my stomach – Mihai Balko
The stomach is full, too full because consumerism has bloated it, transforming life in a continuous deglutition. I suggest the representation of an internal human organ in order to bring forward the external image of a contemporary individual, who is swallowed by the crowd and metamorphosed into a consumer. This work invites the viewer to consider the way he/she interacts with the others and the importance of his/her own being in relation with them.
the column of bosses – Claudiu Cobilanschi
One of the urban legends that have become part of the Romanian collective unconsciousness is related to the secretive and desperate letters the citizens used to slip into the pockets of the current potentate (Nicolae Ceausescu, Becali, or any other recent president). In these letters they used to express their needs, requesting the help of the important person they were addressing. The lack of confidence in administrative procedures has been a constant presence in Romania over the last several decades along with the belief that only a backstairs influence, a well placed connection, a relationship with somebody in power, etc. could get you what you wanted. The use of this personal petition came to be perceived as a long awaited divine intervention. Nowadays, the state bureaucracy has reconfirmed the notion of a private relationship, of a one-way communication. The institution of the Ombudsman is either forgotten or perceived as completely useless. It is time to erect next to the former Post Office Palace, the Column of bosses– a pile of mailboxes belonging to all those institutions whose presence was so needed, but never felt: Building managers’ Boss, Noisy neighbors’ Boss, The Organization for lower prices Boss, etc.
the street – Ileana Oancea
The first imagine that came to me when I thought about the theme of the project was the rush of the city, of the street. I decided to represent this image through 30 pairs of feet coming from different individuals, so that each pair could stand for a person. Getting them together in the space of 50/400 cm will create the feeling of a crowd. Small and big, the feet will create a mass wherein the passer-by could slowly discover each individual and the possible relationships between them. Entering the intimate space of my work, the happenstance passer-by will become part of it, in the same way in which the work itself will be part of the street rush.
here/beyond – Dorina Horatau
The aerated and loose structure of the red network accounts for the notion of a soft wall, a thin barrier, a possible individual truth, an individual design of reality that each of us perceives on a daily basis. The spread-out paths may be perceived, especially in this urban space, as a sign of a short break we allow ourselves in the daily hustle and bustle, when, just for a moment, we recall the map of reached destinations and of those, which are about to become personal history; they may appear as an aggressive visual signal, a thin barrier, which hides/reveals the daily reality. This is an individual sign, belonging to a person caught between two realities: the excitement of the city and the calmness of nature, the architectural geometry of the utilitarian, consumerist space and the environmental order of withdrawal, summoned by a public garden. The maze created by the continuous strand of textile material, going up and down, suddenly stopping or unexpectedly changing direction, moulds the urban reality and evokes, from a formally aesthetic perspective, Duchamp’s Mile of String (perceived as a screen, blocking the sight and the space). Its own vocation, however, is to become an insulation screen, an open-space portico, a place to find and experience intimacy, while being part of a community.
Scene of the crime – Cristina Iacobescu
The main idea of this work is concerned with notoriety, understood both media-wise, when the crowd’s attention is drawn instantaneously by extreme, shocking cases – the only ones that are capable of jolting its complex feelings of shared anguish, as well as posterity-wise, whereby anyone’s death has the ability, through massive media-exposure, to influence the collective unconscious of future generations. Public statues have this very function – to prompt one’s remembering. Far from having an explicitly incriminatory message in relation to the identity of the nearby statuary characters, this work is a call to raise the general awareness about the informational mechanism that creates individual identities (famous or not), who in their turn give birth to long lasting collective identities.
my wall – Judit Balko
Usually perceived as an element of separation, of delimitation, the wall exists at the border between past and present, having a number of symbolic significations. As witnesses of a recent past, the remains of the interior wall of a demolished building are used as an exhibition element in the public space. In virtual space they may become an equally important element: a frame through which the user of a social network displays himself or herself and considers the others.