pintea poate

prea o suprafa plan de oglinzi, dar,
de fapt este o gaur de vierme ctre o
alt dimensiune. Acest shortcut este ca
un tunel cu dou capete ce conduc ctre
dou puncte diferite ale timpului-spaiu. Un
punct pornete din prezentul realitii acolo unde privitorul percepe opera de art,
iar la cellalt capt se ncheie n interiorul
coninutului operei. Proiectul combin toate
dimensiunile ntr-un single continuum. Privitorul are astfel posibilitatea s intre complet n mijlocul operei de art.

Dan Raul Pinteas Worm Hole may seem

like the flat surface of a mirror, but actually it is a worm hole to another dimension.
This shortcut is like a tunnel with two ends
which lead to two different points in time
and space. A point starts from the present
of reality from where the viewer perceives
the work of art, whereas the other closes
in on the content of the work. The project
combines all dimensions in a single continuum. The viewer has thus the possibility to
completely enter the work of art.
Cosmin Nsui

Cosmin Nsui

99

Worm Hole / instalaie video / 2010

100

101

102

DIVA Combat / digigrafie / 100 x 130 cm / 2011 / fotografie de Ciprian Ciuclea

marilena
PREDA SNC
0723512971
predasanc@gmail.com
http://marilenapredasanc2011.blogspot.com/

Diva Combat / Artist vs. Curator / Curator vs. Artist (Marilena Preda Snc, Olivia
Nii) este un comentariu vizual la adresa
permanent dezbtutei relaii dintre artist i
curator.

Diva Combat / Artist vs. Curator / Curator

vs. Artist (Marilena Preda Snc, Olivia Nii)
is a visual comment on the constantly debated relationship between artist and curator.

Relaia dintre artist i curator este un joc de

putere. Curatorul este un personaj consacrat al artei contemporane, rolul i identitatea sa aflndu-se nc n proces de definire
n Romnia n care el a nceput s se afirme
timid abia dup 1990. Pe fondul diverselor
controverse internaionale imaginea curatorului este una autoritar.

The relationship between the artist and the

curator is a power game. The curator is an
established character of contemporary art
while his/her role and identity still undergoes definition in the Romanian space in
which he/she has timidly started to affirm
oneself only after 1990. On the background
of the various international controversies,
the image of the curator is one of authority.

103

104

Artist vs. Curator / print pe pnz / 105 x 140 cm / 2011 / fotografie de Ciprian Ciuclea

105

Curator vs. Artist / print pe pnz / 105 x 140 cm / 2011 / fotografie de Ciprian Ciuclea

106

Bad VIII / tehnic mixt pe hrtie / 42 x 21 cm / 2008

alexandru
RDVAN
0735848537
alexandru_radvan@yahoo.com
http://radvanpainting.blogspot.com/

Nu am vzut niciodat corpuri urte i mai

ales nu am vzut niciodat corpuri n situaii
neinteresante. Singurele cazuri care mi se
par anoste i nu m inspir sunt femeile pe
care gustul general le consider frumoase.

I have never seen ugly bodies and most

importantly I have never seen bodies in
uninteresting situations. The only cases
which seem dull to me and do not inspire
me are the women considered beautiful by
the general taste.

107

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Fr titlu 1 / acril pe pnz / 40 x 40 cm / 2007

109

Fr titlu 2 / acril pe pnz / 40 x 40 cm / 2007

110

Fear / poliester, rin poliesteric, fibr de sticl, vopsea, / 42 x 29 x 19 cm / 2011

bogdan
RA
rata_bogdan_ioan@yahoo.com
http://bogdanrata.blogspot.com/

Lucrez cu fragmente umane pe care le

combin pentru a crea imagini cu impact
emoional: frustrare, fric, ruine. Reinterpretez corpul uman tocmai pentru a induce o stare de confuzie privitorului i pentru
a-l face s neleag altfel structura omului
contemporan. Un deget poate fi mai puternic dect o puc, iar o ureche mai frustrant dect un interogatoriu.

I work with human fragments which I combine in order to create images with a strong
emotional impact: frustration, fright,
shame. I reinterpret the human body precisely in order to induce a state of confusion to the viewer and to force him to understand, from a different perspective, the
contemporary human being. A finger can
be stronger than a rifle, an ear more frustrating than an interrogation.

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HandGun / polistiren, spum poliuretanic, vopsea / 480 x 120 x 230 cm / 2011

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Untitled / acril pe pnz / 100 x 60 cm / 2011

Untitled / acril pe pnz / 100 x 150 cm / 2010

petra
SITARU
0749675507
sitaru.petra@gmail.com

Paradigmei take it off i s-au opus nite

persoane care au considerat c forma corpului e mai importan dect textura sau culoarea acestuia. Dac pielea este reprezentat trandafirie, translucid, neted, latexul
mbrac n acelai fel corpul, este mai dur
dar las lumina s ptrund adugnd texturi, dndu-i un alt aspect, oferindu-i trupului uniformitate i luciu. Permite realizarea
ntregii game de micri, pstrndu-le totodat naturaleea. Dedublarea, second skin,
omogen, aparen, form, neltor, in vs.
out, ambalaj, limite, dezinhibat, ascuns.

The paradigm take it off was opposed by

some persons who believed that the shape
of the body is more important than the texture or the color thereof. If the skin is represented as pinkish, translucent, soft, the
latex dresses the body in the same way, it is
tougher but lets light in and adds textures,
conveying a different look and offering uniformity and shine to the body. It allows for
an entire range of movements which are
at the same time kept natural. Alter ego,
second skin, homogeneity, appearances,
shape, misleading, in vs. out, packaging,
limits, lack of inhibition, hidden.

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Cabinet de exorcizare / ulei pe pnz / 159 x 105 cm / 2010

albert
SOFIAN
0756688112
sofian.albert@yahoo.com

Omul are la ndemn, ca i ngerii,

contiina individual i cea divin, ambele ar trebui s lucreze pentru desvrirea
fiinei, nu spre dezbinarea acesteia. n momentul n care vorbim despre pcat ajungem s vorbim despre o contiin individual ce nu mai corespunde cu cea divin,
astfel ncep s se creeze tensiuni la nivel
de individ. Dac pn la apariia pcatului
se vorbea de armonie, de la pcat ncolo se
vorbete despre dezbinare; dou contiine
ce nu se mai amornizeaz se resping, astfel
lsnd loc rului s pun stpnire i s paraziteze o creaie ce la nceput a fost pur.

Just like angels, man can make use of his

individual conscience and of the divine one.
Both of these should work towards perfecting the being and not towards antagonizing it. When we speak about sins we speak
about an individual conscience that is in
disagreement with the divine one, so that
individual tensions arise. If before the first
occurrence of sin, only harmony existed,
from then onwards conflict has occupied
our minds; two consciences which do not
harmonize reject each other, so that evil
takes charge and parasites a creation which
at first was pure.

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Cabinet de exorcizare / ulei pe pnz / 159 x 105 cm / 2010

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Cabinet de exorcizare / ulei pe pnz / 159 x 105 cm / 2010

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Kiki Ingres Violin / print pe hrtie / 100 x 70 cm / 2010

bogdan
TEODORESCU
0745560105
teovector@yahoo.com
http://www.bogdanteodorescu.ro/

Dup Man Ray, Kiki Ingres Violin, 1924

After Man Ray, Kiki Ingres Violin, 1924

Atitudinea cinic asupra erotismului dezavueaz metafora femeii vioar i deconspir imaginea prozaic mascat cultural n
imaginarul dorinei: este corpul femeii ca
obiect de consum, popas la care ne satisfacem deseori dorinele chiar i cele pur
voyeuriste.

The cynical attitude towards eroticism disavows the metaphor of the violin woman
and uncovers prosaic images which are
culturally camouflaged in the imagery of
desire: it is the female body as object of
consumption, a pause for satisfying desires
even purely voyeuristic ones.

Dup Francois Boucher, Odalisc blond,

1752

After Francois Boucher, Blonde Odalisque,

1752

Decorativismul de brand versus viaa unui

gadget. Motive vizuale ale unor culturi contradictorii versus leitmotivul unei tradiii a
erotismului.

Branded decoration versus a gadgets life.

The visual motifs of contradictory cultures
versus the leitmotif of an erotica tradition.

Odalisc blond / print pe hrtie / 100 x 140 cm / 2010

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Exitus # 1 / ulei pe pnz / 130 x 130 cm / 2005

roman
TOLICI
http://www.romantolici.ro/

n seria In Exitus am urmrit tematica morii din perspectiva nostalgiei supreme a inevitabilului. Scheletul, ca structur de baz a
corpului omenesc, este singurul su martor
cu anse reale de a rmne n via, devenind astfel i singurul element din corpul
uman ce poate pretinde nemurirea. Proiectarea lui pe ceruri nalte eterne i impasibile priveliti, de a cror rezonan kitch
nu-l putem nvinui dect pe Dumnezeu, accentueaz ironic posibilitatea nemuririi doar
prin moarte.

The series In Exitus concerns the theme of

death from the perspective of the supreme
nostalgia of the unavoidable. The skeleton,
as basic structure of the human body, is its
sole witness which has a chance to remain
alive, thus becoming the only part of the
human body which can claim immortality.
Its projection on high skies - eternal and
impassive views whose kitsch hints can
only be blamed on God ironically stresses
the possibility of immortality only through
death.

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Exitus # 6 / ulei pe pnz / 200 x 100 cm / 2005

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Exitus # 5 / ulei pe pnz / 130 x 130 cm / 2005

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Still life with dream catcher / digigrafie pe hrtie / 106 x 70,5 cm / 2009

roxana
TRESTIOREANU
roxana_trestioreanu@yahoo.com

Care sunt subiectele abordate de mine, n

tehnici diverse, de-a lungul anilor de practica artistic, i n care ar putea fi integrate
fotografiile prezentate n cadrul expoziiei
Cellalt corp?

Which are the topics approached by me with

various techniques throughout my artistic
practice and which of these could include
the photographs presented in the exhibition
The Other Body?

Mitologii personale identitate; sexualitate, cuplul, alteritatea ca oglind, corpul

uman ca semn; expresivitatea transformarilor corpului: natere / mbtnire /moarte
/ auto-mutilare/ ambientul visual actual:
banalul, kitsch-ul, noile mituri.

Personal mythologies identity, sexuality,

the couple, otherness as mirror, the human
body as a sign; the expression of the bodys
transformations: birth / aging / death / selfmutilation / the current visual atmosphere:
the banal, the kitsch, the new myths.

n lucrrile, realizate ntre 1982 1989 ce

au ca tem nudul feminin, corpul este prezentat alungit, depersonalizat prin absena
capului, figurii: corpul-obiect posedat, dezasamblat, manipulat att de fore din interior ct i din exterior.

In the works made between 1982 1989

on the female nude, the body is represented
as an elongated figure, de-individualized by
the absence of the body and of the face: the
body as possessed object, dismantled, manipulated by both inside and outside forces.

Sexualitatea nu este explicit ci indus vizual de tensiunea liniei i a formei.

Sexuality is not explicit but visually induced by the tension of the lines and of the
forms.

Desprinderea de corpul depersonalizat,

amputat, obiectualizat s-a produs la finele anilor 90 i prin utilizarea fotografiei. La
nceput am lucrat cu imaginea individului
/ portret. Am folosit n special chipul meu,
multiplicnd-ul, transformnd-ul prin diferite mti sau asamblaje, interveniind prin
alte medii ca pictura sau desenul. Apoi am
analizat imaginea grupului. Pas cu pas fotografia a ctigat deveniind pentru mine un
mediu cuprinzator ce nu mai are nevoie de
alte intervenii.
Corpul fragmentat a ramas o constant
dar este verticalizat iar anonimitatea nu l
transform n obiect i i confer universalitate

The break with the topic of the de-individualized, amputated, objectified body came
at the end of the 90s by means of photography. At the beginning I would work with
the individuals image / the portrait. I especially used my face, multiplying, transforming it by means of masks and assemblies
containing the intervention of other media
such as painting or drawing. Afterwards
I analyzed the image of the group. Little
by little, photography has won, becoming
for me a comprehensive medium which no
longer needs other interventions.
I am still preoccupied with the fragmented
body but now it is vertical and its anonymity does not transform it in an object but
confers it universality.

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Fr titlu / fotografie digital / 2010

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Shadow / digigrafie pe hrtie / 70,5 x 106 cm / 2006

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Decupaj 1 / fotografie / 60 x 58 cm / 2010

diana
TROPOE
0741083068
diana_tropoe@yahoo.com

n cellalt corp mi ascund frica, ruinea,

neputina, nebunia. Acolo nu tac, spun pn
la capt i dincolo de el. Acolo nu dorm. De
acolo ncep n sens invers.

In the other body I hide my fear, my shame,

my helplessness, my madness. In it I do
not cease to speak, I utter things fully. In
it I do not sleep. From it I begin the other
way round.

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Decupaj 2 / fotografie / 60 x 40 cm / 2010

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Decupaj 3 / fotografie / 30 x 60 cm / 2010

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Autoportret cu mana de aur / fotografie / 2011

mihai
ZGONDOIU
mihaizgondoiu@yahoo.com
http://www.mihaizgondoiu.ro/wordpress/

The artist golden hand lucreaz direct i

ironic asupra statutului de ARTIST i, mai
cu seam, asupra condiionrilor pentru
acest statut impuse de abilitile antebraelor. Meteugul ca o condiia primar n
actul creaiei transform la propriu opera
vizual, precum n legenda regelui Midas,
ntr-un metal preios nobil aurul.

The artists golden hand works directly and

ironically on the ARTISTs status and especially on the restrictions imposed to this
status by the abilities of the forearms. The
craft as a primordial condition of the creative act literally transforms the visual work
of art, as in the legend of king Midas, into a
precious metal gold.

Paradoxul acestui proiect e de urmrit n

inversarea optic i mental a lucrrii de
art cu antebraul artistului, suprasolicitnd discursul egotic n cheie parodic i
autopersiflant. Vom putea cerceta, astfel,
identitatea artistului ideal asumat printr-o
strlucitoare autoironie. Un artist ideal fa
n fa cu practicile artei, dar i cu meteugul tradiional al acesteia.

The paradox of this project can be traced

in the optical and mental inversion of the
work of art by means of the artists forearm, straining the selfish discourse with parodic and self-deprecating effects. We will
be able to research the identity of the ideal
artist undertaken through a splendid selfdeprecation. An ideal artist facing artistic
practices as well as the traditional crafts
thereof.
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The artist golden hand / print pe hrtie / 100 x 66 cm x 2 piese / 2011

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The artist golden hand / print pe hrtie / 100 x 300 cm / 2011

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