Retro Walk Decades to the Sun
Durational Performative Installation
The National Museum of Contemporary Art, Bucharest | Marble Hall
by: Simona Deaconescu, Ciprian Ciuclea, Olivia Nițis, Cătălin Crețu
with: Ioana Marchidan, Cristian Nanculescu, Corina Mitrovici, Simona Dabija
costume design: Emilia Păunescu
Retro Walk Decades to the Sun is a durational performative installation that investigates the ways in which a segment of quantum physics can be applied to the human body, stressing on the theory of nonlocality (the ability of particles with the same origin to know instantaneously and reciprocally their quantum status, even when they are separate in space).
We exist in a 3D space, building in this Euclidian environment coherent models of understanding and acting. This is the most banal generalization describing the position, shape, dimension and direction of the objects around us and represented until the beginning of the 20th Century the only philosophical model to comprehend nature. Nevertheless, this model begins step by step to be deconstructed, the concept of space-time (as a mathematical model combining three dimensions of space with one diemension of time in a continuum), described by Hermann Minkowski and later interpreted by Einstein, sends us sequentially towards questioning perceived reality. Optical space becomes incoherent and fluid through systematic defocusing, objects loose their exact localization and become intentions of a subjective presence. Their analysis creates the illusion that the experience is not mediated and that space itself becomes a psychological immersion.
If in the 1960s, doctors Hans Helmut Kornhuber and Luder Deecke discovered "Bereitschaftspotential" (BP), the so-called "pre-engine potential", which is the measurement of motor cortex and other brain activity stimulating movement. A series of experiments carried out in 1985 by Benjamin Libet proved that BP precedes the conscious decision to perform a spontaneous act, suggesting that there is an unconscious neuronal process preceding and even causing the willful acts, being felt as consciously motivated by a person. There seems to be an unconscious impulse that comes before our conscious decision to move. In other words, before you make the decision to move your hand, a part of the brain has already begun to feel the movement.
Our linear existence is the effect of our limited perception. In recent years, there is an ever-increasing talk about the unpredictable behavior of matter and the interconnections existing in the universe. Through this project we do not intend to perform a demonstration of some theories, but to use the means offered by the scientific universe to generate new possibilities for the development of a performative act, both in terms of structure and corporality, and the way of perceiving the work.
Retro Walk Decades to the Sun is a cultural project organized by the Tangaj Dance Association and co-funded by the National Administration of the Romanian Cultural Fund (AFCN). The project does not necessarily represent the position of the National Administration of the Romanian Cultural Fund. AFCN is not responsible for the content of the project or the way the project results can be used. This is entirely the responsibility of the funding’s beneficiary.
The project is realized together with the National Museum of Contemporary Art (as part of the Performing Arts Programme coordinated by Ioana Păun) and in partnership with the Horia Hulubei National Institute of Physics and Nuclear Engineering, ELI-NP, the Arad Museum Complex / kinema ikon (Arad Media Art Festival) and Teatrul Fix.
Igor GRUBIĆ (HR) | Monument | video still, 2010-2015
Location: Bucharest, Gabroveni ARCUB, March 17th – May 8th 2016
Curator: Olivia Nițiș
Artists: Irina Botea (Ro), Cătălin Burcea (Ro), Igor Grubić (Hr), Elana Katz (De), Sorin Oncu (Ro), Anca Munteanu Rimnic (Ro), Marilena Preda Sânc (Ro), Gabi Stamate (Ro), Valeriu Șchiau (Ro).
Architects: Jusin Baroncea, Ioana Trușcă, Mihai Barbu
Visual Identity: Ciprian Ciuclea
Project coordinator: Tereza Anton
In the context of ideological practices and political propaganda mechanisms, the monument is a circumstantial declaration of power. Construction, demolition or abandonment of a monument overlap with a program of substitution of history placed in the possession of those who situate it in a subordinate relationship, becoming the mouldable result of those who write it. The political changes that have redefined identities in the former Eastern block, led to a redefinition of transition as the current and quasi-permanent reality, enhanced by political instability, a machinery of discontinuity and impaired memory. Constructing a monument aims at taking possession of public space as a space of memory conservation and the recent history of the former communist territories disclose specific issues in the relationship between monument, history and collective memory.MonuMental Histories seeks to question the relevance of monuments in the process of writing history and memory preservation and to point out the consequences of ideological transitions over monuments, most of them abandoned, not assumed or replaced and reconverted, and others recovered by beautification policies.MonuMental Histories is a multimedia project which brings together video productions by artists and women artists whose discourses integrate political commentary to the mechanisms of historical and social manipulation, ideological handling of visual culture, assumes power critique and normative formulas, the difficult interaction with the ideologically conditioned edifice, but also the potentiality of monumental, architectural utopia as the formula of social non-regimentation and also of forced adaptation to an environment temporarily outside of political interests.The debates around the House of People, the project Morii Lake, the Carol Park Mausoleum, the masculine statuary or temporarily empty plinths, all in Bucharest, to which we may add those surrounding the monuments abandoned in some areas of former Yugoslavia as well as references to historical trauma, the fragility of memory in relation to the absence of historical evidence, to the deconstruction of the normative gaze in relation to the iconography of power, create a context for the construction and re-construction of a specific dialogue with history and memory through the filter of video art productions that reflect the effective dynamics of this issue in contemporary Romanian art and beyond. MonuMental Histories scan some of the video work made by Romanian artists and women artists interested in the subject, but aims to go beyond a local history extending the discourse towards Eastern European territories, assuming the effects of the same political transition and rescaling, in the concrete sense and cultural as well, of monumental history through political power. History is itself a monument, an unstable construction that submits with authority its witnesses, but also provides a constructive framework for interrogations, debate and change. (Olivia Nițiș)
BODY OF WORK | Performance & Artist-talk | Elana Katz (DE)
Saturday, October 24th, 2015, at 9 PM - Performance //
Sunday, October 25th, 2015, at 12 PM - Artist-talk
Event organized within the 2nd edition of X PLATFORM PROJECT
Location: W.A.S.P, Bucharest
Curators: Olivia Nitis & Ciprian Ciuclea
A solo performance that deals with social perception of paradoxical practices of hurting and healing on the body, as well as contemplates the value of physical pain in the medium of performance art. Katz's corresponding artist talk focuses on works oriented toward the topics of violence, trauma, historical/ emotional landscape, and the body.
/// Elana Katz is a Berlin-based conceptual artist working primarily in the medium of performance art. Her work contemplates cultural conventions, examines the complexity that lies within contradictions, and thus aims to create an experience of unlearning the assumed. Katz's ongoing work concerning memory culture in the Balkans, Spaced Memory, has been realized in Romania cooperation with the Goethe Institute of Bucharest in 2014 and 2015. She studied at the Parsons School of Design in New York, earned a Meisterschulerin title from the University of Arts Berlin, and has exhibited/ performed the Royal Museum of Fine Arts of Belgium (2011), Diehl CUBE Berlin (2013), P.P.O.W. Gallery, New York (2013), Gallery 12HUB, Belgrade (2014), Kunstwechsel, Aachen (2015), and DNA Berlin (2015). ///
Decebal Scriba: Inside/Outside (frequently under construction) works 1972-2014
Period: September 30 - October 17, 2015
Location: Victoria Art Center (Bucharest, Calea Victoriei, 12C)
Curator: Olivia Nitis
Inside/Outside is a project by an important Romanian artist revealing in his relations with time, with the spatiality of knowledge practices, two faces (or more) of the same identity. The system separation is not understood as a rupture, but as an interval. His analytical nature is doubled by a poetic vision, yet are both building an interdependent relationship. One cannot do without the other. Decebal Scriba defines his heterotopia, the interval or de-location, a space through juxtaposing other spatialities. This could be a heterotopia of compensation defined as intersectional micro cosmos. Surely it is something else, a physical and mental territory altogether. This place without place, a no man’s land is a way of approaching the functionality of memory, the nucleus of broken and dead times that are shaping the multiple faces of a moving identity. We are not coming across a laboratory discourse, of analytical reasoning, but rather with the flexibility of human geography.
/// Decebal Scriba (born 1944 in Brasov, Romania) lives and works in Avon, France. Works on conceptual photography, installation, performance, photography, mixed media. Participates in art exhibitions in Romania, Poland, France, Germany, Brasil. Present in public and private collections in Europe and the USA. ///
Period: April 24st - May14th , 2014
Location: Aiurart Contemporary Art Space (21 Lirei, Bucharest)
Curator: Olivia Nitis
Artists: Michele Bressan, Irina Botea, Irina Broboană, Cătălin Burcea, Mario Ionescu, Flavia Lupu, Delia Popa, Marilena Preda Sânc, Valeriu Șchiau, Roxana Trestioreanu, Mihai Zgondoiu.
Special invited French artist: Veronique Sapin.
Momentum 2 emerged from a desire to determine the insertion of a thematic segment within art practices in Romania - forms of violence and abuse against women - a topic avoided in local contemporary art for various reasons. One of them seems to be related to the severity and discomfort such issues raise in a culture that combines prejudices concerning gender relations in which violence becomes the norm with the mechanisms of consumer culture in which violence serves marketing policies. On one hand, violence and abuse are perceived as private phenomena, and on the other they are show type subjects consumed by the public as such. They are in fact social phenomena with moral, physical and mental implications to be regulated at the legislative level, through state policies that combat such behavioral deviations. External pressures and those of non-governmental organizations in the country have determined that only in 2012 to be promulgated a law against domestic violence. However, implementation difficulties and mentality limitations keep violence against women at high levels. Internationally one in three women is a victim of violence or a form of abuse. Women artists and male artists involved in this project have related to the subject in different ways, some allusive other more direct. The works reflect attitudes, personal stories extended to collective ones, forms of social criticism extremely necessary in today's society.
Christian Paraschiv: SORRY!
Curator: Olivia Nițiș
Period: January 29th - February 22th, 2014
Location: Victoria Art Center, Bucharest (Calea Victoriei 12C)
Sorry! is a game that starts from the premise of equality and fair play, but which relies on the limits of a fluke by throwing the dice to undermine the partner. Equal opportunities, unequal competition. The apologetic version Sorry is rather an irony with exculpatory role for the player progressing ahead of the other. Progress through the decline of vicinity. The ideology of the game reflects the ideological paradigm of capitalism. Christian Paraschiv lures us into a game that is not foreign to us, a cultural game perhaps not only specific to a generation, or a society, yet challenging the practices around national mechanisms within the artistic community before and after 1990 and the socio-political friction and dynamic is open. Both the artist and curator came into play. Beyond the control and balancing authority between the two, the result of collaboration is the one that prevails. The principle of teamwork is a cultural ideal, but equally possible reality through the extent of reciprocity and creative freedom. Since the remarkable exhibition from 2007 (MNAC/ Artexpo, Bucharest) signed by Christian Paraschiv, curator Mihai Oroveanu, the artist returns with a discourse in which his personal touch, always deep and ironic, coupled with technological and conceptual concerns is engaged in a slightly relaxed recontextualization. The self-referential experiment extends languishingly towards the world the artist is part of, here and there, between two geographies, between the tempo of actuality and the line of a defining rhythm. The personal body is the social body he is able to observe with the detachment of an experienced player. (Olivia Nițiș)
Experimental Project at VIENNAFAIR 2013
Experimental Project was present at ViennaFair 2013 in Special project “DIYALOG”: New Energies section supported by OMV. Special project “DIYALOG”: New Energies – sponsored by OMV already for the third time, was focused on non-profit spaces and young galleries from Romania, Turkey and Kazakhstan. “DIYALOG”: New Energies was curated by the artist Gaisha Madanova from Almaty, Kazakhstan. At ViennaFair Experimental Project presented its activity focused on IEEB (International Experimental Engraving Biennial) at the 6th edition in 2014, but also the works of three contemporary Romanian artists: Patricia Teodorescu, Marilena Preda Sânc and Valeriu Șchiau.