Chimera. Automated Erotic Massage Salon

14 JUNE – 31 JULY

Nona Inescu / Adrian Ganea / Ioana Iacob / Thea Lazar/ Oana Tudoran / Olivetti
AGF HYDRA (IT/UK) + Keiken (UK/DE)

In the network society, tactility is the condition of being amenable to seduction. Unlike vision, which is concentrated in the head, tactility is distributed throughout the entire human body as a capacity of all the five senses – a quality of touching and being touched. Entangled in the mediascape, our bodies are constantly massaged by various data and information.

Curentul trebuie să treacă / să inunde / prăvăliile și / eventualii lor rastafarieni / uitaţi la tejghele. / au cerut au răsturnat / păhăruţe au isprăvit au strănutat / scrumiere. // Pe vechi trasee / semi-rurale / sau poate / de-a lungul depoului / unde tot a doua casă / e pentru amantlâc. / Te uită / şi înţelege / cum toate – / de neatins adastă / doar pentru a se ascunde / în cel mai bun pământ. Durerea nu robeşte / paloarea iese castă cu irizări plăpânde / spre sufletul cel frânt.
– Vlad Moldovan, fragment of Electronische Bauhaus

Especially since technologies and multimedia strive to hide their mediation and create the illusion of an immediate perception of reality, this erotic bond is elusive, yet inescapable. How do we account for the technological entanglement of the body, the world and perception? How is the human sensibility reorganized by the machines, images and information that got under our skin? These are the questions raised by the artists in our automated erotic massage salon.

A tremendous throbbing, as of the engine that
makes the earth turn, filled the little room; he had begun to purr. . . .
He dragged himself closer and closer to me, until I felt the harsh velvet of his head against my hand, then a tongue, abrasive as sandpaper.
“He will lick the skin off me!”
And each stroke of his tongue ripped off skin after successive skin, all the skins of a life in
the world, and left behind a nascent patina of shiny hairs. My earrings turned back to water and trickled down my shoulders; I shrugged the drops off my beautiful fur.
– Angela Carter, The Tiger’s Bride

While addressing the modern world through the twilight of postmodernism, CHIMERA foregrounds aesthetic experiences that often remain ungraspable, as haptic phenomena of the communication between empathic machines and humans.

Translucent fingertips play on our skin, untangling knots of objectless desire; and within the release of tension, a new ambition to make oneself over into this desire is grasped.



Atelier 35 presents SENSE NAVIGATION SYSTEM, a curatorial experiment conceived by Carmen Casiuc as a deep map of human-technology relations and the various ways in which they affect and mediate our modes of perception of reality. It unravels the relationship between materiality, technology and aesthetics in the construction of subjectivity.

Maps are valuable cultural artifacts of human belief and value systems – the location of direct experience, sensuous swirls of emotions, perceptions and myths, on which the representation of reality depends for its meaning. Present day satellites, atomic clocks, automated calculating machines sing us songs of abstract courtship dances that transgress the human scale and perception of time-space. We are ‘positioned’ within a transparent, rationalized, expansionist, spectacular and clamorous space-production, where the globe is used as its own map: convention becomes construction.

To this, an entirely different kind of production is confronted, a make-believe consumption, where vast and extensive media networks and relentless technosciences modulate a constellation of power, production and experience. Micro-targeted appeal rather than policing, advertising rather than indoctrinating, need creation rather than normative regulation immerse us in a culture of ubiquitous electronic screens and networked pleasures. We are ‘positioned’ within a collective virtual lifeform, in which ideas circulate faster than ever; emotions and experiences expand and generate new group formations acording to a hyper-real reconstruction of reality. Construction becomes simulation.

Taking this setting as the point of departure, the historical merchant district of Bucharest provides us with one of the country’s oldest arena of multicultural transactions and historical cross-societal bonds. Disneyland and politicized representations of Romania have hybridized, translating the various scenarios of social transformation into cultural and experiential commodities. They are underpinning the many desires that are afloat where power multiplies, unfolds, fluctuates or diminishes. These are the cardinal points from which feelings imprinted on our bodies and our subjectivities orient ourselves or drive us astray into latent and ambiguous territories.

SENSE NAVIGATION SYSTEM proposes forms of negotiation between the local site of agency and globally defined possibilities, necessary in order to navigate through the present. Each exhibition will take the format of a commercial business existing in the gallery’s neighborhood, identifying different layers of simulation: technological, social, imaginative and conventional. The invited artists employ the material and technological forces informing our different modes of perception and invite us to confront deeper and translucently dense present considerations of our socio-economical and cultural life.

Mapping the new sensibility of our techno-emotional ecosystem, SENSE NAVIGATION SYSTEM is an exercice of speculative power geometry, where we invite one to seeing oneself sensing the evasive aspects of everyday life.

Carmen Casiuc (b. 1994) is an art critic, essayist and independent researcher with interests in contemporary culture, new media theory and cultural studies. She has collaborated in the past with V&A Museum (London), Nicodim Gallery (Bucharest) and Lehmann Maupin (New York).

D’EST Prologue: O’ Mystical East and West

Running Time: October 13 and 14, 6pm

Artists: Irina Botea Bucan and Nicu Ilfoveanu, Anetta Mona Chişa and Lucia Tkáčová, Ioana Cojocariu, Alexandra Croitoru, Larisa Crunțeanu, Gery Georgieva, Barbora Kleinhamplová, Sasha Litvintseva, Goshka Macuga, Ivana Mladenović, Anca Munteanu Rimnic, The Bureau of Melodramatic Research

Curated by: Xandra Popescu as a first Chapter of D’EST Prologue initiated by Ulrike Gerhardt

Location: Martin Gropius Bau, Cinema Hall

In October 2016, O’ Mystical East and West provides a prologue to the online research project D’EST: A Multi-Curatorial Online Platform for Video Art from the Former “East” and “West,” initiated by Ulrike Gerhardt and produced by Xandra Popescu on behalf of Atelier 35, Romania. Beginning in 2017, a curated online platform that reflects the post-socialist transformation from the perspective of the former “East” and “West” will be developed. Following the model of contemporary online video databanks, D’EST Prologue is the first step in establishing an online platform in which European curators and cultural producers introduce contemporary video art that thematizes the period of transformation in the 1990s. It will be available as a research tool and informational resource for art lovers, institutional and independent cultural producers, historians, journalists, and critics. A particular focus lies on the mapping of female and collective positions, as well as on additional screening events with guest lecturers in Europe and beyond.

The question of what the transformation means for the adult generation remains unanswered to this day — particularly for artists from the “East” and “West” who came of age in the 1980s and 1990s. D’EST (Eng.: From the East) borrows its title from a work made in 1993 by filmmaker Chantal Ackerman. The film is considered a sensitive, filmic travelogue of the transformation, in which the daughter of Polish Holocaust survivors captures emblematic images from Russia, Poland, Hungary, the Czech Republic, the former GDR, and Belgium shortly after the end of the Cold War. Curated by Xandra Popescu (Berlin/Bucharest), the first section O’ Mystical East and West will present contemporary works of video art that critically interrogate mythical and phantasmatic images of the “imaginary West” and “East” with a particular focus directed towards gender codes, clichés, and geopolitical stereotypes.

In her book Poor but Sexy: Culture Clashes in Europe East and West (2014), Polish author Agata Pyzik evokes the bad romance between the “East” and “West” of Europe. And like in any good bad romance there is a great deal of mutual projection where the “West” creates a mystical and phantasmatic, almost oriental idea of the “East,” while the “East” still fabricates an “imaginary West” full of elegance and abundance. After the Fall of the Wall, there was a period of intense flirtation, where the countries of the former Communist Bloc were looking to find their lost place in Europe, and the “West” was seeking new prospects for expansion. The intelligentsia of the “East” veered to the right in an eagerness to legitimize the values of neo-liberalism, while the intelligentsia of the “West” fetishized this new-found land looking for the relics of authentic, albeit failed, communism. O’ Mystical East and West analyzes this complicated but ongoing romance through a selection of videos created by female authors raised in the 1980s and 1990s. The Bureau of Melodramatic Research and Ivana Mladenović employ strategies of amplification and masquerade and activate the topos of the (melo-)dramatic for their feminist and gendercritical practice. Thereby they challenge the process of exotization of “Eastern Europe” before and after the transformation and emphasize the relation between turbo-capitalism and “Eastern European” pop culture. Ioana Cojocariu, Larisa Crunțeanu, Gery Georgieva, Goshka Macuga, Anca Munteanu Rimnic as well as Anetta Mona Chişa and Lucia Tkáčová bring the fabricated image of the “Eastern European woman” into question and reflect how it has changed since the end of the Cold War, when it moved away from the communist ideal of the emancipated worker. The works of Barbora Kleinhamplová and Sasha Litvintseva explore identitarian pitfalls and the dynamics between prejudices and consumerist desires, frauds and ethics. Finally, Alexandra Croitoru as well as Irina Botea Bucan and Nicu Ilfoveanu shine a light on the grand narrative of Romanian art history and its entanglement with nationalist discourse. Going beyond clichés and stereotypes, Popescu will introduce video works that critically address naturalized myths and legends and their propagandistic content.

This project is co-funded by the Administration of the National Cultural Fund and the Centenart Program of the Romanian Cultural Institute.

The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is neither responsible of the project content or of the way in which the project results may be used. These are entirely the responsibility of the grant beneficiary.

Public Speaking Second Edition Berlin

Running time: 21.04.2016 – 27.05.2016

Location: District, Berlin

Cuarated by: Xandra Popescu and Larisa Crunțeanu

Public Speaking works with the accumulated tensions between the ideas of art for art’s sake and its potential to produce social change.

Drawing on our experiences as presidential candidates of Romania, high school rhetoric champions, talent show stars, real estate speculators, punk cholos and pop philosophers, we went on to develop a set of tools for the appropriation and subversion of political expression.

Public Speaking Exhibition
(Larisa Crunțeanu and Sonja Horung, The Presidential Candidate, Xandra Popescu and Adrian Knupppertz and Veda Popovici).
The artists propose contradictory artistic strategies ranging from activist and explicit engagement (Revolutionary Gear. Art History Retraced Through the Black Square by Veda Popovici) to subversive (You are Safe With Me by Xandra Popescu and Adrian Knuppertz), poetic (Femina Subtetrix by Larisa Crunțeanu and Sonja Hornung) and meta-language (The Presidential Candidate 2083 by Cosima Opârtan and Ion Dumitrescu).

Public Speaking Workshop created by Xandra Popescu
The workshop articulates itself as a framework within which 4 artists (performers Larisa Crunțeanu, Cosima Opârtan, Ion Dumitrescu and Richard Pettifer) develop their own training and motivational style to help participants create charismatic public personas. The workshop borrows elements of television talent shows in which contestants undergo a radical transformation.

Lecture-performance Artist Development by Richard Pettifer
An Eastern European philosopher, communist and fervent Marxist intellectual makes an argument about art activism and political art. He examines various self-help methods for artists ranging from theatre of the oppressed (Augusto Boal), relational aesthetics (Nicolas Bourriaud) and participatory art (Claire Bishop) in the context of neoliberal reality constructed to validate our identity whilst manipulating us according to its own purposes. With some jokes about former Yugoslavia.

Raze de Soare Concert
During the late ‘80s and early ‘90s a pseudo-industry of weddings had developed in Romania. Hundreds of bands emerged all over the country putting forth a predilect sound of family events which later became what we now call “proto-manele” – a mix of electrified oriental pop and local flavor.
Raze de Soare’s EP Albatros is a tribute to the eponymous “proto-manele” band who pioneered synthesized minimal restaurant music.

Cultural project co-funded by the Administration of the National Cultural Fund

The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is neither responsible of the project content or of the way in which the project results may be used. These are entirely the responsibility of the grant beneficiary.

Revolutionary Gear, the History of Art Retold Through the Black Square

Running Time: September 17th – October 6th, 2015
Opening: September 17, 7 p.m.
Curated by Xandra Popescu and Larisa Crunțeanu
Artistst: Veda Popovici

One hundred years ago Kazimir Malevich painted the Black Square, one of the most iconic works in art history, and through it, denounced centuries of aesthetic formalism, art for art’s sake, and the subordination of art to the taste of the ruling classes. Since then, the black square has become a sign of erudition and class distinction, at odds with the revolutionary vision of its author. If we would be to retrace an art history loyal to the original idea of the black square, who could tell such a story and how would it look?

The History of Art Retraced Through the Black Square instructs its viewers to reconsider moments in art history as contexts of political antagonisms.

The artist’s body of theoretical work is massive, supporting the claims made in the work itself. It is certainly no accident that over the course of the instructional video, Popovici at various times looks like contemporary depictions (and misguided conflations) of terrorism – and indeed, she suggests that the ‘threat’ of the work is its most potent component. The attachment of new meaning to Black Square is itself, perhaps, a kind of revolution. The re-historicisation is repeated in the artist’s borrowing from her own oeuvre – the triangles from last year’s LGBT workshop, the monumental nature of their presentation from Migrant’s Monument (2014), the attack on the supposed neutrality of law and the figure concealed in black derives from Story of the Fall #3 (2014). More than previously in Popovici’s works, perhaps, Revolutionary Gear has a reflexive quality, flirting with introversion, recycling concerns as if re-examining past decisions. (Richard Pettifer in ARTA Magazine, 2015)

This project is part of the Public Speaking programme initiated by Xandra Popescu and Larisa Crunțeanu and co-curated by Dana Andrei. The programme is made possible with the support of ARCUB, through the financing programme “You Are Bucharest” and the following partners: Alexandru Dan Photography, Andreea Goia Photography, Asociația pentru Promovarea Artelor Contemporane, Bucharest Czech Center, DAAD Promos, Ivan Gallery, ODD, UAP, Wasteland Twinning.

Concept and performance: Veda Popovici
On site production: Larisa Crunțeanu and Dana Andrei
Image: Alexandru Dan
Sound: Witch Microphone
Voice: Mihaela Drăgan

Dance That Comes From The Mouth

Dance That Comes From The Mouth
Adriana Gheorghe
June 25th, h.19.00
Atelier 35, Șelari 13, Bucharest

Within the project Goodbye Language, Atelier 35 presents Dance That Comes From The Mouth, a performance by Adriana Gheorghe.

“One ‘turn of the screw’ (narrative, by Henry James): not one child affected by ghosts/ the subject of the story, but TWO children! Not even one turn, but two turns! A third, maybe? This work is a thing of gravity and all the corny doubtful (performative, this time) strategies are needed.”

Adriana Gheorghe fuses performance and theory. She wrote on contemporary dance for the last twelve years (on&off, mainly when she felt an urgency). The ‘urgency’ became lately to research hybrid formats for delivering live theory according to a certain use of the concept of ‘singularity’ (“Speed Dating 1,2,3” at Zona D in Bucharest, last fall and “Grave Lecture 1&2” at the National Center of Dance in Bucharest -CNDB, this spring). She is active in the Black HyperBox performative research project, Room -1 (perfect project) and Common Practices Lab. She presented solos and duets at CNDB, National Museum of Contemporary Art, lorgean – apartment theatre, and ZKM-Karlsruhe. She worked with and continues collaboration with Atelier 35, Alina Popa, Andreea David, Nicoleta Enache and Ingrid Berger Myhre. She also started new collaborations with Florin Flueraș and Mihaela Dancs.

photo credit: Junji Ito, Black Paradox, 2009

Goodbye Language

June 24th, 20.00, Atelier 35 – Exhibition Opening: Zbyněk Baladrán, Alina Popa, Irina Gheorghe, Tomáš Svoboda;

June 25th, 19.00, Atelier 35 – Performance: Adriana Gheorghe;

June 26th, 18.00, Salonul de Proiecte: Lecture by Marcus Steinweg.

Facebook event:

photo credit: film still Goodbye to Language, by Jean Luc Godard.

In their work Kafka: Toward a Minor Literature, Gilles Deleuze and Felix Guattari ask themselves how to become a nomad in your own language. Kafka answers: “steal the baby from its crib, walk the tightrope.”

Atelier 35 (Larisa Crunțeanu and Xandra Popescu) in collaboration with the Czech Center in Bucharest (Frantisek Zachoval) present Goodbye Language, an “anti­-showcase ­show” bringing together artists: Zbyněk Baladrán, Adriana Gheorghe, Irina Gheorghe, Alina Popa, Marcus Steinweg and Tomáš Svoboda.

Acknowledging the tension between art and culture and the increasing pressure upon artists to fulfil a representational role, Goodbye Language tries to create a space of resistance through formlessness and imprecision.

In terms of method, Goodbye Language questions the relationship between art and philosophy. Contemporary art often works in the company of philosophical texts by illustrating and sometimes by advancing theoretical proposals. Goodbye Language tries to open up a dialogue about other modes of working in the company of philosophy, moving beyond the level of illustration.


În 1933, while studying in Berlin, Emil Cioran was contaminated by the revolutionary spirit of the times. In his correspondence with the journal Vremea, he frequently adopted a pro-Nazi position.

Back in Romania, through the passionate divagations which compose The Transfiguration of Romania, Emil Cioran produced one of his most invoked concepts: the idea of a “minor culture” suffering from anonymity and inferiority complexes. A year later he moved to Paris, where he was to live and work for the rest of his life, thus becoming a nomad in a major language, which became his writing language.

Forty years later and almost in a parallel reality, in the manifesto Kafka. Toward a Minor Literature, Gilles Deleuze and Felix Guattari use the notion of “minor” in a completely different sense. “A minor literature” became something to be desired, almost an imperative in the construction of other types of community and consciousness. They defined it as the deterritorialization of language, the fact of writing in a major language from a marginal position, the connection of subjectivity to a political immediacy, and the collective assemblage of enunciation.

Goodbye Language builds on the question: what can a minor practice mean in the context of contemporary art?

On the second day after the opening of the exhibition, Atelier 35 presents the performance of Adriana Gheorghe, Dance That Comes From the Mouth. In her practice, Adriana Gheorghe uses language in an atmospheric manner, in deviation from attitude and body, blurring the contours of her subjectivity. Language as a choreographic instrument for a work which occurs in negotiation between the visible and the imaginary.

On the third day after the opening, in the space of Salonul de Proiecte, Atelier 35 organizes a talk by philosopher Marcus Steinweg, editor of the journalInaesthetics. Marcus Steinweg will problematize the relationship between art and philosophy as autonomous subjects.

This project is made possible with the support of the Czech Center in Bucharest, Goethe-Institut Bucharest and Salonul de Proiecte/Anexa MNAC.

Res Caecas // Blind Things

Opening: April 3rd, h. 19.00
Artist: Anton Roland Laub
Curated by: Xandra Popescu and Larisa Crunțeanu

Res Caecas approaches two architectural narratives shaped by the urban planning strategies of two different socialist regimes.

Through his body of work, Anton Roland Laub documents the ways in which systems of power systems leave their mark on the architectural landscape of the city.

Born and raised in Bucharest, Laub moved to Berlin in 2003. In the past years he has been returning to Bucharest on a regular basis in an attempt to reconfigure his trajectory in time and space between two urban landscapes.

His research takes as a point of departure the absurd situation of buildings which have been moved from frontal to backward positions, due to ideological reasons. How do these volatile reference points interfere with our representation of space and time?

In “De Oratore”, Cicero invokes the anecdote of Simonides of Ceos. Invited by the aristocrat Scopas to write an ode to his acts of valour, Simonides participates in a banquet with a tragic finale.The moment the poet steps outside, the rooftop of the building collapses crushing all the invitees to disfiguring them.

Simonides is the only one who manages to identify the remains, on the basis of his memories about the position of each participant. Thus the mnemonic method of loci – places – was born: linking memories to specific locations.








Given a Random Point

Vedere Descartes

Or about the imponderability of a point


The point as a form of ultimate abstraction. Stripped of materiality or dimension.

Actually, has anyone ever seen a point?

Although it represents a basic concept of geometric analysis, when subjected to individual analysis, we realize that the point lacks any sort of content. (F. Klein, Elementary Mathematics from an Advanced Standpoint: Geometry). By the way, about the point, ever since Euclid, we know that it has no parts.

A void full of meaningful at the intersection between mathematical nominalism and idealism, between geometry and philosophy, the point is all around us and yet nowhere. If two worlds were to intersect in a single point, they could have everything or nothing in common.

Such a point can be found inside the eyeball, where the image of the world is inverted to then be projected upside down on the retina.

Situated uncertainly inside the pupil this point may glide depending on the plane of sight. This comprises two worlds – one that lies ahead of us and one beyond our sight, yet remaining outside of it.

Let’s call it the-point-in-which-the-gaze-contains-itself.

A big-bang moment inside being: in which the image of the whole gathers in a miniscule point to then explode and make all the sense we give to the world.

In this point, the entire content captured by vision acquires the same value on the same informational plan – the material blends in with its shadow, and emptiness is confused with fullness.

So here we are in a paradoxical situation: the point, lacking any content, becomes the material manifestation of a bipolar representation.

Arantxa Etcheverria creates a series of geometric situations, intercepting instances of immanence in everyday life. Forms of conjunction between light and shadow, brought together in the same bidimensional plan.

Given a Random Point functions as a waiting room for a new state of consciousness.






Untitled, Anu Ramdas, 2015

Untitled, Anu Ramdas, 2015

Atelier 35 presents The Degree of Freedom at -273 Degrees Celsius, a group show comprising new works by five Danish artists: Kasper Hesselbjerg, Camilla Reyman, Christian Danielewitz, Silas Emmery and Anu Ramdas. The show is initiated and curated by Anu Ramdas, who was an artist in residence at AiR Bucharest in 2012.


The Force, The World and The Papesse

Artist: Viviana Druga
Initiated by: Xandra Popescu
Opening: December 20th, 19.00
Running time: 20.12.2014 – 25.01.2015

The Force caresses the Lion with one hand on its head and with the other under its jaw. The beast is tamed under her serene and confident eyes. The nail of her left thumb is painted red, just like the nail of her right toe.

Naked, covered only by a scarf, the World sails through a blue sky. Surrounded by a green wreath, she dances triumphantly under the eyes of the Bird (the intellect), the Angel (the love), the Ox (the needs) and the Lion (creativity).

Pale white, the face of the Papesse mirrors the color of the egg she is hatching. In her hands she holds an open book but her eyes stare are an absent interlocutor. The Papesse wears a blue gown and a blue cloak, unlike the Pope who wears a red cloak and a blue gown.

Viviana Druga read the Tarot for us.

Convinced that art means magic, the artist using her to heal the wanderers.

The musical selection for the opening was realized by DJ Amber Amber.




The Guide to an Unacceptable Behaviour

Lucrarea Venus von Rokeby de Diego Velazquez, în urma atacului sufragetei Mary Richardson  //// Rokeby Venus by Diego Velazquez after the attack of suffragette Mary Richardson

1885: The work Supremo Convegno by Giacomo Grosso stirs controversy within the first edition of the Venice Biennial. The painting depicts a dead Don Juan in his coffin surrounded by four naked young women with their hair lose. The Patriarch of Venice Giuseppe Sarto (the future Papa Pious X) tries to censure the work and characterizes it as an offence to decency. However, the painting remains on display becoming the main attraction of the Biennale.

1913: Mary Richardson enters the National Gallery in London with a chopper hidden up her sleeve and slashes the work Rokeby Venus by Diego Velasquez. Her gesture is part of the Art Attack action through which the suffragettes attempt to destroy works which idealize the female body. This is a form of protest against the imprisonment of Emmeline Pankhurst, a preeminent figure in the fight for women’s right to vote. Museums remain closed for one month afterwards.

2010: On a stage, two women wearing gorilla masks are reading a manifest in front of 4000 people. It is the graduation ceremony of the School of the Art Institute of Chicago, and two members of the Guerilla Girls collective are sharing their experience and principles for a new art world. Among these: embracing failure, being impatient, crazy, anonymous, leading a double life, making cheap art and complaining in a creative way.

Read the full manifesto here.

2013: Larisa Crunțeanu kneels with an arm up in the air above the body of a young man lying on the floor. Around them three other people seem to deplore the fate of this apparently lifeless Don Juan. The scene takes place in the middle of the Romanian Pavilion at the 55’th Edition of the Venice Biennale and is part of the work An Immaterial Retrospective of the Venice Biennale by Alexandra Pirici și Manuel Pelmuș.

But what could a guide for an unacceptable behaviour consist of? And what could it mean within the context of the museum as we know it? What about in the context of a performance section?

Guide to an Unacceptable Behaviour will take place between December 10th – January 14th in the 4th floor of the National Museum of Contemporary Art and will include works by: Raluca Croitoru, Xandra Popescu & Larisa Crunțeanu, Larisa David, Adriana Gheorghe, Kiki Mihuță, Ada Mușat, Marina Oprea.

Guide to an Unacceptable Behaviour is part of the exhibition WHAT ABOUT Y[OUR] MEMORY?, curators Irina Cios and Iosif Kiraly. The exhibition is placed on the 4th floor of the museum and can be visited between 27.11.2014 and 02.02.2015.

Goodbye Atelier 35, Hello Pavilion!

Adio Atelier 35


Atelier 35 is being evacuated to make room for Pavilion

We appeal to the Romanian Union of Artists not to concede the space in which Atelier 35 is currently running their program to the Pavilion Organization.

The profile of the space can be traced back to a concept dating back to 1969, dedicated to experimental art and young artists. The figure 35 suggests what at the time would have been considered the conventional limit of youth. In the last years, Atelier 35 has represented one of the last halls of resistance for self-organized Romanian contemporary art.

November 2014, the board of the Romanian Artists’ Union decided on the displacement of Atelier 35 to the basement of Orizont Gallery in Bucharest, invoking the argument of historic historical continuity. Atelier 35 had actually functioned in this space from 1973 to 1993.

We think that the argument is not valid and is actually a pretext for the reduction of contemporary artistic practices.

The Atelier 35 collective was not consulted nor informed in due time about this  decision. Moreover, this way of operating ignores the specificity of an art space – where programing or discussions with artists may begin even one year in advance.

Atelier 35’s future programing includes site-specific projects which address the gentrification process in the old city center, by now compromised.

We consider that the substitution of Atelier 35 with Pavilion represents a minimization of artistic practices which assume risks and dare ask questions, in favor of showcase culture.

There’s Nothing We Can Do With This Heritage

September 4th, h. 6PM

I’m thinking about those movie scenes where the protagonist is dangling by a rope which is starting to break. But the rope doesn’t break all of a sudden – zap! and it’s over. No, time dilates and the rope is breaking thread by thread, adding to the tension. We look at the rope breaking and we anticipate the imminent catastrophe. But the catastrophe fails to arrive. Something happens in the last moment, by the last thread.

This progressive breaking represents a confiscation of the present, while waiting for a catastrophic future when the protagonist might die. An object serving other objects, the rope carries the implicit meaning of mistrust. One must be cautious when it comes to the rope. Even if it appears intact, inside of it the breaking might have already started to happen.

So while looking at the rope you won’t linger on the surface. The look will try to go inside, looking for the guilt of a future failure.

“There’s nothing we can do with this heritage” is a project which explores the public space as an area of intersection between time and gaze. Time as a gliding and blending of past-present-future and gaze as a projection of a generalized distrust.

On the axis past-present-future, statues represent an unsolicited heritage that acts as a parasite of the present time and space. They deflect our look away from the personal and present to inanimate objects invoking the past. A heritage that looks at us but fails to see us.

In the meantime, countless surveillance cameras collect video material for a future viewing. A heritage of the present for the future. Our heritage to ourselves. And so I wonder: if I spend all of today watching yesterday does today still exists?

In the public space, time and gaze are not ours anymore. They are owned by an invisible force named power – be it state, corporation, the Other. A constant reminder about a ruling.

In Atelier 35, hidden behind cafes and bars, safe from surveillance cameras, Dana Andrei and Coate-Goale are appropriating spaces and gazes found through the city.

The Performance Art Lab presents VOTE – Work in Progress

Action. Part of the White Night of the Galleries 2014 circuit.

baiat in cap

Each Romanian citizen over 18 years old contributes with 8.1 Lei to the 2014 EU Parliament elections spendings. Each Romanian citizen contributes financially to send some politicians to Bruxelles.

On the evening of May 23rd, nine artists-candidates will be presented in Atelier 35. One of them will be present in the Belgium capital on the investiture day of Romanian politicians in the European Parliament. And she will do something.

Their action on May 23rd does (not) incite.

Continue Reading »

Lansarea publicației 1:1

Coperta publicației 1:1, de Kazimierz Jankowski

Coperta publicației 1:1, de Kazimierz Jankowski

Atelier 35 anunță lansarea publicației 1:1, rezultată în urma proiectului cu același nume curatoriat de Mihaela Varzari.
1:1 este un proiect care utilizează noțiunea de ‘hartă’ ca instrument de analiză a noilor realități socio-economice, survenite ca urmare a extinderii către Est a frontierelor Uniunii Europene.
Publicația poate fi citită online sau descărcată de aici.

Pink, Purple & all the Rest. Queering recent protests

Debate & workshop, part of LGBT Month
Concept: Veda Popovici
8´th and 9´th of February 2014

Roz Mov & Restul. photo credit Veda Popovici

Pink, Purple & all the Rest, photo credit Veda Popovici


In the past year we have went out to several protests, sometimes enthusiastically, other times just to help raise up the critical mass. Various causes, from saving Rosia Montana ad stopping shell gas exploiting to blocking the mediation law or the law for the so called euthanization of stray dogs have shown that the solidarity they all promote is an idea much more complicated to put in practice than it might seem. Maybe on some occasions we had to purposefully leave behind our pink (LGBTQIA) or purple (feminist) flags because they weren’t that compatible with the rest of the actual or virtual flags to be found in the street. And maybe sometimes we left the flag home without being aware of it.

It’s time for queering the protests.

We invite you to a discussion on how feminist and LGBTQIA identities and politics are in tune, intersect or are at odds with these recent street protests. By sharing our experiences from protests and political debates we can find the limits and also the unmapped intersections of such solidarities.

The discussion will be followed by a workshop addressed to all those who want to experiment how would an intersection of feminist LGBTQIA and ecological, anti-authoritarian politics look like. In the first part of the workshop (Saturday) we will start off with the question: how would a flag representing such a position look like? What colors, background and message would it carry?

The second part of the workshop will take place the next day and will consist of a public performance in which we will sew the flag we agreed upon.

Saturday, February 8th/Atelier 35
5-6.30 PM – Discussion
7-8.30 PM – Workshop (part I)
Sunday, February 9th/Atelier 35
5–7 PM – Performance

The Alchemy of Sweat

Sorry, this entry is only available in Română.

How Many Me – Alternative Identities Workshop

In the periods 4-8 November 2013 and 6-10 January 2014 Atelier 35 presents “How Many Me? – Alternative Identities Workshop”. belle de jour poster iran


„I subsist as a kind of medium of myself.”

                                                    Fernando Pessoa

Our identity is a puzzle conceived from multiple and various pieces, which we could control up to a certain moment. The idea of this workshop is based on Michel Tournier’s short story “Tristan Vox” which explores the interconnectivity and evanescence of the relationship between voice and identity. Its protagonist, Felix Robinet is a radio speaker, passed his prime who fashions himself and alter ego, and presents himself under the pseudonym of Tristan Vox. Seduced by the inflexions of his voice, the public conceives him as seductive and bohemian young man. That is however in discrepancy with Felix Robinet´s appearance and disposition. The workshop “How many me?” invites participants to engage in the creation of such an alternative identity either based on an unexplored feature or as an exercise of functioning with an identity they cannot assume in day to day life. These alter egos might function as pseudonyms in writing, reality show interventions, dating sites profiles or Facebook accounts. The participants might explore a side of their personality which they suppress in everyday life or develop an unexplored feature of their character. At the end of the two working sessions the project will materialize into an exhibition documenting the resulting alternative identities and their formation process. Participants to the workshop will have the opportunity to discuss their endeavor with performer Mihai Mihalcea, who in his practice has assumed an alternative identity. Since 2010 the artist has decided to fictionalize his biography and reinvented himself as Farid Fairuz. This alter ego took the Romanian cultural scene by storm with his manifesto and subsequent critical performances on capitalism, sexuality, cultural production and religion that sharply mirror failures of the local society. The concept of this workshop was developed by Ioana Stan together with Xandra Popescu on behalf of Atelier 35. Ioana Stan (b.1988) is a theorist and philosopher. She studied Art History at Universitatea București and completed her Master’s degree in Art Theory and Aesthetics at the Center for Research in Modern European Philosophy at Kingston University in London. Her research is concerned with plasticity and flexibility in the process of subject formation. In the past, she has collaborated with various institutions such as Centrul de Introspectie Vizuala (Bucharest), Bucharest Biennial 4, Anca Poterasu Gallery (Bucharest), French Riviera (London). Currently, she is working as the cultural manager for the Romanian Cultural Center/Ratiu Foundation in London. Registration until the 3´rd of November at : Period : 4-8 November 2013 & 6-10 January 2014 from 16.00 to 20.00 Coordinators: Ioana Stan, Larisa Crunțeanu, Silvia Vasilescu, Xandra Popescu. *Image: The Iranian poster version of Belle de Jour by Luis Buñuel, 1967

Stranded Travelers / Curator Adriana Blidaru

October 10th 2012 – November 8th 2013
Opening: Thursday, 10 October, ora 19.00

David Horvitz (USA)
Martin Llavaneras (ES, DE)
Dave Ball (UK, DE)
Raluca Croitoru (RO)
Bruno di Lecce (IT, GER)

Curator: Adriana Blidaru (RO, DE)

David Horvitz, 2013, Courtesy to the artist

David Horvitz, 2013, Courtesy to the artist

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“Survival Skills” – Artist Workshop With Heath Bunting

7 September 2013, 10 AM, Băneasa Forest, Bucharest

Art Project: 1:1 (6 –25 September 2013)
Opening: Thurs, 5 September 2013, 6PM
Curated by: Mihaela Varzari


To coincide with the contemporary art exhibition 1:1, British artist Heath Bunting invites you to take part in his workshop, Survival Skills in the forest Băneasa, outside Bucharest. The workshop is aimed at anyone who wants to spend the day in the artist’s company and learn about edible plants, building tree houses or hunting.

We aim at 25 participants, on first email, first served basis. Please contact:


Heath Bunting was born a Buddhist in Wood Green, London, UK and is able to make himself laugh (currently, reduced to only smile). He is a co-founder of,, and sport-art movements. His self taught and authentically independent work is direct and uncomplicated and has never been awarded a prize. He aspires to be a skillful member of the public and is producing an expert system for identity mutation.
At 01:42 on 31/12/2011 at his home in Bristol, he invented web 3.0 and is offering it for sale for 100 million dollars.

1:1 is an art project, which uses the notion of ‘mapping’ as a tool of enquiry into the newly formed socio-economical realities that have resulted from the expansion east of EU’s borders. What new set of understandings can be discovered when the map cannot represent the territory and the relationship between words and reality is an impossible one?

Participating artists:
Liliana Basarab (Romania)
Heath Bunting (U.K.)
Victor Man (Romania/Germany)
Deimantas Narkevicius (Lithuania)
Tanja Ostojic (Serbia/Germany)

Further info:


Film still from Ziad Antar, Tokyo Tonight (2003), courtesy of the artist

Film still from Ziad Antar, Tokyo Tonight (2003), courtesy of the artist

5 – 26 September 2013

Participating artists: Liliana Basarab (Romania) Heath Bunting (U.K.) Victor Man (Romania/Germany) Deimantas Narkevicius (Lithuania) Tanja Ostojic (Serbia/Germany)

Curated by: Mihaela Varzari

In his book Sylvie and Bruno Concluded(1889), Lewis Carroll described an impossible map. In this fantasy, a professor explains how his country ́s cartographers were experimenting with ever larger maps until they finally made one with a scale of a mile to a mile. “It has never been spread out, yet”, he says. “The farmers objected: they said it would cover the whole country, and shut out the sunlight! So now we use the country itself, as its own map, and I assure you it does nearly as well.” The art project 1:1 brings together six international contemporary artists whose works exploit the concept of ‘mapping’. This concept becomes here a tool for (re)defining subjectivity (in)formed by and through complex bio-political forces. Physical borders start taking the shape of mental borders and representation comes into sharp focus. 1:1 addresses the complex relationship to memory, citizenship and identity in a confrontational and deliberately evasive way. Its point of departure is the constant pulling between wanting and needing of the newly affiliated territories to European Union. Through the selected works, the project discuses the European Union ́s intransigent attitude during negotiations with future member states and the reverberations of their subsequent integration. Namely the economic dictatorship that followed. Therefore the project points towards the impact that Europe, this increasingly powerful united nations territory, bears globally.

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A State Of Un-Play

16 – 30 July 2013

Curated by Diana Ali.

Artists: Aaron Oldenburg, Allen Coombs, Benjamin Poynter, Beverley Hood, Bonnie Lane, Cristina Amelia Candea, digitaldialogues (Darren Williams / Jason Davies), Fiona Robertson, Guy Tarrant, Helen Stratford, Irina and Silviu Szekey, James Moore, Jean Harlow, Jonathan J. Kelham, Katy Wallwork, Kayla Parker, Klaus Pinter, Larisa David, Leslie Robinson, Lou Hazelwood, Marcel Craven, Monika Rak, Papamali Christiana, Simohammes Fettaka, Simon Fand, Tom Hackett, UNIȚIA, Ziggy Evitts

Game is defined as a set of rules, goals, challenges and interactions but as the philosopher, Ludwig Wittgenstein puts it games can be a misconstrued meaning of language and the mind. Because we misunderstand language we use indirect communication, thought experiments and mind games to get a sense of one-upmanship to empower or demoralize. What extremes can we go to for feeling recognition, wanting, acceptance and achievement?


Cristina Amela Candea, ‘Spielraum’, 2012

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Reborn, This Time As a Romanian

20 July 2013

Signe Chiper-Lillermark returned to Denmark in 2010 after spending some years in Romania, where she studied at the University of Arts, Bucharest.She has been experimenting with different forms of visual expression such as set-design, illustration and live visuals for music.  By using various crafts, Signe’s work addresses matters of identity and nationality. She is working mainly with photography and video, both analogue as well as digital. Her videos have been screened at different exhibitions and festivals, including the National Museum of Contemporary Art in Bucharest, Marina Abramovic Institute in San Francisco and others.

singe mileu

Signe Chiper-Lillermark, Reborn, This Time As A Romanian, installation view at Atelier 35, Bucharest, 2013

Exemplary images

Artist: Bogdan Teodorescu
Running time:04.07.2013-14.07.2013
Initiated by: Larisa Crunțeanu

Artist: Bogdan Teodorescu

Exemplary Images represents the collaboration between a teacher and his high-school students, searching a better understanding of the image through a simple drawing exercise. Two reproductions of different classical Greek heads were the subject of more than one hundred copies on transparent paper pencil made, showing the diversity of our perception and interpretation.

In addition a small group of students loudly read a poem by Pablo Picasso, chosen for its lack of punctuation or any other textual conventions. First the group tried to be at unison, repeating subsequently an individual read, thus offering a series of personal interpretations. As an extension, another poem by Picasso was musically translated by student Silvia Andrei, who played it on piano, as a demonstrative revelation of rigour beyond chaos and accident.
Artist Bogdan Teodorescu in his position as a teacher replied to his students by some works, trying to make an uniform appearance to the same photographic reproductions by reducing the amount of details and many of the important features in the less controllable way of painting. (Four photographs were modified with oil painting).

In this project were involved students from Colegiul Național „Sf. Sava” (National High-school “Sf. Sava” and Liceul de Arte Plastice „Nicolae Tonitza”(“Nicolae Tonitza” High-school of Fine Arts), aged between 15 and 17 years old.

Bogdan Teodorescu, Exemplary Images, installation view at Atelier 35, Bucharest 2013

Bogdan Teodorescu, Exemplary Images, installation view at Atelier 35, Bucharest 2013

From Object to Behavior: Process and Context in Contemporary Art

12-17 mai 2013

Workshop with Harmen de Hoop (NL) and Tudor Bratu (RO/NL)

harmen de hoop 5

Click To Add Normality

9 May 2013

Group Exhibition

Initiator: Alexandra Croitoru

Curators: Andreea Goia and Anastasia Jurescu

Artists: Bogdan Catălin Cazacioc, Ileana Faur, Alexandra Ivanciu, Iulia Mocanu, Mădălina Marinescu, Oana Oancea, Cristina Opran, Ana Sechereș, Cristian Talpeanu

click to add to normality

Artists Ileana Faur and  Ioana Gheorghiu

Free Improvisation

04 mai 2013

Sound Performance

Inițiat de Larisa Crunțeanu

Artiști: Laurentiu Coțac, Șerban IliceviciDan Michiu

Prin acest eveniment cei trei artiști reacționează performativ la ambientul sonor al Centrului Vechi al Bucureștiului. De la freamătul provocat de mișcarea continuă, fragmentele de conversație, muzica teraselor, până la vibrația geamurilor și acustica locului, efervescența și inconsistența audio sunt incluse în actul lor experimental.


michiu ilicevici cotac1

De la stânga la dreapta: Șerban Ilicevici, Laurențiu Coțac și Dan Michiu în timpul performance-ului.

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What Is This ?

27 – 28 April 2013

Artists: Christian Roncea and  Ionuț Chirilă

Initiated by Larisa Crunteanu assisted by Ioana Gheorghiu

This project conssisted of putting together the photo and video diaries of two fifteen year old pupils.

ce e asta

Untitled by Ionuț Chirilă, 2012

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The Half Solved Tag

03 – 24 April 2013

Artists: Raluca Croitoru, Mihai Gui, Kiki Mihuță

This project  was realized in partnership with the Photography and Video Department of the National Arts University of Bucharest. Three students were selected to exhibit and curate their own project. The project presents their reflexions about socially engaged art.  At the crossroad between awareness and solution seeking, they invite the viewer to assume an active position, whether it’s about social relations, food ethics or the scarcity of resources in the artistic miliiieu.

Kiki Mihuță, The Half Solved Tag, installation view at Atelier 35, Bucharest, 2013

Kiki Mihuță, The Half Solved Tag, installation view at Atelier 35, Bucharest, 2013

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What I Tend To Ask Is Whether Something Is Going To Happen To Me

05 March 2013

Artist: Diego Cibelli

A body is never truly alone, totally independent ***. It’s relationship *** with the surrounding *** elements determines its state ***. When moving through the urban space in a taxi, your body and the driver’s body share a common state ***. You are both trying to reach a destination by passing by ***other possible destinations. The driver possesses more information than you do, he has seen the space you are moving through in its past forms. Try and think of him as an archeologist who guides you ***.

Diego Cibelli is an eclectic artist who moves with ease from photography to video, from installation to performance, from the language to writing. Cibelli was born in Naples and completed his art studies at Weissensee Kunst Hoch Schule in Berlin. Now he is engaged in a theoretical study of humanistic geography.

‘What I tend to ask is whether something is going to happen to me’ is part of ‘Visitatio’, an on-going project initiated by Diego Cibelli in 2011. During its display, the exhibition will change its form and will include new works developed locally.


Film still from Diego Cibelli, Visitatio, 2013


12 – 28 February 2013

sink or swim

Film still, Sink or Swim (1990) by Su Friedrich

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What We Had And What We Lost

20 January 2013

Artists: Irina Botea, Alexandra Cioca, Claudiu Cobilanschi, Raluca Croitoru, Larisa David, Ileana Faur, Alice Gancevici și Remus Pușcariu, Delia Gheorghiu, Ioana Gheorghiu, Kiki Mihuță, Mirona Radu, Andreea Vintze.

“What We Had And What We Lost”  is a collective project which resulted  from the  „Collaboration Strategies”  workshop-lead by  Irina Botea at Atelier 35.  The point of departure was an anthropological research realized by Bogdan Iancu about the rise of double gazing and the disappearance of the craft of glazing.


Collaborators, What We Had And What We Lost, performance view, Atelier 35, 2013

Collaborative Strategies

20 January- 09 February 2013


Initiators: Alice Gancevici and Irina Botea


Light! More Light!

21 December 2012

Anu Ramdas (DK)

apartment block. black. blue. celluloid. diagram. echo. format.
galactites tomentosa.
heir. heritage.
innuendo. jabberwocky. kaleidoscopic.
local time. memory. name. opaque. power(cut).
quadrangle. rectangular. square.
topography. uncertain.
violet. white(noise)
x-ray. years.

In 1810, Goethe published his Theory of Colours, which he considered his most important work. In it, he characterized color as arising from the dynamic interplay of light and darkness, through the meditation of a cloudy medium. Although disputed,

Geothe´s last words are claimed to have been Light! More Light! In Faust, the devil makes a bet with God: he says that he can lure God’s favorite human being, Faust, away from righteous pursuits. The devil makes an arrangement with Faust: he will do everything that Faust wants, while he is here on Earth, and in exchange Faust will serve the devil in Hell. Faust agrees and signs the contract with a drop of his own blood.


Anu Ramdas, White Noise (neighbors), 393 Philips recording cassette, 2012

The Memorable City

15 November 2012

Architects: Miruna Stroe and Ovidiu Taloş

The Memorable City reveals images of an ever changing architecture from the the perspective of the city´s main users: the citizens. The archive consists of a collection of personal memoirs that overlap and weave into a shared view. The images portray both the public spaces (streets, parks, squares, buildings, neighborhoods) and inhabitants in different moments in the past.

Constructii din elemente spatiale in Brasov, 1977. colectie Vasile

Constructions made out of spatial elements in Brasov, from the collection of Vasile Aldea, 1977

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The Cultural Correction Commission

22 October 2012

Initiators: Ioana Păun and Alexandru Berceanu

paun 2

The Cultural Correction Commission by Alexandru Berceanu and Ioana Păun, installation view from Atelier 35, Bucharest, 2012

Along The Street

18 – 23 October 2012

Artists: Stefan Glettler and Petra Schweifer

Initiated by Alice Gancevici 

Along the Street sums up observations gathered by Stefan Glettler and Petra Schweifer during their two month residency in the Bucharest Artists in Residence programme. Their work is based on separate methods and yields  separate results, as they develop reactions towards a shared pilgrimage across Romania, as well as to the surroundings of their residence here in Bucharest.

Along The Street_poster_site

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Cafe 35


Daniela Palimariu and Atelier Brut, Cafe 35, installation view at Atelier 35, Bucharest, 2012

One Hundred Loafs

For the exhibition More than Perfect (September 18-30th, Spațiul Platforma, Calea Moșilor no62-68) we realized an installation made of 100 loafs. These were crumbled and used to draw the track from the exhibition to the Atelier35 gallery (Șelari no13).

The performance was interrupted when we were 10 meters away from our destination by a group of police man. They took us to the police station but some of us got away and continued the performance (see the interrupted line on the map) until destination.

atelier 35

Performance by Larisa Crunțeanu at Atelier 35, Bucharest, 2012

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Atelier 35 Research Laboratory

18 – 30 September

Spațiul Platforma (Calea Moșilor, no. 62-68) is hosting the exhibition More Than Perfect. Atelier 35 was invited to take part the exhibition. For this purpose the current team of Atelier 35 organized and to present the digital archive amassed by one of the previous team  (Roxana Patrichi, Daniel Alexandru, Vlad Ionescu) .

This previous team 5 started documenting and digitalizing informations about activities, artists and works presented throughout time in the framework of Atelier 35 in 2007.

Atelier 35 appeared in 1966 and since then was dedicated to experiment and emergent artists. Number 35 suggests the conventional limit of youth.

If you found something interesting in Atelier 35´s Laboratory, you can write an article using that information and we’ll publish it  in the next issue of Arta magazine, in the exhibition catalogue and on the archive website.

Atelier 35 Permative Action (Sibiu, 1986). Source: Teodor Graur personal archive

Permative Action at Atelier 35, Sibiu, 1986, from Teodor Graur´s personal archive

Curing Nostalgia, Remedies For A Historical Emotion

28 August-4 September 2012

Curator: Cătălina Bolozan

Artists: Julie Cockburn (UK), Alexandra March (UK), Kazuya Tsuji (UK)

This project was selected and produced through the Young Curators 2012 program of the Contemporary Art Gallery of the Brukenthal National Museum in Sibiu, Romania.

“Nostalgia is not an individual sickness anymore, but the symptom of our age, a historical emotion.” Svetlana Boym, The Future of Nostalgia

Curing Nostalgia, Remedies for a Historical Emotion reflects on the impact of nostalgia on the collective consciousness and on the way it shapes the production of contemporary art.

From a diagnosable disease associated with displacement and the longing after a familiar place, nostalgia refers today to the longing after a lost time rather than after a lost place – a romanticised and idealised idea of the past  prevalent especially among those too young to have experienced the times they are longing after. Unlike melancholia, which is limited to our personal consciousness, nostalgia deals with the relationship between the individual biography and the group biography, between personal and collective memory. It has a utopian dimension just that is no longer directed towards the future, nor towards the past, but rather sideways. The nostalgic wants to revisit time as space, dismissing both concepts’ limitations and time’s irreversibility. Nostalgia is ultimately rebellion against the modern idea of time, the time of history and progress, believes Zvetlana Boym, theoretician of the concept.

This new type of nostalgia manifests itself in the enthusiasm for vintage and retro experiences and products – a means of expressing the attachment to the past and an attempt to recover it. But seductive as it proves to be, la maladie du siecle is regarded as a major innovation inhibitor, that hinders experimentation, originality, novelty. As a consequence, the contemporary art production – imbued with references from the past – is constantly labelled as a pastiche and often blamed for being unable to reinvent itself in the way it used to in all other decades of the last century. The reasons behind this clinging to the past, and why it has become much more appealing and treasured than any other time in our personal and collective history are questions this project seeks to reflect on.


Julie-Cockburn, left, altered found photograph, 2012, right: plastic game parts, found photograph, 2012

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Two _ Video Saloon

5-12th of July 2012

Artists:  Maria Luiza Alecsandru, Florin Bobu, Simion Cernica

Video Saloon is a concept designed by Daniela Palimariu and conssits of a platform for showing Romanian video art. Video Saloon is organizing its second edition in collaboration with Atelier 35. This edition proposes an uplifting yet uneasy selection. We allow ourselves to be carried away from obvious references and we interrogate a series of works belonging to another context:  2, 4 or even 6 years ago. We offer ourselves a time for ambiguity and humor. The three sellected works are by artists who create personal games for themselves. The rules of these games are  explained in detail, suggested or even completely ignored. The performers speaks to us directly , improvise, or takes advantage of an unexpected situation.


Film Still, OOZ by Florin Bobu, 2010

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I (don´t) Want To Be a Polish Artist

21 – 29 June 2012 Artist: Irina Ghenu


Irina Ghenu, I (don’t)Want To Be a Polish Artist, installation view at Atelier 35, Bucharest 2012

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Diary Of A Discrete Companion

Sorry, this entry is only available in Română.

Casting for a Perfect Gentleman

25 May 2012

Artists: Soyons Impossibles

Curator: Simona Dumitriu

A camera brings interested parties together. It attracts and repels according to circumstance or whim. A camera makes me interested in you and you maybe interested in me. In this sense, it’s all about love.
Phil Collins about his work “The Louder You Scream the Faster we go”.

Inspired by burlesque shows and couch casting videos, we decided to start looking for our own perfect gentleman. First, we made a list of some of the most desired, sought after or admired gentlemen in our milieu. Then, under the pretext of a casting session, we lured them into our den.

In the light of a beautiful autumn afternoon, they were invited to interpret literary texts of their own choice and compete for the role. For our viewing pleasure, they wore nothing but a sumptuous burgundy robe. After the performance, they were kind enough to answer our questions and reveal their views on masculine beauty, courtship and romance.

Had the casting been for real we would have been dans l´embarras de choix. This video performance challenges our preconceived ideas about masculinity and takes a good look at a few admirable men.

The resulting project is an installation of multiple video channels and a burgundy robe.
Soyons Impossibles
Bucharest 2012


The Savages

24 March 2012

Artist: Lea Rasovszky

These solitary individuals that camouflage their loneliness in small and elaborate balcony jungles live out their endearing shortcomings in moderate savagery. It’s not a sad or isolation scented fact because in reality they are many, if not most. In rare occasions they meet, maybe they recognize each other from first glance. A certain something makes them kindred spirits. The passion, the extra time, talking in code about pistils, cotyledons, mystical rationalism or Viennese Actionism. 

The Savages






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Sorina Vazelina, Left-overs, installation view at Atelier 35, 2012


Opening reception: Wednesday, November 23, 7:00 pm -10:00 pm

Artists: Oravecz Évi, PR group & Dan Perjovschi, Szeleczki Rozália, Serban Savu

Curator: Muskovics Gyula

The exhibition is based on a show and sequence of events called Exposed. Taking Stances on Prostitution curated by the Hungarian activist group 1nem Foundation Art for Gender Equality at Demo Geléria and Fogasház Cultural Center in Budapest in April, 2011. The foundation’s aim is to help the victims of violence based on gender differences, and to strengthen social responsibility of young artists in Hungary. The show at Atelier 35 contains some of the art pieces exhibited in Budapest and works of Romanian artists too.

By presenting prostitution in the context of contemporary art we aim at shaping public opinion and confronting with a problem that most people are not concerned with. Our starting point is the social context that legitimizes the process of prostitution and the selling of bodies and the indifference which supports the practice of sexual exploitation. Since the change of political system in the region the notion that prostitution is nothing but a ‘consensual sexual encounter between two adults’ is more and more prevalent. It is widely held that it is ‘a service’, the ‘oldest profession’, that must not and should not be banned since it has always existed and always will. This approach, which sees prostitutes as ‘sex workers’ not only found it’s way to legalization for example in Hungary by defining ‘tolerance zones’, but many people share the view that ‘courtesans’ or ‘games’ are women with exciting lives and decadent morals. We, on the contrary – , in accordance with the resolutions of international organizations such as the UN, the WHO and the European Council – believe that prostitution is the most prevalent form of rape. International researches show us that the death rate of prostitutes is forty time higher than the population’s, it usually starts at age 14, 80-95 % were abused in their childhood, and 95 % would leave the sex industry immediately if they could. Our initiative is in itself a stance taking against the alienation of the body and defining it as commodity, which is not only morally unacceptable but severely violates the human rights of prostitutes.

Within the framework of Crooked Days II we intend to create a discursive space at the gallery and show the problematic aspects and the possible interpretations of the topic. This exhibition is about prostitution though, this time in Bucharest we also pay attention to the role of exhibitions in today’s societies where, as Emese Kürti sais, ‘the revolutions are organized by the mass, not by the art’.

Crooked Living Book Launch / Brynjar Åbel Bandlien

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Căminul Cultural and Atelier 35 Gallery presents


Thursday, 9 November 2011, 8 pm

A screening of the iconic documentary that chronicles the “golden ages” of drag ball culture:

PARIS IS BURNING (Jennie Livingston)

Followed by

LIQUID SKY (Slava Tsukerman) & FLAMING CREATURES (Jack Smith)

The “Strâmb FilmNight” event takes place within Zilele Strâmbe [The Crooked Days], a project that wants to performatively address forms and issues that are fragile or tense in Romanian society but not only.

Convex Instinct

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Dates: 5 – 19 September 2011, We-Su 3 -9 pm
Opening: 5 September 2011, 7 pm

More than 20 years after the fall of the Communism, most communist leaders are still present in the collective memory of the people. In 2004 I started this project by researching the communist phenomenon.

The instalation “The Last Communists´Convention” includes 24thtrypthics, 40×80 cm in size, painted in a pop style, representing portrets of the communist leaders: Karl Marx, Friedrich Engels, Vladimir Lenin, Joseph Stalin, Leon Trotsky, Ho Chi Minh, Josip Broz Tito, Mao Zedong, Nikita Khrushchev, Gheorghe Gheorghiu-Dej, Deng Xiaoping, Władysław Gomułka, Leonid Brezhnev, Salvador Allende, Enver Hoxha, Todor Zhivkov, Kim Ilsung, János Kádár, Erich Honecker, Nicolae Ceauşescu, Alexander Dubček, Fidel Castro, Che Guevara, Hugo Chávez. Presentation of the installation in the exhibition will be done gradually, by the birthyear of the subject’s character. The title of this project refers to an imaginary meeting of all communist leaders, regardless of the era in which they lived. This project has been partially exhibited in 2005 in Mainz, Germany and totally exhibited in 2010 at Nord Art, also in Germany.

Silvia Traistaru (1979) lives and works in Bucharest, as a visual artist and independent art restorer. Her art extends to photography and video, but a very special part of her practice remains drawing and painting. An important theme of her approach is the portrait capturing the reality in the post communist Romania. Cultural, political social and economic pretexts are the central subjects of her works, revealing gaps in the system to which she belongs. Her work questions the role that social memory plays in everyday life. She uses a visual approach that focuses on individual identity through both personal and collective history and thus her works enables the viewer to analyze the role of social memory in Romania’s everyday life.

In 2010, the painting „My Mom at a Funeral” was selected as finalist and winner of a special prize for the 4th International Arte Laguna Prize, Venice Arsenale (curated by Igor Zanti); in 2010 she has participated at Nord Art, Germany (curated by Wolfgang Gramm); in 2009 The Artist’s Magazine has selected one of her works as finalist for its 26th Annual Art Competition; in 2009, she participated at the Experimental course of contemporary art and exhibition ”Mobilehome´´, Portugal (curated by Nuno Faria).

R-U-In?S: Underground Economies

NAG #5 Event

Opening: Friday, June 10, 8 pm

Kari Altmann, Iain Ball, Emily Jones, Sam Hancocks, Matteo Giordano, Sebastian Moyano

Energy Pangea, Visual-Aids, Ssharpp, X2MX, Sonia, Dateismo, etc.

Art Director: Kari Altmann

Curators: Silvia Saitoc, Matei Sâmihăian

The R-U-In?s: Underground Economies exhibition focuses on different strata of value exchange, be it through outsourcing memes in online databases or the illicit aggregation of products into a black market of critical attitudes. The main purpose of the project is to extract the underlying mechanisms of trading and branding networks that parallel the mainstream apparatuses, both in the realm of artistic production and the ecology of the global market.

Heart full of wine

Expozitia este marcata de doua actiuni, una la deschidere si una la finisaj.

In deschiderea expozitiei (17.05.2011) o motocicleta va fi demontata, ca la finisaj (05.06.2011) sa fie montata la loc gata de punere in folosinta.

ora 19:00 performance “Sesam, öffne dich!” – Oana Paula Vainer in colaborare cu Adrian Popescu

ora 20:00 muzica mixata de Ducu Buzea

Un Cuvant la asa – zisa lume mecanica a amintirilor reconstruibile ale Oanei Vainer

In lucrarile cele mai noi ale Oanei Vainer sunt utilizate tehnici de montaj asemanatoare celor folosite de Sergej M. Eisenstein. Eisenstein vorbeste despre ideea formarii unui nou gand, atunci cand montajul a doua parti independente “se ciocnesc” una de cealalta. In lucrarea “Wurmlöcher” (2011) se ciocnesc nu numai obiecte (un scaun si weingummi) si imagini ale acestora ci si legaturi personale ale artistei ce produc/creeaza mai departe o noua imagine.

“Wurmlöcher” (Gauri de vierme) face referire la un fel de “techni-coloured magic”, a unui anume Bernie Skuse. Aici este vorba despre un bat (Stecken) si un scaun format din butuci de vita de vie impletita, care indeplinesc, in mod magic, rolul de mijloc de transport dar si de busola, ghidand calatoriile lungi. La Oana Vainer acest simbol al busolei este inlocuit de un stimulent (synthetisches Genussmittel) sintetic al timpurior noastre. Copilaria artistei este marcata de experienta cresterii vitei de vie in curtea bunicii ei. Poate ca nu intamplator Oana locuieste acum la proape 2000 km distanta, in Germania, inconjurata de dealuri cu vita de vie.

“Sesam, öffne dich!” (Sesam, deschide-te!) este o serie de noi lucrari, care are ca specific rememorarea timpului pe care artista l-a petrecut in preajma tatalui sau. Acesta isi demonteaza in fiecare toamna motocicleta pentru a o reconstrui, bucata cu bucata, primavara urmatoare. Procesul, repetat ani de zile din cauza lipsei de spatiu, este intrerupt de pierderea brusca de memorie a tatalui. Titlul lucrarii (“Sesam, öffne dich!”) urmareste acest gand. Amnezia tatalui inseamna implicit si stergerea proiectiei in memorie a locului unde se gaseste motocicleta dezmembrata. “Sesam, öffne dich!” (Sesam, deschide-te!) imagineaza in aceasta istorie o podea de sticla intre apartament si beci (locul unde se afla demontata motocicleta). Odata cu revenirea imaginilor din trecut, a amintirilor, povestea este adusa in prezent. Motocicleta, ca simbol al mijlocului de locomotie, va fi inlocuita de un telefon mobil.

In video-ul “Home is the place you left” (Acasa este locul de unde ai plecat), un grup de drumeti incearca sa gasesca sensul dorintei de a escalda si de a cuceri un loc aflat la mare inaltime cu atat mai mult cu cat escaladarea sa necesita efort fizic iar in unele situatii poate presupune chiar riscarea propiei vietii. Titlul “Home is the place you left” citeaza publicatia cu acelasi nume al artistilor Michael Elmgreen si Ingar Dragset. Acasa, inteles drept acel loc de origine predeterminat, primeste o alta semnificatie odata ajuns intre straini. Oana Vainer se intreba ce inseamna acasa, ce presupune experimentarea zonei de dupa granita si care este momentul in care se deschide si “simtul” pentru locul de provenienta.

O multitudine de astfel de intrebari filozofic-existentialiste, construite in jurul ideii de dragoste, pierdere si memorie, se regasesc in lucrarile idiosincratice ale Oanei Vainer. Accesand detalii ale propriei copilarii dar si ale prezentului imediat, artista le aseaza si le slefuieste sub propriul microscop de sticla. Expozitia din Bucuresti este prima expozitia in tara ei de origine, Romania, ea insasi aflata – in oglinda lumii de dincolo de granite- pe traseul propriei “descoperiri”.

Rainer Ganahl, New York, Mai 2011

Tradus si prelucrat din limba germana de Stefan Ruschhaupt si Oana Paula Vainer.

Multe multumiri pentru sprijin lui Rainer Ganahl, Stefan Ruschhaupt, Cristian Dobrescu, Ducu Buzea, si nu in ultimul rand lui Vlad Ionescu si Adrian Popescu

Mobile Inventory

12.05.2011 Artist: Erin Tjin A Ton Mobile Inventory includes the work “Eating an Old Story” by Bianca Gainus. A reflection upon the relationship between objects and people in Bucharest During my stay in Bucharest I interviewed people of different ages and genders about their relationship with objects. I asked them which kind of objects they collected, which objects were special to them and which were necessary. I concluded that people are attached to objects because of four main reasons. First reason for being attached to objects is because they ‘believe’ in them. For example they believe in the protective powers of a good luck charm, a puppet or a religious image. Second reason is because the objects trigger memories of certain people, moments or places. Such as postcards, pictures and small notes. Third reason is because of the quantity of objects they own; not necessarily about the objects itself. For example, one kid collects lids and made a bet with a friend who could collect more lids. The fourth reason is because of certain physical qualities of the objects they collect. People are attached to some objects because of their usefulness or beauty. Kids in generally told me that they collect toys, shelves, or stones. An interesting exception was one kid who told me she ‘collects’ flowers. She loved to take care of the flowers in her garden and if she had to choose one object to take from home with her it would have been a rose. Her answer was similar to that of a 60-year-old man who told me that he would take a plant with him if he had to choose one object. People of my age generally collect objects that remind them of certain people or moments. The object itself was a tool to restore a memory. Elderly people told me interesting stories about their relationship with objects during communism. One man told me that he used to illegally sell Italian golden jewellery to earn some more money. An 89- year-old lady told me that she used to hide and even bury objects in the garden, so the Russians wont find them. Her grandchild told me that she once found cutlery in the ground when she was playing in the garden. Together with the interviews I held, I took pictures in the city of objects and I also observed Romanian culture. The works that I show in Atelier 35 are a reflection of my idea of the relationship between objects and people in Bucharest. The works derived from the stories I heard from people and a mixture of my own experiences and things I saw in the streets.



Tets Ohnari


*B *R* O* W* S* I* N* G

an Internet Archaeology exhibition

Thursday, 18.11.2010, 19h00
Atelier 35, Şelari 13 Street

Tabor Robak, Ryder Ripps, Jacob Broms Engblom, Benjamin Lotan, Arran Ridley, Hector Llanquin, Scott Ostler, Kacie Kim, Alli Crawford, Jerónimo Jiménez, Joel Ritch live performance

+Christian “Megazord” Oldham B ⊙☮ T Y MIDI MIX

Curators: Silvia Saitoc & Matei Sâmihăian

Atelier 35 invites you to the vernacular netscapes brought to life by the Internet Archaeology surfing junkies, file type explorers, on and offline artists. The exhibition collects different approaches to internet surfing, both as an artistic practice and as a personal investigation into the history of web aesthetics.

“Internet Archaeology seeks to explore, recover, archive and showcase the graphic artifacts found within earlier Internet Culture. Established in 2009, the chief purpose of Internet Archaeology is to preserve these artifacts and acknowledge their importance in understanding the beginnings and birth of an Internet Culture.”

Neither Dani Zanga / Cristina Bogdan


10 / 1 Bogdan Gîrbovan

Curators – Sanda Watt, Igor Mocanu

Opening June 8th 2010, 19.00

Atelier 35, Șelari 13

10 / 1 is a series of images taken in his own flat at the 10th floor and the 9 lining down below it to the ground floor. A documentation of the communist blocks of flats, the series is an insight to the virtual infinity of shapes that an identically projected space can take; despite the fact that during communism people were placed in identical apartments, in an attempt to prevent any individualistic inclinations of the new man, who was not supposed to have anything of his own.

MUZEUL ORB Veda Popovici

MECHANICAL RISKS //Work Safety Posters




mihai_u & adrian_p




Tets Ohnari


Undecisive Moments

8.09.2009, 19.00

Jesus is Coming



Nadine Arbeiter – 25.06.2009






Raluca Preda



Ilinca Diaconescu / Tudor Ene



Sarah Evans




Michele Bressan

curator: Mircea Nicolae



Sebastian Wickeroth



Bogdan Teodorescu

CARGO – Among Houses



Benedek Levente


22. 07.2008
Eliza Zdru



exhibition and workshop
Greta Hoheisel si Norbert Lang



Patrick Wagner



Raluca Preda



Dani Macovei Zanga





Constantin Caragea



Oana Toderica


Iulia Florea


Cosmin-Florin Moldovan, Miruna Moraru, Anamaria Serban, Tamas Attila



Andrei Beridan



Alina Samoschi





Ana Dutia



Sergiu Matei



Mihai Ungureanu