IEEB4 by Experimental Project

BIENALA INTERNA}IONAL| DE GRAVUR| EXPERIMENTAL| INTERNATIONAL EXPERIMENTAL ENGRAVING BIENNIAL

ISBN 978-973-0-09332-2

Organizatori / Organizers

Sponsor principal / Main Sponsor

Sponsori / Sponsors

Partener strategic / Strategic Partner

Parteneri / Partners

Institutul de Istoria Artei “G. Oprescu” al Academiei Române

Ma[ina oficial\ / Official Car

Hotel oficial / Official Hotel

Restaurant oficial / Official Restaurant

Echipa IEEB4

IEEB4 Team

Ciprian Ciuclea, directorul IEEB, pre[edintele Asocia]iei

Ciprian Ciuclea, Director of IEEB, President of Experimental

Experimental Project Olivia Ni]i[, curatoare consultant\, vicepre[edinta Asocia]iei Experimental Project Doina Mândru, [ef\ sec]ie muzeal\, Centrul Cultural “Palatele Brâncovene[ti”, Mogo[oaia Andreea Micu, asistent\ de proiect Cosmina T\nase, consultant\ PR Nicoleta Apostol, asistent\ de proiect, voluntariat

Experimental Project Association

Doina Mândru, head of Museum Department, the “Brancovan Palaces” Cultural Center, Mogo[oaia

Andreea Micu, project assistant Cosmina T\nase, PR consultant Nicoleta Apostol, project assistant volunteer

Curatori IEEB4

IEEB4 Curators

Marta Raczek, Polonia Eva Möseneder, Austria

Marta Raczek, Poland Eva Möseneder, Austria

Olivia Ni]i[, România (curatoare consultant\)

Olivia Ni]i[, Romania (consultant curator)

Curatori evenimente conexe

Parallel events curators

Marta Raczek, Polonia Adrian Gu]\, România Ciprian Ciuclea, România

Marta Raczek, Poland Adrian Gu]\, Romania Ciprian Ciuclea, Romania

Loca]ii

Locations

Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia Atelier 030202 - spa]iu de art\ contemporan\, Bucure[ti Anaid Art Gallery, Bucure[ti Institutul de Istoria Artei “G. Oprescu” al Academiei Române, Bucure[ti Galeria de Art\ Contemporan\ a Muzeului Na]ional Brukenthal, Sibiu Teatrul de Comedie, Bucure[ti

The “Brancovan Palaces” Cultural Center, Mogo[oaia Atelier 030202 - Contemporary Art Space, Bucharest Anaid Art Gallery, Bucharest The Institute of Art History “G. Oprescu” of the Romanian Academy, Bucharest The Contemporary Art Gallery of the National Brukenthal Museum, Sibiu Comedy Theater, Bucharest

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Project Association

Olivia Ni]i[, consultant curator, Vice President of

Evenimente IEEB4

IEEB4 Events

20 noiembrie, 2010 • Expozi]ia principal\ / Centrul Cultural “Palatele Brâncovene[ti”, Mogo[oaia / curatoare: Eva Möseneder (AT), Marta Raczek (PL) • Experiment `n gravura româneasc\ din anii ‘70-’80 / Centrul Cultural “Palatele Brâncovene[ti”, Mogo[oaia / curator: Adrian Gu]\ (RO)

November 20th, 2010 • Biennial Main Exhibition / The “Brancovan Palaces” Cultural Center, Mogo[oaia / curators: Eva Möseneder (AT), Marta Raczek (PL) • Experiment in Romanian Printmaking from the 1970s and 1980s / The “Brancovan Palaces” Cultural Center, Mogo[oaia / curator: Adrian Gu]\ (RO)

23 noiembrie, 2010 • Conferin]a Dilemele gravurii contemporane `ntre tradi]ie [i experiment / Teatrul de Comedie, Bucure[ti / Invita]i: Eva Möseneder (AT), Marta Raczek (PL), Marcelo Balzaretti (MX), Adrian Gu]\ (RO) 24 noiembrie, 2010 • Workshop: Marcelo Balzaretti (MX) / Practici artistice contemporane `n gravur\ / Institutul de Istoria Artei “G. Oprescu” al Academiei Române, Bucure[ti • WoMen’s World – gravur\ experimental\ polonez\ / Anaid Art Gallery, Bucure[ti / curatoare: Marta Raczek (PL) 10 ianuarie , 2011 • Reproducere, repeti]ie [i revolt\. Multiplicitate `n arta spaniol\ emergent\ / Galeria de arta contemporan\ a Muzeului Na]ional Brukenthal, Sibiu

November 22nd, 2010 • Experiment in Mexican Contemporary Printmaking / Atelier 030202 - Contemporary Art Space, Bucharest / curator: Ciprian Ciuclea November 23rd, 2010 • Conference: The Dilemmas of Contemporary Printmaking between Tradition and Experiment / Comedy Theater, Bucharest / Speakers: Eva Möseneder (AT), Marta Raczek (PL), Marcelo Balzaretti (MX), Adrian Gu]\ (RO) November 24th, 2010 • Workshop: Marcelo Balzaretti (MX) Contemporary Art Practices in Printmaking / The Institute of Art History “G. Oprescu” of the Romanian Academy, Bucharest • WoMen’s World – Polish Experimental Engraving / Anaid Art Gallery, Bucharest / curator: Marta Raczek (PL) January 10th, 2011 • Reproduction, repetition and rebellion. Multiplicity in Spanish emergent art / The Contemporary Art Gallery of the National Brukenthal Museum, Sibiu

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22 noiembrie, 2010 • Experiment `n gravura mexican\ contemporan\ / Atelier 030202 - spa]iu de art\ contemporan\, Bucure[ti / curator: Ciprian Ciuclea (RO)

CIPRIAN CIUCLEA

Considerat\ de mul]i, din nefericire, o form\ artistic\ perimat\, prafuit\, ba chiar o art\ minor\ datorit\ serialit\]ii sale, gravura se `nc\p\]âneaz\ s\ existe, `ntr-un secol `n care noile tehnologii impun o tendin]\, ba chiar o mod\, urmat\ de tân\ra genera]ie de arti[ti cu mult\ u[urin]\ [i interes. De ce ne-am mai uita la ceva `ngr\dit `n tehnici costisitoare, laborioase, `n care me[te[ugul pare s\ primeze `n fa]a conceptului? De ce consider\m valoarea unei gravuri mult sc\zut\ din cauza multiplic\rii sale? ~n perioada de dinainte de 1989, posibilit\]ile limitate de expunere interna]ional\, a transportului lucr\rilor `n afara României, au necesitat “inven]ii”, experimente [i subterfugii tehnice. Eu `nsumi practicam aceast\ formul\ pentru a sc\pa de interminabilele [i stupidele hârtii de vam\, taxe, [tampile oficiale [i interogatorii. Percep]ia asupra obiectului de art\ aflat `n tranzit era limitat\ la pictur\, neaparat `n ulei, cu ram\ decorat\ [i foi]\ de aur. Asta era art\! O vreme am intrat `n jocul mail-art-ului. Apoi foloseam gravura pliat\, adaptat\ plicului protector. Gravura devenise o scrisoare timbrat\. Pân\ la obiect n-a mai fost decât un pas. Experimentul devenise un joc, unul chair necesar [i serios. IEEB4 continu\ o munc\ bazat\ pe acest experiment, pe convingerea mea c\ b\trâna gravur\ se dezvolt\ [i `[i deschide orizontul contemporan. Experimentul nostru `mpinge limitele gravurii, o elibereaz\ de constrângerile tehnice, interac]ioneaz\ cu alte formule artistice. Expozi]ia de gravur\ mexican\, al c\rei demers curatorial mi l-am asumat, este o consecin]\ a delimit\rii gravurii experimentale mexicane `n cadrul edi]iei precedente, cu doi arti[ti cona]ionali afla]i printre câ[tig\tori. Efervescen]a [i ingeniozitatea ludic\ [i totodat\ incisiv\ a experimentului `n gravura mexican\ contemporan\ este un exemplu de autenticitate `n abordarea tehnicilor, `n tratarea suprafe]elor [i a dimensiunii conceptuale. Sper ca aceast\ edi]ie a IEEB s\ fac\ `nc\ o dat\ dovada integr\rii gravurii `n circuitul artei contemporane, ca o alternativ\ viabil\ [i la fel de pertinent\ ca oricare alt mediu artistic.

Sadly considered by many an obsolite, dusty art form, even a minor art considering its seriality, printmaking willfuly continues to exist in a century in which the new technologies impose a tendency, even a trend followed by the young generation of artists with easiness and interest. Why should we look upon something restricted to expensive, difficult techniques, in which the craft seems to rule over the concept? Why is the technique so restrictive? Why do we diminish the value of a print due to its multiplying possibilities? Before 1989 the limited chances of international exposure, of the work transport outside Romania, needed „inventions”, experiments and technical subterfuge. I was practicing myself this formula in order to escape the interminable and stupid custom papers, taxes, official stamps and questioning. The perception over the art object was limited to painting, mostly oil, with decorated frame and golden sheet. That was art! For a while I practiced mail-art. Then I used the bent print adapted to the protective anvelope. Printmaking became a stamped letter. There was only a step to the object. The experiment became a necessary and serious game. IEEB4 continues an endevour based on this experiment, on my conviction that the old engraving constantly develops and opens its contemporary horizon. Our experiment pushes the limits of printmaking, releases it from technical constraints, interracts with other artistic expressions. The exhibition of Mexican printmaking, under my curratorial signature, is a consequence of the Mexican experimental printmaking delimitation from the previous edition, with two locals among the winners. The effervescence and playful and yet cutting ingenuity of the experiment in Mexican contemporary printmaking is an example of authenticity in aproaching the techniques, the surfaces and the conceptual dimensions. I hope that this edition of IEEB will again be a proof for the integration of printmaking in the circuit of contemporary art as a viable alternative and as pertinent as any kind of artistic medium.

OLIVIA NI}I{

Although it made its debut as a niche event, The International Experimental Engraving Biennial already at its 4th edition, succeeds to demonstrate the imperative access of engraving in the international contemporary art circuit, by overcoming the stigma of conventionality attached to this artistic medium. The experiment in engraving is not an excuse or a superficial treatment of serious and long tradition techniques, but a pertinent way to focus the attention towards the freedom of approaching engraving, in spite of formal constraints. Experimental engraving is a concept that places the status of printmaking in contemporary art in a constant debate as well as the relationship between tradition and innovation, past and present. Because you cannot have performance without a performance plan, this edition has proposed a number of challenges, from an expansion in space with related events, to the mixing of the experiment in international contemporary printmaking with the one in Romania from 1970s and 1980s. IEEB4 is a platform for debate, research, visual offerings, designed to form a dynamic core focused on the interest towards the experimental forms of printmaking. The invited curators, the artists and their works, and our many partners certify the value of this Biennial, singular until now internationally. We thank everyone involved in supporting our Biennial, without whom IEEB would not have enhanced its status and, despite all the difficulties arising from economic conditions, we are confident in an evolution of strength with each future edition.

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De[i a debutat ca eveniment de ni[\, Bienala Interna]ional\ de Gravur\ Experimental\, aflat\ la cea de-a 4-a edi]ie, reu[e[te s\ demonstreze accesul imperativ al gravurii `n circuitul interna]ional al artei contemporane, prin dep\[irea prejudec\]ilor legate de conven]ionalitatea acestui mediu artistic. Experimentul `n gravur\ nu reprezint\ un pretext sau o tratare superficial\ a unor tehnici serioase [i cu o tradi]ie `ndelungat\, ci o modalitate pertinent\ de a aduce `n aten]ie libertatea de abordare a gravurii, `n ciuda constr창ngerilor formale. Gravura experimental\ este un concept care pune `n permanent\ dezbatere statutul gravurii `n arta contemporan\, rela]ia dintre tradi]ie [i inova]ie, trecut [i prezent. Pentru c\ nu po]i face performan]\ f\r\ un plan performant, aceast\ edi]ie [i-a propus o serie de provoc\ri, de la o extindere `n spa]iu cu evenimente conexe, p창n\ la mixarea experimentului `n gravura contemporan\ interna]ional\ cu cea din Rom창nia anilor 1970-1980. IEEB4 este o platform\ de dezbateri, cercet\ri, oferte vizuale, menit\ s\ formeze un nucleu dinamic axat pe interesul pentru formele experimentale `n gravur\. Curatorii invita]i, arti[tii [i lucr\rile lor, precum [i numero[ii no[tri parteneri certific\ valoarea acestei Bienale, singular\, p창n\ `n momentul de fa]\, la nivel interna]ional. Le mul]umim tuturor celor implica]i `n sus]inerea Bienalei, f\r\ de care IEEB nu [i-ar fi consolidat statutul [i, `n ciuda tuturor dificult\]ilor generate de condi]iile economice, avem convingerea unei evolu]ii de for]\ cu fiecare edi]ie viitoare.

MARTA RACZEK

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~NTRE PUBLIC {I PRIVAT, PLAT {I SPA}IAL DIVERSE ASPECTE ALE GRAVURII CONTEMPORANE

~n primul rând a[ dori s\ men]ionez faptul c\ este o mare onoare pentru mine s\ fiu co-curatoarea celei de-a 4-a edi]ii a Bienalei Interna]ionale de Gravur\ Experimental\ din Mogo[oaia [i Bucure[ti, având `n vedere faptul c\ apreciez efortul pe care organizatorii `l depun de aproape 10 ani pentru a ar\ta modul `n care gravura se dezvolt\ `n direc]ii dinamice [i interesante. Când am `ncercat s\ m\ gândesc ce arti[ti s\ aleg pentru aceast\ edi]ie, gândurile mele s-au `ndreptat spre zone diferite, `ns\ lama lui Occam trebuia folosit\ [i alegerile f\cute. M-a interesat s\ `mi variez alegerile pe cât posibil, s\ fie experimentale la nivelul tehnicilor folosite, precum [i la nivelul rela]iilor dintre forma tradi]ional\ [i inova]ia gravurii – ceea ce p\trunde cu prec\dere `n zona tridimensional\. Totodat\, am pus accent pe diversitatea geografic\ a provenien]ei arti[tilor. Astfel, avem apropape toate continentele reprezentate: Asia, Sudul [i Nordul Americii (SUA [i Canada), Africa [i evident, b\trâna noastr\ Europ\ ([i insula Marii Britanii), l\sând doar Australia absent\ de aceast\ dat\. Propunerile variaz\, de asemenea, `n termenii problematicilor care `i preocup\ pe arti[tii selecta]i. ~n esen]\, am ales arti[ti care opereaz\ constant asupra vie]ii lor: sentimente, experien]e [i probleme, precum [i arti[ti care comenteaz\ asupra aspectelor politice [i sociale. ~n prima categorie se afl\ Marko Mäetamm (Estonia) care `ncearc\ s\ repovesteasc\ istorii intime [i uneori brutale ale vie]ii de zi cu zi, `ntr-o form\ foarte estetic\ prin care sunt amânate, pentru o clip\, adev\rul oribil [i goliciunea existen]ei umane, sau Aine Scannell (Irlanda), ale c\rei c\su]e par s\ `i protejeze ideile [i corpul `mpotriva lumii exterioare. ~n ultima categorie se afl\ arti[ti ca Franciso Velasco (Spania), artist care ne arat\ multina]ionalitatea [i pluralitatea standardelor culturale care au construit de fapt a[a-numita Uniune European\, accentuând modul `n care suntem diferi]i [i `n acela[i timp construim un cadru care ne leag\ ca europeni [i Radu Buriac (România), care deconstruie[te ideea pie]ei contemporane, folosind ele-

(Belgia) intitulat\ Layers in Time (Straturi `n timp), examineaz\ `nc\ o dat\ aspectele diferite ale timpului [i spa]iului pe care le tr\im de-a lungul vie]ii. O instala]ie intitulat\ Cultivation (Cultivare) a artistului Koichi Kiyono (Japonia) are multe `n comun cu tradi]ia gr\dinilor din templele japoneze [i se refer\ la viziunea micro- [i macroscopic\ a P\mântului, fiind aproape un simbol al culturii occidentale `n c\utarea Adev\rului [tiin]ific. ~n cazul lucr\rii artistei Diane Victor (Africa de Sud) poate fi recunoscut\ rela]ia cu unul dintre elementele cele mai `nfrico[\toare ale Bibliei – cele patru siluete ale Celor Patru C\l\re]i ai Apocalipsei. Exist\ [i lucr\ri care demonstreaz\ perfect inova]ia `n gravur\ precum seria de perne a artistei Regina R. Costa (Portugalia), o artist\ care ador\ s\ experimenteze cu dimensiuni diferite [i simte degajarea de a-[i aranja lucr\rile `n spa]iu, sau instala]ia lui Michael Walker (Brazilia) alc\tuit\ [i din print [i din video aflate `ntr-o profund\ corela]ie. Trebuie men]ionat\ [i `ncercarea artistei Silvana Blasbalg (Argentina) de a crea o metafor\ a vizualului contemporan prin intermediul unor imagini diferite care interfereaz\ una cu cealalt\, uneori pe baze deloc comune. ~n lucr\rile sale putem observa cum arhitectura clasic\ [i contemporan\, modern\ [i postmodern\ se unesc cu reflec]ii [i figuri geometrice tulbur\toare, pure [i `nc\p\]ânate. Toate aceste elemente `l incomodeaz\ pe privitor. M\ bucur\ faptul c\ to]i ace[ti arti[ti au r\spuns invita]iei mele [i sper ca audien]a celei de-a 4-a edi]ii a IEEB s\ aprecieze lucr\rile [i alegerile f\cute.

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mente din estetica industriei publicitare pentru a contrazice ceea ce se afl\ `n spatele acesteia [i anun]\ lumii c\ nu totul este de vânzare. ~n acest grup se `ncadreaz\ [i Dylan McManus (SUA), care `ncearc\ s\ implice oameni, nu neap\rat interesa]i de politic\ [i contradic]iile sale, `ntr-o discu]ie despre problematici contemporane [i s\ prezinte o viziune critic\ asupra situa]iei culturale [i politice a Statelor Unite `n prezent, care poate fi extins\ pentru a `n]elege dezbaterile importante care au loc `n toat\ lumea [i se refer\ la victimele conflictelor, [i `n final, Davida Kidd (Canada), care combin\ print-ul digital cu gravurile bazate pe ilustra]iile comice [i roman]ate ale a[a-numi]ilor hobo (muncitor emigrant, vagabond) care au fost produse `n mas\ [i tip\rite pe c\r]i po[tale la `nceputul secolului trecut `n America de Nord. ~ntre aceste categorii se afl\ Eve Kask ale c\rei lucr\ri, de[i bazate pe experien]a personal\, au devenit o voce str\lucit\ [i critic\ `n aria problemelor publice. Este cazul seriei EV (e-ve) care include trei elemente re-imprimate [i relucrate: un extras dintr-o carte de cântece Songbook. Songs for Grade 2, publicat\ de Estonian State Publishing House `n 1958 – anul `n care artista s-a n\scut (pagini cu imnurile na]ionale ale Uniunii Sovietice [i ale Republicii Socialiste Sovietice Estonia), un extras din cartea History of the Estonian SSR for Secondary School, Grades IX-XI (Istoria Republicii Socialiste Sovietice Estonia pentru liceu, Clasele IX-XI), publicat\ `n 1959 cu un portret al lui Johannes Vares Barbarus – un poet de stânga angajat `n guvernul de marionete din 1940, precum [i un extras dintr-un ziar care a fost tip\rit `n ziua na[terii sale. ~n aceast\ serie artista a prezentat modul `n care propria sa existen]\ a interferat cu istoria ]\rii sale [i cu speran]a de libertate pe care tat\l s\u i-a `ncifrat-o `n nume, care, corect pronun]at, relev\ o abreviere, EV reprezentând Eesti Vabariik (Republica Estonia). Printre lucr\rile selectate se afl\ [i cele care se concentreaz\ asupra unor idei generale luate din filozofie, [tiin]ele naturii [i religie. ~n frumoasa instala]ie a lui Ingrid Ledent

MARTA RACZEK

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BETWEEN PUBLIC AND PRIVATE, FLAT AND SPATIAL DIVERSE ASPECTS OF CONTEMPORARY PRINTMAKING

First of all, I would like to state that it is a great honor for me to be a co-curator of the 4th edition of the International Experimental Engraving Biennial in Mogo[oaia and Bucharest, since I appreciate very much a great job that the organizers are doing for almost ten years in order to show how print art world is developing in a vivid and interesting way. When I tried to figure out which artists to choose for this year’s edition, my thoughts went in many different directions, but then, the Occam’s razor had to be used and final decisions taken. I wanted to vary my choice as much as possible, to make it experimental in terms of the used techniques as well as relations between traditional form of presenting prints and new ways of doing so – that is mostly entering three-dimensional space. I also put a stress on diversity of countries from which the chosen artists come from. So we have here almost all continents represented: Asia, South and North America (including both United States and Canada), Africa and, of course, our old Europe (and the isle of Great Britain as well), only Australia is missing this time. The proposals also vary in terms of issues that interest chosen artists. In a nutshell, I chose those who constantly operate on their own life: feelings, experiences and problems, as well as those who comment on political and social issues. In the first group you may find Marko Mäetamm (Estonia) who tries to re-tell intimate and sometimes brutal stories of everyday life in a very aesthetic form, that only for a moment postpones the horrible truth and emptiness of people’s existence, or Aine Scannell (Ireland), whose small houses seem to protect her own ideas and body against the world outside. In the latter group there are artists like Franciso Velasco (Spain), who shows us the multinationality and plurality of cultural standards that in fact build the so called European Union, putting much stress on how we differ and, at the same time, construct a frame that binds us together as Europeans, and Radu Buriac (Romania) who deconstructs the idea of con-

time and space, that we experience throughout our life. An installation entitled Cultivation by Koichi Kiyono (Japan) has much in common with the tradition of Japanese temple gardens and is related to the micro- and macroscopic view of Earth, that are almost a symbol of Western culture searching for scientific Truth. In case of Diane Victor’s print (South Africa) one may recognize its relation with one of the most frightening elements of the Bible that are figures of the Four Riders of the Apocalypse. There are also works that perfectly represent new ways of printmaking, like a series of pillows by Regina R. Costa (Portugal), an artist that loves to experiment with different dimensions and feels free to arrange her works in space, or a kind of installation by Michael Walker (Brasil) that consists of both print and a video that are in a deep correlation with each other. It is also worth mentioning an attempt made by Silvana Blasbalg (Argentina) who tries to create a metaphor of contemporary visuality that consists of different images that interfere with each other, sometimes on very uncommon bases. In her works, we may see how classical and contemporary – modern and postmodern – architecture come together with reflections and very disturbing geometrical figures – pure and stubborn. All those elements make the viewer very uneasy while looking at them. I am very happy that all the artists responded to my invitation and I hope that the audience of the 4th edition of IEEB will appreciate both their works and my choices.

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temporary market using aesthetics of advertising industry in order to contradict what lies behind it and announces to the world that in fact not everything is for sale. To this group also belongs Dylan McManus (United States), who tries to involve people, not necessarily interested in politics and its contradictions, into a discussion on contemporary issues and to present a critical view point on the actual cultural and political situation in U.S. that may be widened to grasp important debates that are taken all around the world and refer to victims of world’s conflicts, and finally Davida Kidd (Canada) who combines digital print with etchings based on humorous and romanticized illustrations of hobos that used to be mass produced and printed on post cards during the turn of the century in North America. In between those groups there is Eve Kask whose works, even though arisen from her personal experience, became a brilliant and critical voice in a field of public issues. This is the case of EV (e-ve) series that includes three re-printed and re-worked elements: an excerpt from a Songbook. Songs for Grade 2, published by the Estonian State Publishing House in 1958 – the year the artist was born (pages with national anthems of the Soviet Union and the Soviet Socialist Republic of Estonia), an excerpt from the book History of the Estonian SSR for Secondary School, Grades IX-XI published in 1959 showing a portrait of Johannes Vares Barbarus – a leftist poet engaged in the puppet government of 1940, as well as an excerpt from a newspaper that was published on the day she was born. In this series she showed how her own existence interfered with her country history and a hope for freedom that her father encoded into her name, which properly pronounced echoes an abbreviation ‘EV’ that stands for Eesti Vabariik (Estonian Republic). Among chosen works there are also those which focus on more general ideas taken from philosophy, natural science and religion. In her beautiful installation entitled Layers in Time, Ingrid Ledent (Belgium) once again examines different aspects of

EVA MÖSENEDER

DE CE GRAVURA AST|ZI? Ast\zi gravura se confrunt\ cu o schimbare dramatic\ `n sistemul artei. Bazat\ pe o istorie lung\ [i profund\, gravura are mare nevoie de o repozi]ionare `n lumea artei, având `n vedere pierderea rolului s\u tradi]ional. Gravorul – artist, `nteles ca o combina]ie de artist [i artizan, a fost dintotdeauna parte a avangardei, `n sensul r\spândirii noilor concepte culturale `n art\ [i `n societate. Odat\ cu introducerea noilor media, a tehnologiilor [i a posibilit\]ilor sale reproductibile `n ultimii 30 de ani, gravura tradi]ional\ are nevoie de o transformare [i de un nou `nceput. Având `n vedere misiunea gravurii de a reproduce arta, accentul cade adesea asupra aspectului tehnic, intervenind `ntrebarea: cum au fost realizate gravurile? ~ns\ este mult mai important\ `ntrebarea: de ce gravura ast\zi? IEEB joac\ un rol important `n a da un r\spuns acestei `ntreb\ri prin prezentarea lucr\rilor arti[tilor selecta]i a c\ror abordare curent\ a gravurii demonstreaz\ adesea impresionante dimensiuni inovatoare. Arti[tii pe care i-am selectat pentru a 4-a edi]ie a Bienalei sunt: Bianka Dobo - lucr\rile sale mau convins prin modul `n care este folosit\ lumina [i a modului `n care transparen]a luminoas\ a plexiglasului gravat corespunde cu imaginea imprimat\ pentru a crea obiecte artistice foarte personale [i poetice. Valeriu {chiau - `n performance-ul N\scut `n URSS, se transform\ `n substratul pentru imprimare. Pentru `nceput `[i `nl\tur\ un atribut personal, p\rul, pentru a se depersonaliza. Apoi `[i imprim\ corpul cu portrete de copii. Prin acest act puternic [i intens artistul devine o amintire a destinului acestor copii. Barbara Holub - `n proiectul s\u urm\re[te s\ investigheze posibilit\]ile participative dincolo de grani]ele sociale [i politice prin realizarea unui poster `n colaborare cu un artist român. Malgorzata Szandala, folosind probabil cele mai comune imagini imprimate – literele – se joac\ cu mesajul cuvintelor [i totodat\ cu reprezentarea lor vizual\. Marcos Vidal imprim\ obiectele sale de ceramic\ [i interiorul acestora cu reprezent\ri comice ale unor fe]e zâmbitoare, l\sând `n acest mod o amprent\ real\ asupra lumii reale. Sigrid Langrehr - `n lucr\rile sale trece de la imagini/gravuri decupate din lucr\rile sale video [i vice versa, astfel extinzând

mediul gravurii `n video [i invers. Saul Villa investigheaz\ modul `n care acela[i con]inut vizual, realizat `n diverse metode de imprimare, este receptat [i ce influen]\ are asupra privitorului. Wilhelm Scherübl prezint\ o documentare a unui `ntreg proiect `n care o edi]ie de gravuri ar fi punctul de plecare al unui schimb cultural cu locuitorii unui sat. Juliana Guger folose[te filmul s\u de anima]ie ca [i când ar fi imprimat sau filmat pe un alt strat al realit\]ii, astfel introducând principiile gravurii `n arta video. Helen Murgatroyd inventeaz\ ma[inile sale de pictat, astfel interogând discrepan]a dintre pictura unic\ [i serialitatea imprim\rii. Paul Laidler ne prezint\ `n una dintre lucr\rile sale {oaptele p\mântului (o imagine a unui LP centrat pe p\mânt) o multitudine de asocieri vizuale [i auditive. Lucr\rile sale sunt realizate `n tehnica gravurii cu laser, o tehnic\ `n care niciun instrument nu atinge placa, ci lumina, `n cea mai compact\ form\. Mihai Zgondoiu folose[te [i el lumina pentru imprimare, dar `ntr-un context total diferit. ~n abordarea sa, folose[te [ablonul pentru a acoperi pagini de text. Acestea sunt ulterior expuse la o surs\ puternic\ de lumin\ pentru a crea text la temperatur\ ridicat\. Cu textul Experimentând cu lumina constant el creeaz\ lucr\ri cu direct\ referin]\ la procesul de realizare. Pál Csaba - serigrafiile sale Become Empty / Devino gol pot fi interpretate ca un citat la adresa procesului foto al serigrafierii – ca [i când formele extrase ale negativelor (light box-uri) s-au manifestat `n printurile serigrafice pozitive. Jesús Pastor modalitatea sa de a opera cu foma [i negativul formei tranziteaz\ constant `ntre subiectele sculpturale [i grafice, astfel creând piese de art\ vibrante. ~n seria Pensando en Leibniz (Meditând la Leibniz), face referire la marele om de [tiin]\ [i filozof german [i la teoria monadelor. Franka Wurzer - `n limbajul s\u vizual artista face uz de citate din mobilierul baroc [i rococo redate `ntr-un stil de gravur\ corespunz\tor. Gravurile apar ca piese decupate care pot fi eventual asamblate `n serii tridimensionale amuzante [i ironice. De[i gravura trece prin momente dificile `n prezent, acest lucru ar putea declan[a o serie de oportunit\]i. IEEB, ca spa]iu dedicat prezent\rii [i cre\rii unor atitudini noi fa]\ de gravur\, ar putea veni `n sprijinul definirii acestor noi [i incitante [anse.

WHY PRINTMAKING TODAY? Printmaking today faces a dramatic change within the contemporary art scheme. Based on a long and profound history it desperately needs repositioning within the art world, since it seems to have lost its traditional role. The printmaker - artist as a combination of artist and artisan, was always part of the avantgarde when it came to distributing new cultural concepts in art and society. With the introduction of new media and technologies within the last 30 years and its reproduction possibilities, traditional printmaking is in need of a makeover and new start. Printmaking, having had often the mission of reproducing art, emphasis would mostly lie on the technical side on the question of how prints were realized. But it seems much more important to question: why printmaking today? IEEB plays an important role in answering that question by presenting works of selected artists whose approach towards printmaking today show new and often very astonishing starting points. In my choice for IEEB4 these artists are: Bianka Dobo: her work convinced me with her use of light and how the transparent lit engraved plexiglas corresponds with the printed image in order to create very personal, poetic pieces of art. Valeriu {chiau - in his performance piece Born in the USSR, he turns himself into the print substrat. First, he removes a personal attribute, the hair, in order to depersonalize himself. Then he covers his body with stamps showing the portraits of children. With this strong and intense act he transforms himself into a reminder of the destiny of these children. Barbara Holub - in her project she tries to investigate possibilities of participation beyond social and political borders by realizing a poster in collaboration with a Romanian artist. Malgorzata Szandala, using probably the most common printed images – letters - plays with the message of words, as well as their visual appearance. Marcos Vidal - his stamps ceramic objects and interiors with a comic-like depiction of a smiling face, leaving therefore a real impression on the real world. Sigrid Langrehr - in her work she switches from images/prints taken from her video work and vice versa, thus expanding printmaking into video and the reverse. Saul Villa investigates how the same visual content realized in different printing methods is per-

ceived and what influence it has on the viewer. Wilhelm Scherübl shows a documentation of a whole art project in which an edition of etchings would be the starting point of cultural exchange project with the inhabitants of a village. Juliana Guger uses her animation film as if it would be printed or filmed over by another layer of reality, therefore using printmaking principles in video art. Helen Murgatroyd invents her own painting machines and is so questioning the discrepancy between unique painting and multiplication of prints. Paul Laidler presents us in one of his artpieces Murmurs of earth (showing an image of an LP centered by earth ) a lot of visual auditive associations. His pieces are rendered in laser engraving a technic in which no actual tool is touching the plate any more but light in its highest bundled form. Mihai Zgondoiu also uses light for printmaking but in a completley different context. In his approach he uses stencils to cover pages of text. These are then exposed to a highly luminous source of light in order to create text with its heat. With the text Experimenting with Light constantly he creates pieces which show self reference of how they were created. Pál Csaba, his silkscreens Become Empty can be seen as well as a quote of the photo - process of screen printing itself - as if the left out forms of the negatives (light boxes) have manifested themselves in the positive screen prints. Jesús Pastor´s use of form and negative form is constantly shifting between sculptural and grafic topics thus creating vibrating pieces of art. In his series Pensando en Leibniz he refers to the great german scientist and philosopher and his theory of monads. Franka Wurzer uses in her visual language quotes from baroque and rococo furniture which is also rendered in according etching style. The prints present themselves like cut out pieces which eventually can be assembled to very funny and ironic three dimensional multiples. Eventhough printmaking goes through rough times at the moment, this might as well hold a great deal of oppurtunities within itself. IEEB, as a special venue for showing and creating new attitudes towards printmaking, can therefore help to define these new and exciting chances.

ADRIAN GU}|

IEEB4

EXPLOR|RI ÎN GRAVUR| ÎN ROMÂNIA ANILOR ’70-‘80

În plin regim comunist, România anilor 19651975 a traversat experien]a unei liberaliz\ri culturale care s-a r\sfrânt [i asupra evolu]iei artelor vizuale. Acestea recuperau dou\ direc]ii blocate de realismul socialist al epocii imediat anterioare: reconectarea la tradi]ia interbelic\ (spiritualist\ [i modernist\), respectiv resincronizarea cu direc]ii contemporane ale artei interna]ionale occidentale. În anii ’80 ai secolului trecut, de[i presiunea ideologic\ atinge noi recorduri determinate de forme agresive ale na]ional-comunismului, particularizate de cultul personalit\]ii orientat spre Nicolae [i Elena Ceau[escu, libert\]ile de concept [i expresie cucerite în etapa mai sus men]ionat\ nu pot fi anihilate, astfel încât arta alternativ\ la cea oficial\ î[i continu\ parcursul, dincolo de dificult\]ile inerente. Grafica în sens larg, gravura [i experimentele în acest context, imaginea serial\, propensiunea c\tre inova]ie cu privire la suporturile sau procedurile dedicate imaginii imprimate, ofer\ exemple remarcabile în anii ’70’80, livrate de arti[ti din genera]ii diferite, între care reprezentan]ii genera]iei ’80 au o contribu]ie semnificativ\. Gravura, tehnici combinate ale acesteia, interven]ii în alte limbaje, recursul la cartea de artist, extensia înspre obiect-instala]ie [i ceva mai târziu chiar apelul la video-performance, dezvoltând concentrat-narativ punctul de plecare al imaginii grafice multiplicabile, fac demonstra]ia amplului câmp experimental conectat la matricea vizual\ repetitiv\ [i îmbog\]it\. Graficieni, gravori aplica]i, pictori, sculptori, practican]i ai artelor decorative, sunt tenta]i de gravura experimental\, de inova]ii în câmpul tradi]iei acesteia, de înc\lcarea grani]elor între domenii [i tehnici. Fotografia dezvoltat\ ca limbaj artistic autonom î[i aduce propria contribu]ie, singular\ ori asociat\ altor tipologii ale imaginii. Povestea gravurii [i a explor\rilor ce deriv\ din ea, în România deceniilor opt [i nou\ ale secolului trecut, este convergent\, în parte, cu istoria Atelierului de gravur\ din Bucure[ti, al Uniunii Arti[tilor Plastici, ce a existat pân\ acum câ]iva ani. Au lucrat aici unii dintre arti[tii selecta]i pentru aceast\ concentrat\ [i subiectiv\ retrospectiv\:

Teodor Hrib (el a [i condus timp de dou\ decenii acest Atelier), Ion Grigorescu, Aurel Bulacu, Geta Br\tescu, Ion Stendl, al\turi de alte nume importante, precum Simion Iuca, Marcel Chirnoag\, Ileana Micodin, Klara Tamas, Ovidiu Simionescu, {tefan Câl]ia, Wanda Mihuleac, {tefan Iacobescu, Dodi Romana]i, Ana Golici, Dan Mih\l]ianu… Am ales pentru prezentul “eseu” curatorialistoric, e[antioane din opera unor plasticieni care tr\iesc [i lucreaz\ în Bucure[ti, dar [i din aceea a unor reprezentan]i ai altor centre artistice ale României: Cluj, Oradea, Timi[oara, Bra[ov. Frecventarea Atelierului de Gravur\ bucure[tean a reprezentat pentru mine, în anii ’80, o experien]\ major\ în calitatea de istoric [i critic de art\ la început de drum [i în treptat\ maturizare. Mi-am “înso]it” în acel mediu colegii de genera]ie optzeci[ti, dar am avut ce vedea [i auzi [i de la autorii mai vârstnici… Desigur, num\rul arti[tilor care ar merita s\ fie lua]i în considera]ie pentru tema acestei expozi]ii ar putea fi mult mai mare. Finalitatea ei este de a atrage aten]ia, a readuce în fa]a publicului inten]ii experimentale [i lucr\ri care pledeaz\, în primul rând, prin calit\]ile intrinseci, pentru condi]ia de “organism viu” a gravurii, a imaginii imprimate din interiorul acestui perimetru de cultur\ vizual\ în perioada avut\ în vedere. Ethel Lukáts B\ia[ a f\cut din simbolul ionescian al rinocerului, prin xilogravurile sale cu interven]ii, un motiv poten]ial subversiv. Geta Br\tescu, prin xilogravur\ [i colaj, prin cartea-obiect pe baze litografice, exploreaz\ chipul uman [i autoportretul ca expresie a st\rii de veghe asupra condi]iei noastre. Aurel Bulacu pune în abis gravura în metal (lucr\ri suprapuse, cusute), pentru a aprofunda frumuse]ea unui peisaj aparent arid. Suzana Fântânariu, cu ale sale xiloobiecte, constituie simultan delicate [i totu[i rezistente “Ambalaje pentru suflet”. Ion Grigorescu experimenteaz\ prin tehnica cliché verre ori cu [abloane de linoleum colate [i imprimate la presa lito pentru a ob]ine imagini proaspete asupra realului, uneori amintind de estetica pop art-ei. Ioan Horvath Bugnariu, inovând în zona acvatintei, decupeaz\ dinamice ori

reflexive secven]e ale cotidianului, ale vie]ii pulsând emo]ional. Ion Stendl î[i perpetueaz\, folosind dialogul între offset [i litografie, gustul pentru imagini arheologice, dar se înfrupt\ postmodern [i din stratific\rile imagistico-tehnice puse la dispozi]ie de cartea de artist. S\ ne referim acum la exponen]ii genera]iei ’80. Teodor Graur manipuleaz\ în spirit ludic frotajul pentru a serializa o imagine oferit\ de un ready-made emblematic al epocii comuniste. Teodor Hrib, un virtuoz al gravurii [i al interferen]elor sale cu alte tehnici, creeaz\ secven]e sincopat narative, ata[ându-le subtile evad\ri în fantastic. Radu Igazság coboar\ în memoria personal\ cu ale sale “Amintiri” realizate printr-un remarcabil mixaj tehnic. Alexandru Jakabházi speculeaz\ prin prelucrare [i imprimare calit\]ile “grafice” ale unor pl\ci de fier g\site, c\rora le confer\ imagistic sensuri noi. Iosif Király aduce în aten]ie mail art-a, o form\ de comunicare esen]ial\ pentru perioada în discu]ie, la nivel interna]ional, gra]ie unui proiect coordonat de Ryosuke Cohen, în care a fost inclus. Ileana Ploscaru Panait gloseaz\, prin întâlnirea între gravur\ [i pictur\, asupra misterului feminin. Marilena Preda Sânc extinde experimentul imaginii multiplicabile înspre serigrafia integrat\ c\r]ii de artist [i înspre video-performance, glisând de la autoportretul interior [i exterior la atitudini feministe. Gheorghe Rasovszky dezvolt\ în foto-asamblaje contrapunctate de interven]ii cromatice, o întâlnire postmodern\ între secven]ialul cotidian [i autoportretistic, [i fluxul imagistic al con[tiin]ei. Adrian Timar combin\ tehnici mai vechi [i mai noi ale imprim\rii pentru a provoca o întâlnire între figurativ [i gestualismul abstract, între imediat [i distan]area cultural\. László Ujvárossy asociaz\, într-o serie a începuturilor, fotografia, desenul, lito, finalmente offset-ul, într-un proiect conceptualist, pe lâng\ care expunem [i o ipostaz\ timpurie a seriei “Recuperarea kitsch-ului”. Sper ca aceast\ selec]ie s\ contribuie, m\car în oarecare m\sur\, la reconsiderarea importan]ei gravurii [i a experimentelor din teritoriul s\u, în ansamblul reperelor esen]iale ale artei contemporane române[ti de pân\ la perioada urmând lui 1989.

IEEB4

EXPLORATIONS IN ROMANIAâ&#x20AC;&#x2122;S PRINTMAKING IN THE 1970S AND 1980S

During the period 1965-1975, in full communist regime, Romania experienced a cultural liberalization that also influenced the evolution of visual arts. These were recovering two directions blocked by the socialist realism of the previous epoch: the reconnection to between-wars tradition (spiritualist and modernist) and the resynchronization with the contemporary international Western art directions. Although the ideological pressure reaches new records determined by nationalcommunist aggressive forms particularized by the cult of personality oriented towards Nicolae and Elena Ceau[escu, in the 1980s, the freedom of thinking and expression, conquered in the previously mentioned stage, cannot be annihilated and therefore the alternative art to the official one continues its evolution beyond inherent difficulties. Graphic art, in a large sense, printmaking and the experiments in this context, the serial image, the propensity towards innovation regarding the materials or procedures of the printed image, offers remarkable examples in the 1970s and 1980s supplied by artists from different generations, among which the exponents of the 1980s generation have a significant contribution. Printmaking and its combined techniques, interventions in other mediums, the artist book, the extension towards object-installation and later even towards video-performance developing in a concentrated-narrative manner the starting point of the serial graphic image, demonstrate the vast experimental field connected to the repetitive and enriched visual matrix. Graphic artists, printmakers, painters, sculptors, decorative art practitioners are tempted by the experimental engraving, by innovations in its tradition, by going beyond domains and techniques. The photography developed as autonomous artistic medium brings its own contribution by itself or associated to other image typologies. The story of printmaking and its explorations in Romania in the 8th and 9th decades of the previous century is partially convergent with the history of the Printmaking Studio in Bucharest of the Fine Artists Union, closed some years ago. Some of the selected artists for this concentrated and subjective

retrospective worked here: Teodor Hrib (he was in charge of this Studio for two decades), Ion Grigorescu, Aurel Bulacu, Geta Br\tescu, Ion Stendl, next to other important names such as Simion Iuca, Marcel Chirnoag\, Ileana Micodin, Klara Tamas, Ovidiu Simionescu, {tefan Câl]ia, Wanda Mihuleac, {tefan Iacobescu, Dodi Romana]i, Ana Golici, Dan Mih\l]ianu… My choices for this historical-curatorial “essay” are samples of the work of artists who live and work in Bucharest, but also in other Romanian artistic centers: Cluj, Oradea, Timi[oara, Brashow. Attending the Printmaking Studio in Bucharest in the 1980s meant for me a major experience as a young art historian and critic. I was a “companion” to my colleagues from the 1980s generation, but I had things to learn from the elder artists… Certainly, the number of artists worth taking in consideration for this exhibition concept could be larger. Its purpose is to draw attention, to update the public with the experimental intentions and works pleading first and foremost through their inner qualities, for printmaking’s condition of “living organism” within this perimeter of visual culture during this time frame. Ethel Lukáts B\ia[ made through Ionesco’s rhino symbol in her woodcuts with interventions a potentially subversive motif. Geta Br\tescu, through woodcut and collage, through her lithographic bookobject explores the human face and self-portrait as an expression of an observation of our human condition. Aurel Bulacu investigates etching (sewn, overlaid works) in order to deepen the beauty an apparently arid landscape. Suzana Fântânariu, with her woodcutobjects simultaneously represent delicate and yet strong “Wrappings for the soul”. Ion Grigorescu experiments through cliché verre or with linoleum stencils collated and printed using a lithographic press in order to obtain fresh images of reality, sometimes evoking pop-art aesthetics. With innovations in etching, Ioan Horvath Bugnariu cuts out dynamic or reflexive every day life sequences with an emotional pulse. Ion Stendl perpetuates his taste for archeological images using the dialogue between offset and lithography. He also

feasts in a postmodern way from the technical layers revealed by the artist book. Let us now look upon the exponents of the 1980s generation. Teodor Graur manipulates the frottage in a playful way in order to multiply an image offered by an emblematic ready-made of the communist period. Teodor Hrib, a virtuoso of printmaking and of the interferences with other techniques creates syncopated narrative sequences attaching subtle escapes in fantasy. Radu Igazság descends in his own memory with his “Memories” made through a remarkable technical mix. Alexandru Jakabházi speculates through processing and printing the “graphic” qualities of some found iron plates to which he brings new meaning. Iosif Király brings into attention the mail-art, an essential type of communication for this period on international level, due to a project coordinated by Ryosuke Cohen in which he was included. Ileana Ploscaru Panait glosses upon the feminine mystery through the intersection between printmaking and painting. Marilena Preda Sânc expands the experiment of the serial image towards the book-object silkscreen and towards video-performance, sliding from the inner and outer self-portrait to feminist attitudes. In his photo assemblages emphasized through chromatic interventions, Gheorghe Rasovszky develops a postmodern encounter between the quotidian sequences and self-portraits and the imagistic stream of consciousness. Adrian Timar combines older and newer techniques of printmaking in order to provoke an encounter between the figurative and the abstract gesture, between the immediate and the cultural distance. In a series of one of his first artistic attempts László Ujvárossy associates photography, drawing, lithography and offset in a conceptualist project next to which we exhibit an earlier image of the series “Recovering the kitsch”. I hope this selection contributes at least in some way, to the reevaluation of the importance of printmaking and the experiments in its territory, within the general frame of the essential landmarks of the Romanian contemporary art up to the period following 1989.

MARTA RACZEK

ACEASTA ESTE LUMEA 1 FEMEILOR - CÂTEVA NOTE ASUPRA EXPOZI}IEI DE GRAVUR| EXPERIMENTAL| POLONEZ| Ideea expozi]iei a ap\rut din dou\ puncte de plecare. ~n primul rând, am vrut s\ prezint diverse atitudini fa]\ de gravur\, ca o modalitate de a trece grani]ele tehnicilor [i modurilor de reprezentare. Tradi]ional vorbind, gravura este asociat\ cu o imprimare bidimensional\ pe hârtie, `ns\, `n aceste timpuri de transgresare, fiecare câmp artistic intr\ `ntr-o faz\ de dep\[ire a tiparelor prestabilite. Una dintre calit\]ile importante ale gravurii contemporane este p\trunderea `n spa]iul tridimensional, ini]ial rezervat sculpturii [i proiectelor de tip environment. O alt\ calitate a gravurii este legat\ de acel aspect cultural care `i asigur\ o deschidere c\tre convergen]\ [i interactivitate. Unii dintre arti[ti `ncearc\ s\ creeze aranjamente spa]iale sau obiecte `n care vizitatorul poate intra, sau le poate atinge, `n diverse moduri pentru a-[i crea propria poveste. A treia calitate este natura de tip palimpsest a culturii contemporane care se reflect\ `n unele lucr\ri realizate `n prezent, prin utilizarea compozi]iilor pluristratificate. ~n al doilea rând – `ns\ cu o importan]\ egal\ – am vrut s\ prezint ideile care apar `n gravurile artistelor cu referire la anumite aspecte ale feminit\]ii, rela]iilor interumane [i – dup\ cum spunea Judith Butler – gender trouble2. Titlul WoMen’s World relev\ perfect ideea din spatele s\u. ~n trecut, feminitatea [i masculinitatea au fost receptate ca dou\ idei radical opuse, dar `n prezent nu le mai putem separa. ~n zilele noastre suntem perfect con[tien]i c\ vechea diviziune de gen nu mai poate exista. Modelele de feminitate reflect\ modele de masculinitate [i vice versa. Ambele genuri interfereaz\. Cele patru artiste care particip\ la aceast\ expozi]ie sunt perfect con[tiente de aceste mecanisme. Ele ne spun pove[ti pe care le cunoa[tem dintotdeauna: despre iubire, rela]ii, singur\tate, mame [i fiice, pasiune [i compasiune, precum [i suferin]\, dar aceste nara]iuni sunt construite `ntr-un mod nou. Toate aceste lucr\ri pot fi `ncadrate `n arta feminist\ soft pentru

c\ nu se folosesc de scheme abjecte, nu `nfrico[eaz\ privitorii – cel pu]in nu `ntr-un mod direct – dar aceste lucruri nu le reduc sensul [i impactul. Povestea se `mparte `n dou\ capitole. Primul este dedicat construirii unei identit\]i `n contextul dat al unei familii. La acest nivel, o persoan\ trebuie s\ treac\ prin dou\ faze diferite, dar interdependente. ~n esen]\, ea, dar dup\ cum [tim [i din psihologie, [i el, trebuie – dup\ cum sugereaz\ Malgorzata ET BER Warlikowska – s\ `[i M\nânce Mama pentru a se elibera de orice tip de dependen]\ care o/`l `mpiedic\ s\ devin\ ceea ce dore[te. Apoi apare o lupt\ care ne afecteaz\ uneori `ntreaga via]\: o rela]ie. Este adesea o b\t\lie cu h\r]i, tactici [i strategii diferite. Uneori câ[tig\m, alteori nu. Iat\ dou\ exemple: primul `i apar]ine artistei Malgorzata “Malwina” Niespodziewana care portretizeaz\ primul stadiu al vie]ii femeii Katarzyna Kobro cu primele sale fascina]ii [i sentimente, iar al doilea `i apar]ine artistei Monika Wanyura-Kurosad, care `n instala]ia Scars/Cicatrice, bazat\ pe drama lui Jean Cocteau Le bel indifferent, ne introduce `ntr-o lume a sufletului, `n care subiectul emi]\tor este o femeie, `n timp ce b\rbatul este `n acela[i timp receptor al cuvintelor ei [i spa]iu mental c\tre care aceste cuvinte sunt direc]ionate. Un spa]iu amenajat de artist\ este `mp\r]it `n dou\ camere separate care simbolizeaz\ b\rbatul [i femeia. Dar aceste simple diviziuni dispar, `n timp ce cuvintele femeii trec grani]ele fizice construite `ntre protagoni[ti. Ultimul stadiu este sacrificiul care ne str\bate via]a. De aceast\ dat\, Judyta Bernas expune acest lucru `n forma unei serii de inspira]ie religioas\ The Way/Calea. Este o trimitere la Via Crucis3 , dar principalul protagonist este schimbat `n femeie, iar singura urm\ de masculinitate este o mân\ care ajut\ la purtarea unei cruci `ntr-o gravur\ referitoare la `ntâlnirea dintre Hristos [i Simion din Cyrene. Aceast\ serie reprezint\ o metafor\ pentru modelul tradi]ional de feminitate – foarte popular `n Polonia – care presupune c\ femeia trebuie `ntotdeauna s\ se sacrifice pe crucea familiei, dar `n acela[i timp o dep\[e[te. De fapt, chiar dac\ nu sunt receptate astfel de la bun `nceput, toate pove[tile se refer\ [i la femeie [i la b\rbat, pentru c\ se afl\ `ntr-o permanent\ interferen]\, mai mult sau mai pu]in simbiotic\.

1 ~n titul original apare substantivul Women (engl. femei) ca WoMen – solu]ie grafic\ pentru a accentua rela]ia dintre genuri (engl. Men= b\rba]i) 2 Engl. problem\ de gen 3 Lat. Calea Crucii

THIS IS THE WoMen’s WORLD – SOME NOTES ON POLISH EXPERIMENTAL ENGRAVING EXHIBITION

The idea of the exhibition arose from two different starting points. First of all I wanted to show diverse attitudes to printmaking as a means of crossing the borders of the techniques and modes of presentations. Traditionally, printmaking is associated with a two-dimensional print on paper, but in times of transgressions, in which we exist now, every art field is entering a phase of going beyond previously established patterns. One of the most important feature for printmaking now is to enter a three-dimensional space that was originally reserved for sculpture and environmental projects. Another is connected with this aspect of our culture that makes it open to convergence and interactivity. Some of the artists try to create space arrangements or objects that a visitor may enter or touch in different ways in order to create his or her own story. The third thing is the palimpsest-like nature of contemporary culture that mirrors in some works created nowadays by the use of multi-layers compositions. Another concept – of an equal importance – was to show ideas that appear in women-artists prints that refer to different aspects of femininity, human relations and – as Judith Butler brilliantly put it – gender trouble. The title WoMen’s World perfectly mirrors the idea that lies behind it. In the past, femininity and masculinity were perceived as two ideas diametrically opposed, but at present we cannot separate them from each other any more. Nowadays, we are perfectly aware that the old scheme of gender division could no longer exist. Patterns of feminity mirror models of masculinity and vice versa. Both genders interfere with each other. All the four artists that participate in this

exhibition are perfectly aware of these mechanisms. They tell us stories we all have known before: about love, relationship, solitude, mothers and daughters, passion and compassion, as well as suffering, but these narrations are constructed in a new way. All those works are situated in a soft feminist art, since they do not use any abject art schemes, they do not frighten viewers – at least not in a direct way – but that does not minimize their meaning and impact. The story divides in two chapters. The first one is dedicated to the construction of one’s own identity in the given context of the family. At this stage a person has to go through two different, but interrelated phases. In a nutshell, she, but as we know from the psychology also he, has to – as Malgorzata ET BER Warlikowska suggests – Eat her/his Mother that is to free from any dependence that prevents one from becoming what one would like to be. Then, there is a struggle that sometimes affects all our life: a relationship. It is always a kind of a battle with different maps, tactics and strategies. Sometimes we win, sometimes not. Here we have two examples: first one by Malgorzata “Malwina” Niespodziewana who portraits first stage of Katarzyna Kobro’s life with her first fascinations and affections and Monika Wanyura-Kurosad that in an installation Scars based on the Jean Cocteau’s play Le bel indiferrent introduces us into a world of psyche, where a talking subject is a woman, while man is both a receiver of her words and a mental space to which those words are directed. A space arranged by the artist is divided into two separate rooms which symbolize a man and a woman. But this simple division disappears, while woman’s words crossing the physical borders built between the protagonists. The final stage is the sacrifice that runs through all our life. This time Judyta Bernas shows it to us in a form of a religious-inspired series The Way that refers to Via Crucis, but the main protagonist is changed into being a woman, and the only trace of masculinity is a hand that helps to carry a cross in a print referred to a meeting between Christ and Simon of Cyrene. This series is a metaphor for a traditional – especially popular in Poland – model of feminity according to which a woman should always sacrifice herself on the cross of the family, but at the same moment goes beyond it. In fact, even if not perceived as such from the very beginning, all the stories refer both to woman and man that live in a constant interference sometimes more and sometimes less symbiotic.

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EXPOZI}IA PRINCIPAL| MAIN EXHIBITION

curatoare / curators Marta Raczek (PL), Eva Möseneder (AT) ARTI{TI / ARTISTS

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Silvana Balsbalg (AR) Radu Buriac (RO) Regina R. Costa (PT) Pál Csaba (HU) Bianka Dobo (HU) Barbara Holub (AT) Juliana Guger (AT) Eve Kask (EE) Davida Kidd (CA) Koichi Kiyono (JP) Paul Laidler (UK) Sigrid Langrehr (AT) Ingrid Ledent (BE) Mäetamm Marko (EE) Dylan McManus (US) Helen Murgatroyd (UK) Jesús Pastor (ES) Aine Scannell (IRL) Wilhelm Scherübl (AT) Valeriu {chiau (RO) Malgorzata Szandala (POL) Francisco Velasco Fernández (ES) Diane Victor (ZA) Marcos Vidal Font (ES) Saul Villa (MX) Michael Walker (BR) Franka Wurzer (AT) Mihai Zgondoiu (RO)

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JULIANA GUGER (AUSTRIA)

Desen original 2 I tehnic\ mixt\ I 60x80 cm I 2009 22

Original drawing 2 I mix media I 60x80 cm I 2009

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PĂ L CSABA (UNGARIA/HUNGARY)

Devino gol I tehnic\ mixt\ pe plexiglas I 25x50 cm I 2009 Become empty I mix media on plexiglass I 25x50 cm I 2009

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PAUL LAIDLER (MAREA BRITANIE/GREAT BRITAIN)

Extinde-]i sentimentele I gravur\ cu laser I 38x57 cm I 2009 24

Stretch out with your feelings I laser engraving I 38x57 cm I 2009

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MARKO MÄETAMM (ESTONIA)

Aceea[i camer\, acela[i pat, alt\ noapte I anima]ie I 4’7” I 2010 Same room, same bed, another night I animation I 4’7” I 2010

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MALGORZATA SZANDALA (POLONIA/POLAND)

Este a[a, nu este a[a I stencil pe h창rtie I 150x2500 cm I 2009 26

It is so, it is not so I stencil on paper I 150x2500 cm I 2009

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VALERIU {CHIAU (ROMÂNIA/ROMANIA)

N\scut `n URSS I video performance I produs de Sandrino Gavriloaia I 10’6’’ I 2009 Born in USSR I video performance I produced by Sandrino Gavriloaia I 10’6’’ I 2009

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WILHELM SCHERĂ&#x153;BL (AUSTRIA)

Schimb de proiect pentru satul St. Pantaleon I gravur\ `n cupru, piatr\ filigranat\, documenta]ie I 27x38 cm I 2008 28

Exchange Project for the Village St. Pantaleon I copper etching, watermark stone, documentation I 27x38 cm I 2008

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DIANE VICTOR (AFRICA DE SUD/SOUTH AFRICA)

Momit I aquaforte, aquatinta, print digital I 200x105 cm I 2009 Baited I etching, aquatint, digital print I 200x105 cm I 2009

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FRANKA WURZER (AUSTRIA)

Dulap de vase frontal/din spate/din interior I intaglio I 107,5x75,5 cm I 2010 30

Cupboard front/back/inside I intaglio I 107,5x75,5 cm I 2010

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SIGRID LANGREHR (AUSTRIA)

Nef\cut I video [i 2 printuri I 9’, 70x50 cm fiecare I 2010 Undone I video and 2 prints I 9’, 70x50 cm each I 2010

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REGINA R. COSTA (PORTUGALIA/PORTUGAL)

Nu vreau s\ visez I print digital pe pânz\ Berger, 6 perne pe suprafa]\ neagr\ I instala]ie I 2010 32

I don’t want to dream I digital print on Berger cloth, 6 pillows on black sheet I installation I 2010

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RADU BURIAC (ROMÂNIA/ROMANIA)

Gratuit I serigrafie pe hârtie [i plexiglas negru I 120x54 cm I 2010 Free I silkscreen on paper and black plexiglas I 120x54 cm I 2010

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SILVANA BALSBALG (ARGENTINA)

Interferen]e II I fotografie, print digital I 70x100 cm I 2010 34

Interferencias II I photography, digital print I 70x100 cm I 2010

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EVE KASK (ESTONIA)

Pre]ul artei 1 I print digital I 100x61 cm I 2010 The Price of Art 1 I digital print I 100x61 cm I 2010

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BIANKA DOBO (UNGARIA/HUNGARY)

~nl\untrul armoniei 2, 3 I gravur\ pe plexiglas cu sistem de lumin\, giclée print I ø 31 cm I 2010 36

Inside Harmony 2, 3 I lighted engraved plexiglass, giclée print I ø 31 cm I 2010

(AUSTRIA)

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BARBARA HOLUB

10 tematici ale Blue Frog Society explor창nd Rom창nia I `n colaborare cu Radu Buriac I serigrafie I 40x50 cm fiecare I 2010 10 Issues of the Blue Frog Society Exploring Romania I in collaboration with Radu Buriac I silkscreen I 40x50 cm each I 2010

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DAVIDA KIDD (CANADA)

RICHARD: Emigrantul muncitor vagabond I aquaforte, print digital I 132x101,6 cm I 2010 38

RICHARD: Hobo Schmobo I etching, digital print I 132x101,6 cm I 2010

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KOICHI KIYONO (JAPONIA/JAPAN)

Cultivare I aquaforte pe bumbac, instala]ie I 200x200 cm I 2010 Cultivation I etching on cotton, installation I 200x200 cm I 2010

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INGRID LEDENT (BELGIA/BELGIUM)

Straturi `n timp 2008 I instala]ie - litografie, print digital pe Zerkall [i video I 413x200 cm I 2008 40

Layers in time 2008 I installation - lithography, digital print on Zerkall and video I 413x200 cm I 2008

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FRANCISCO VELASCO FERNĂ NDEZ (SPANIA/SPAIN)

Europa L-260 I litografie, instala]ie I 91x126 + 91/182x252 cm I 2009 Europa L-260 I lithographic installation I 91x126 + 91/182x252 cm I 2009

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DYLAN MCMANUS (SUA/USA)

Couture African AK-47 No.1 & 2 I print digital dup\ gravur\ pe pu[c\ AK-47 I 102x48 cm I 2010 42

Couture African AK-47 No.1 & 2 I digital print of hand carved and manipulated AK-47 rifle I 102x48 cm I 2010

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HELEN MURGATROYD (MAREA BRITANIE/GREAT BRITAIN)

Linia de asamblare a unui vas de fructe I proces de imprimare inven]ie proprie, video [i print I 5’33’’, 45x32 cm I 2010 Fruit Bowl Assembly Line I self invented printing process, video and print I 5’33’’, 45x32 cm I 2010

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JESÚS PASTOR (SPANIA/SPAIN)

Meditând la Leibniz no.4 I diptic lambda, plac\ dibond [i metacrilat I 250x125 cm I 2009 44

Pensando en Leibniz no.4 I diptych lambda, dibond and methacrylate I 250x125 cm I 2009

(IRLANDA/IRELAND)

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AINE SCANNELL

Ciripit I cologravur\ folosind cutii de lapte reciclate I 12,6x6,8x13,8 cm I 2009 Little Voice I collograph intaglio using recycled milk cardboard I 12,6x6,8x13,8 cm I 2009

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MARCOS VIDAL FONT (SPANIA/SPAIN)

Cocina TV I serigrafie pe ceramic\ I 6x10x5 cm I 2010 46

Cochina TV I silkscreen on ceramic I 6x10x5 cm I 2010

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MICHAEL WALKER (BRAZILIA/BRASIL)

F\r\ titlu I print digital pe Hahnemulhe de 350 g, latex `n relief I 100x55 cm I 2010 Untitled I digital print on Hahnemulhe 350 g, overlayed with latex in relieve I 100x55 cm I 2010

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SAUL VILLA (MEXIC/MEXICO)

Imprim\, tr\ie[te, imprim\ din nou I inkjet print, relief I 92x52 cm I 2010 48

Print, live, print again I inkjet print, relief I 92x52 cm I 2010

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MIHAI ZGONDOIU (ROMÂNIA/ROMANIA)

Experimentând lumina constant I light box, imprimare (prin expunere/ardere) cu reflector halogen pe hârtie I 5x120x10cm I 2010 Experimenting Light Constantly I light box, print on paper (trough exposure/burning) with halogen reflector I 5x120x10cm I 2010

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LUMEA FEMEILOR WoMen’s WORLD

curatoare:

MARTA RACZEK (PL) ARTI{TI / ARTISTS Judyta Bernas Malgorzata Malwina Niespodziewana Malgorzata ET BER Warlikowska Monika Wanyura-Kurosad

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Parteneri / Partners

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JUDYTA BERNAS

Calea VI I pigment print pe h창rtie Hydro I 91,4 x 220 cm I 2008

Calea XIII I pigment print pe h창rtie Hydro I 91,4 x 220 cm I 2008

The way VI I pigment print on Hydro paper I 91,4 x 220 cm I 2008

The way XIII I pigment print on Hydro paper I 91,4 x 220 cm I 2008

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MALGORZATA “MALWINA” NIESPODZIEWANA

Catherine 1898-1936 I linogravur\, carte pop-up I 15x20x20x27 cm I 2009-2010 Catherine 1898-1936 I linocut, pop-up book I 15x20x20x27 cm I 2009-2010

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MONIKA WANYURA-KUROSAD

Cicatrice I instala]ie I 2009 54

Scars I installation I 2009

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MALGORZATA ET BER WARLIKOWSKA

M\n창nc\-]i mama 6 I serigrafie pe ceramic\ ars\ I 65x35x30 cm I 2010 Eat your mother 6 I silkscreen fired on ceramic I 65x35x30 cm I 2010

EXPERIMENT ~N GRAVURA ROMÂNEASC| DIN ANII ‘70 - ‘80

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EXPERIMENT IN ROMANIAN PRINTMAKING FROM THE 1970S AND 1980S

curator

ADRIAN GU}| (RO) ARTI{TI / ARTISTS

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Geta Br\tescu Aurel Bulacu Suzana Fântânariu Teodor Graur Ion Grigorescu Ioan Horvath Bugnariu Teodor Hrib Radu Igazság Alexandru Jakabházi Iosif Király Ethel Lukáts B\ia[ Ileana Ploscaru Panait Marilena Preda Sânc Gheorghe Rasovszky Ion Stendl Adrian Timar László Ujvárossy

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GETA BR|TESCU

Joc de patru I xilogravur\, colaj, desen I 37x40 cm fiecare I 1982 58

Play of four I woodcut, collage, hand drawn I 37x40 cm each I 1982

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AUREL BULACU

Arheologie 1 I aquaforte, aquatinta, pointe seche, dou\ straturi cusute I 53x70 cm I 1978 Archaeology 1 I etching, aquatint, dry point, two sawn layers I 53x70 cm I 1978

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SUZANA FÂNTÂNARIU

Ambalaj pentru suflet I xilogravur\-obiect I 110x10x50 cm I 1989 60

Wrapping for the soul I woodcut-object I 110x10x50 cm I 1989

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TEODOR GRAUR

Rom창nia 2 I creion pe h창rtie, frotaj I 50x70 cm I 1994 Romania 2 I pencil on paper, frottage I 50x70 cm I 1994

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ION GRIGORESCU

Amintirea unei veri la munte I cliché verre I 40x50 cm I 1972 62

Memory of a summer on the mountain side I cliché verre I 40x50 cm I 1972

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IOAN HORVATH BUGNARIU

Box I aquatinta I 64x82 cm I 1977 Boxing I aquatint I 64x82 cm I 1977

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TEODOR HRIB

Acas\ I aquaforte, aquatinta, pointe seche, desen I 54x73 cm I 1987 64

Home I etching, aquatint, dry point, drawing I 54x73 cm I 1987

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RADU IGAZSĂ G

Amintiri 2 I relief, colaj, tu[ I 50x69,5 cm I 1986 Memories 2 I embossing, collage, ink I 50x69,5 cm I 1986

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ALEXANDRU JAKABHÁZI

Pas I fier, colaj I 35x43 cm I 1986 66

Step I iron, collage I 35x43 cm I 1986

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IOSIF KIRĂ LY

Contribu]ie la proiectul de mail art Brain Cell coordonat de Ryosuke Cohen I 43x30,5 cm fiecare I 1986-1989 Contribution to the Mail Art Project Brain Cell coordinated by Ryosuke Cohen I 43x30,5 cm I 1986-1989

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ETHEL LUKĂ TS B|IA{

Obsesie X I xilogravur\, colaj I 88x68 cm I 1987 68

Obsession X I woodcut, colage I 88x68 cm I 1987

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ILEANA PLOSCARU PANAIT

La femme mal connue I aquaforte, aquatinta, ulei pe h창rtie I 20x16,5 cm I 1983 La femme mal connue I etching, aquatint, oil on paper I 20x16,5 cm I 1983

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MARILENA PREDA SÂNC

~nl\untru I video performance pe fundal serigrafic I 32” I 1993 70

Inside I video performance on silkscreen background I 32” I 1993

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GHEORGHE RASOVSZKY

Supraimpresii 3 I foto asamblaj, interven]ii culoare I 87x124 cm I 1980-1981-1985 Supraimpressions 3 I photo assemblage, hand made color interventions I 87x124 cm I 1980-1981-1985

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ION STENDL

Cartea detaliilor I xilogravur\, desen, litografie, frotaj, fotografie I 20,5x20,5x4 cm I 1985 72

The book of details I woodcut, drawing, lithography, frottage, photography I 20,5x20,5x4 cm I 1985

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ADRIAN TIMAR

Hier Goya I offset, intaglio I 58x45 cm I 1979 Hier Goya I offset, intaglio I 58x45 cm I 1979

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LÁSZLÓ UJVÁROSSY

Eliberarea sentimentului dintr-un spa]iu rigid XX I offset, litografie I 47,5x69 cm I 1980 74

Eliberating the feeling from a rigid space XX I offset, lithography I 47,5x69 cm I 1980

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EXPERIMENT ~N GRAVURA MEXICAN| CONTEMPORAN| EXPERIMENT IN MEXICAN CONTEMPORARY PRINTMAKING

curator:

CIPRIAN CIUCLEA (RO) ARTI{TI / ARTISTS DARIO RAMIREZ MARCELO BALZARETTI MARTACARMELA SOTELO JOSÉ PORRAS GÓMEZ

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Parteneri / Partners

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DARIO RAMIREZ

Auto-sincronizare XIV I frotaj pe h창rtie japonez\ I 350x590 cm I 2008 78

Auto-cronometria XIV I frottage on Japanese paper I 350x590 cm I 2008

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MARCELO BALZARETTI

Transfigur\ri I cap de oaie, craniu [i imprim\ri ale fe]ei autorului, tu[ pe hârtie I 51x47 cm fiecare I 2004 Transfigurations I sheep head, skull and author’s face prints, ink on paper I 51x47 cm each I 2004

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MARTACARMELA SOTELO

Casa San Bartolomé de Xala I mediu acrilic, reziduuri, rugin\, lacuri [i vopsele pe bumbac I 2007 80

San Bartolomé de Xala House I acrylic,residues, rust, varnishes and paints on cotton I 2007

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JOSÉ PORRAS GÓMEZ

Produse de export I xilogravur\ [i stencil I 190x140 cm I 2008 Export Products I woodcut and stencil I 190x140 cm I 2008

REPRODUCERE, REPETI}IE {I REVOLT|. MULTIPLICITATE ~N ARTA SPANIOL| EMERGENT|

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REPRODUCTION, REPETITION AND REBELLION. MULTIPLICITY IN SPANISH EMERGING ART

curator:

JAVIER MARTÍN-JIMÉNEZ (ES) ARTI{TI / ARTISTS JAVIER ARCE DEMOCRACIA EL CARTEL FERNANDO GARCÍA NOAZ PSJM ENRIQUE RADIGALES DANIEL SILVO AZUCENA VIEITES EDICIONES PURÉ LALATA (REVISTA OBJETO) LA MÁS BELLA S.T. LIBRO OBJETO

Un proiect al / A project of: Organizat de / Organized by: Cu sprijinul / With the support of:

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~n colaborare cu / In collaboration with:

Parteneri / Partners: 83

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DEMOCRACIA

Nu v\ l\sa]i consola]i I meci de fotbal dintre Girondins de Bordeaux [i Stade Rennes, 27 septembrie, 2009. Stand mobil care vinde bannere [i produse de consum Do not allow yourselves to be consoled I football match between Girondins de Bordeaux and Stade Rennes, September 27th, 2009. Mobile stand selling banners and merchandise

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DANIEL SILVO

P\un de 10 Euro, seria Patru modalit\]i de a-]i `ndoi banii I fotografie color I 50x70 cm I 2009 10 Euro Peacock, Series Four ways to fold your money I color photography I 50x70 cm I 2009

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PSJM

Proiect “MARX ®” I campanie de strad\, Gijón, Spania I 172 x 117 cm I 2008 86

Project “MARX ®” I street campaign, Gijón, Spain I 172 x 117 cm I 2008

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JAVIER ARCE

Contele-Duce de Olivares. Seria mototolit\ I carioca pe h창rtie rupt\ I 360x270 cm I 2007 The Count-Duke of Olivares. Crumpled Series I felt-tip pen on tear-proof paper I 360x270 cm I 2007

BIENALA INTERNA}IONAL| DE GRAVUR| EXPERIMENTAL| INTERNATIONAL EXPERIMENTAL ENGRAVING BIENNIAL Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia Atelier 030202, Bucure[ti Anaid Art Gallery, Bucure[ti Institutul de Istoria Artei “G. Oprescu” al Academiei Române, Bucure[ti Galeria de Art\ Contemporan\ a Muzeului Na]ional Brukenthal, Sibiu Teatrul de Comedie, Bucure[ti The “Brancovan Palaces” Cultural Center, Mogo[oaia Atelier 030202, Bucharest Anaid Art Gallery, Bucharest The Institute of Art History “G. Oprescu” of the Romanian Academy, Bucharest The Contemporary Art Gallery of the National Brukenthal Museum, Sibiu Comedy Theater, Bucharest Texte / Texts: Marta Raczek, Eva Möseneder, Adrian Gu]\, Olivia Ni]i[, Ciprian Ciuclea Fotografii / Photo credits: cu amabilitatea arti[tilor / courtesy to artists, Ciprian Ciuclea Identitate vizual\, catalog [i web design / Visual Identity, catalog & web design: Ciprian Ciuclea Traducere / Translation: Olivia Ni]i[ Mul]umiri / Thanks to: Doina Mândru, Karin Cervenka, Margit Zuckriegl, Rodolfo Herrera Saldana, Natalia Mosor, Diana Dochia, Mihai Zgondoiu, Silviu Angelescu, Ioana Vlasiu, Carmen Lupule], Alexandru {eremet, Ioana Ra]\, Ciprian Paleologu, Rodica C\p\]ân\, Liviana Dan, Elisabeth Ochsenfeld, Drago[ Iancu, Johannes Aldrian, Carmen Acsinte, Cosmin N\sui, C\t\lin Zamfir

Descrierea CIP a Bibliotecii Na]ionale a României International Experimental Engraving Biennial, 2010 ISBN 978-973-0-09332-2

Centrul Cultural Palatele Brâncovene[ti The “Brancovan Palaces” Cultural Center Institu]ie finan]at\ de / Institution supported by Consiliul General al al Municipiului Bucure[ti The City Council of Bucharest Municipality

Asocia]ia Experimental Project / Experimental Project Association office@experimentalproject.ro; www.experimentalproject.ro