Winemakers

Winemakers adapting to pandemicrelated changes in consumer behaviour

After a two year break, Alina Iancu, founder of CrameRomania.ro and Revino. ro is finally bringing the Revino Bucharest Wine Show back to Bucharest, between April 9-11, at Novotel. BR talked to her about how the Romanian wine industry has changed during the pandemic.

By Oana Vasiliu

What were the long-term effects of the pandemic on the local wine industry?

I will limit myself to only giving an opinion of the short term, because the current, post-pandemic situation might bring further changes that I don't think anyone can anticipate.

During the pandemic, people consumed wine at home, ordering it online from wineries, distributors, and specialised stores – but one addition has been that medium and large winemakers have been more focused on supermarket sales. So, some of the wines that you could only find in specialised stores before are now on the shelves of large chain stores. Exports have dwindled, international events have declined, and we are now experiencing price increases and a shortage of European packaging. Bottles and other packaging components are not being delivered on time, transport has almost doubled. We'll see what comes next.

In your opinion, how competitive is the Romanian wine market after the pandemic?

Those who have used very low prices and all kinds of offers to get rid of stocks are now having trouble re-entering the hospitality sector. We must always refer to international wines that offer good value for money, no matter how much we talk about how good Romanian wine is. Have new winemakers entered the market during these past two years?

We’ve identified about five wineries that have launched products in this period and they’ve been promoting themselves through wine tourism or online, but their reach has only been local because they haven’t had the chance to attend industry events to gain visibility across the country. Nevertheless, two years is not enough to consolidate a brand in the wine industry, much less in a pandemic situation.

In April, at the fifth edition of the Revino Bucharest Wine Show, there will be two wineries that have released a portfolio of wines bottled in several ranges during the pandemic. They’ll have the opportunity to present their products to over 2,000 visitors and get feedback on their quality and potential on this market, which is highly competitive, especially when we take into account international wines.

What are the trends emerging in the wine industry these days?

The biggest trend is the desire to drink wine, to discover it. More and more venues are offering wine by the glass and developing a wine portfolio on their menus.

Through testing, we can discover what we like, learn about varieties, and the best associations with food, the people with whom we drink it or the time of year. For example, people have been developing a habit of drinking sparkling wine.

What qualities should we look for when we want to purchase a bottle of wine?

I would not call them qualities, but reasons why we should choose a wine. When you don't have know-how, the safest option is to go to a specialty store and ask for recommendations depending on the occasion you’re buying it for, who’s going to drink it, whether it will be served as an aperitif or with food, and last but not least, your budget. You can find good wine at around EUR 8-12 – it may not be very sophisticated, but perfect for the occasion. You can also find exceptional wines with a EUR 15-25 price tag. At the same time, you may end up buying a very expensive bottle and not be able to appreciate and take advantage of its true value.

What tips do you have for someone going to their first wine tasting?

Adding to the previous answer, wine tastings are the mother of learning. A wine tasting is always accompanied by a story of the wine and the producer. This is where it all begins. Visits to wineries or wine tourism, which have grown in the second half of the pandemic, help answer a series of questions that we ask ourselves when drinking wine.

"I showcase what I learn about an artist in a way that everyone can understand"

Until April 14, Combinatul Fondului Plastic is hosting the second edition of Art In Progress, a multidisciplinary exhibition that showcases exclusive recent creations by young Romanian artists. Curator Iselin Huluba has been able to turn her artistic vision into reality, with the support of The Institute and DIPLOMA.

By Oana Vasiliu

Can you tell us about your background in the arts and how you ended up working as a curator?

At the moment, I am working to complete my Bachelor’s degree in History and Theory of Arts at the National University of Arts in Bucharest. My interest in curatorial endeavours started during my time at the university, as I’ve been getting to know my peers from other departments such as painting, sculpture, graphic design or stage design. I became fascinated with the local art scene, discovering a new gallery, artist or exhibition every day. Working as a curator came more or less organically. I found the niche that I was most interested in and put all my energy into learning more about curating and figuring out how I would like to explore it at a personal level.

The role of the curator is always evolving. What does being a curator mean to you?

middleman between artists and the public or maybe a bridge between the two. While I might spend half a day in an artist's studio, learning about their practice, chatting about our everyday lives, and getting to know each other, I cannot expect a member of the public to do the same thing.

By choosing the right words, the right art pieces, and the right storyline, I try my best to showcase everything I learn about each artist in a way that anyone and everyone can understand.

How do you build relationships with artists?

Most of them are a lot more inviting than we might think. In the beginning, I couldn't fathom the idea that an artist would take time to invite me to their studio and spend so many hours talking to me. But in fact, a lot of them are very excited to know that people are willing to take this extra step to get to know them better, as artists and as people. Which artists, writers, academics, curators, and other creative thinkers have influenced your curatorial practice?

One of the curators that have greatly influenced me from the very beginning is Hans Ulrich Obrist from Switzerland, who is known as “the curator who never sleeps.” I immediately became fascinated with his interviews and his fast-paced work ethic. Otherwise, I am mainly influenced by the people with whom I work rather than people who have already established themselves in the industry. I learn a lot by doing and by listening.

How would you describe your own approach to curating?

I don’t have a well-defined approach yet. I’m still very young and very new to this industry. (…) The only thing that’s constant in my practice is my rapport with the artists. I always want to make sure that they feel completely represented by the way I curate their work and concepts. If someone ever feels that their work is being overshadowed, I make sure to find a solution that meets everyone’s needs.

What is your favourite museum, institution, and/or art gallery in Bucharest, and why?

I will allow myself to give a biased response and say that my favourite art space in Bucharest is Stirbei 47, a project started by Dana Parvulescu, Diana Paun, Maria Mandea, and myself. It is our office, our art studio, our photography studio, and a space that’s meant to bring people together and give art students a chance to experiment with the way they present their pieces. It is also a place that allows people who are interested in art to gather without feeling pressured to be very knowledgeable about it.