DADADA

Media Art Festival

DADADA 3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

{dacă o imagine face cât o mie de cuvinte, atunci, o imagine cu text explicativ face cât o mie de cuvinte minus cuvintele textului explicativ.}

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Primăria Municipiului Arad / Centrul Municipal de Cultură Arad Muzeul de Artă Arad / kinema ikon / KF / : BARIL / APA

Media Art Festival

DADADA 3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

DADADA

Media Art Festival

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Media Art Festival

DADADA ///-rd 3 d 1 \ 1 ( ) N 2 0 1 6 A r A d

{if an image is worth

a thousand words, then an image with an explanatory caption is worth one thousand words minus the number of words that make up that caption.}

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Media Art Festival Arad ediția a III-a: DADADA {dacă o imagine face cât o mie de cuvinte, atunci o imagine cu text explicativ face cât o mie de cuvinte minus cuvintele textului explicativ} – Scurtă introducere – Iată o explicație! Par hasard și prin absurd, explicația unei exclamații care provoacă tocmai fiindcă aparent nu are nevoie de explicație. Chiar dacă nu știm încă la ce se referă, răspunsul DADADA, e parcă universal valabil și de la sine înțeles. Aflat la a III-a ediție, Festivalul de artă media de la Arad a reunit din nou și încă o data avangardiști de multe spețe (artiști, designeri, arhitecți, cineaști, cinefili, critici de artă +) cu orientări estetice în principal experimentale, pe cât de divergente, pe atât de complementare. Lucrările fabricate în urma invitației noastre – instalații multimedia, pictură, obiect, fotografie, video – au fost expuse în cadrul unei expoziții la Muzeul de artă din Arad. Galeriile au putut fi vizitate între 27 Octombrie și 26 Noiembrie 2016.

După un amplu periplu, festivalul, început în toamna lui 2014 la Muzeul de artă, ajuns în 2015 într-un spațiu comercial din incinta Atrium Mall, și care a inclus un stop-over la Muzeul National de Artă Contemporană din București, a revenit deci la Muzeul de artă. Titlul DADADA, face trimitere la aniversarea a 100 de ani de la începuturile mișcării Dada. Deși intenționat, reperul rămâne accidental. Am putea spune ca Dada a creat scuza perfectă pentru noi, precum și pentru multe din generațiile care au urmat inițiatorilor mișcării. Am executat un exercițiu de gimnastica Dada, prin simpla adăugarea unui DA. Rezultă un DA superlativ de afirmativ. Plecând de la construcția estetică imaginea ca idee/cuvânt, sau idea/cuvântul ca imagine, am lansat apelul la proiecte sub forma unei ecuații: {dacă o imagine face cât o mie de cuvinte, atunci o imagine cu text explicativ face cât o mie de cuvinte minus cuvintele textului explicativ} Expoziția principală de la Muzeul de Artă a propus astfel o abordare ludică a relației cuvânt-imagine, dar și a muzeului ca arhivă, întorși fiind în spațiul de unde am plecat. Dacă primul festival > R.A.M. Random Access Memory < a luat memoria locului si a convertit-o prin intervenții multimedia, al doilea > R.E.M.x Rapid Eye Movement < sub pretextul somnolenței excesive a abandonat-o total în favoarea unui spațiu antipatic muzeului tradițional, inserat în miezul târgului, la mall. Cetățenii, provocați de întrebarea „Unde e muzeul de artă?” au început să vadă arta chiar și acolo unde se așteptau mai puțin, pe strada, la mall, și s-au ținut după urmă până au ajuns înapoi la muzeu... unde între timp a apărut un indicator. Va fi mai ușor de ținut minte, de acum încolo.

Esențiale pentru festivalul DADADA au fost și cele trei secțiuni anexe. În paralel cu deschiderea expoziției principale, kinema ikon a prezentat ultimul episod al „serialului” (o serie de expoziții de autor, film, 6

video și artă media, începută de asemenea în 2014), sub forma unei capsule a timpului. Închisă la finele festivalului, aceasta se va deschide în 28 octombrie 2070 cu ocazia centenarului grupului. Sâmbătă, 29 octombrie, la atelierul kinema ikon de la Muzeul Arad au fost proiectate filme experimentale produse de către membrii grupului între 1970-1989, recent transferate într-o nouă ediție digitală > atelier kinema ikon <.

Ultima secțiune a festivalului > cabaret KF < a avut loc la cafeneaua KF. Seara a început cu prezentarea lui Adrian Notz, directorul Cabaret Voltaire din Zurich, urmată de o discuție cu publicul, împreună cu criticii invitați pentru eveniment: Horea Avram, Judit Angel, Cristina Bogdan, Diana Marincu, George Săbău. Aceștia au contribuit de asemenea texte de critică și analiză pentru catalogul pe care urmează să îl frunzăriți.

Tonul de final, le coup de grâce, a fost dat de un performance gH. Timp în care instalațiile site-specifice ale lui Bogdanator și ale Arinei Varga ocupau fără să interfereze fundalul întâlnirii... Cortina a fost trasă, ediția s-a încheiat, redacția s-a închis. Orice trilogie de succes își merită poate continuarea. Rămâne de văzut care vor fi consecințele micii mișcări de arta media pe care am încercat să o stârnim de la Arad. Cât timp ne mai ține povestea pe marginea scaunului, may the force be with you.

Curatori, Călin Man & Ileana Selejan

DADADA Apparatus 22, Arantxa Etcheverria, Maria Balabaș, Linda Barkasz, Sandor Bartha, Octavian Belințan, Bogdanator, CitiZenit, Claudiu Cobilanschi, Ioan Paul Colta, flo’, gH, Gelu Giricz, Levente Kozma, Natalia Lazurca, V. Leac, Cristina Luchici, Nita Mocanu, Ioana Vreme Moser, Adela Muntean, Sorin Neamțu, NEURO, Cosmin Neaga, Pnea, Adrian Sandu, Sergiu Sas, Marius Stoica, Iosif Stroia, Taietzel Ticalos, Vlad Anghel, Stefan Tiron, Iulia Toma, Bogdan Tomșa, Arina Varga, Mihai Zgondoiu kinema ikon: serial reVoltaire, Ioan Paul Colta, flo’, Bogdanator, Bogdan Tomșa, Nita Mocanu, Marius Stoica, KF, Alex Leric, Maria Tămășan, Traian Selejan, Anamaria Tatu, Darius Cheța, Sergiu Mureșan, Amalia Ignuța, Gelu Giricz, Robert Jianu, Crista Milici, Adela Muntean, Ioan Liviu Orlețchi, Adrian Sandu, Oana Furdea, Mihnea Rareș Hanțiu, Sergiu Sas, Adelina Laura, Mihai Sălăjan, Mihai Păcurar, Mihai Zgondoiu, Anca Manga on Earth, Cristina Bogdan, V. Leac, Andrada Pecican, Alexandru Pecican, gH atelier kinema ikon George Sabau, Romulus Bucur, Romulus Budiu, Roxana Cherecheș, Valentin Constantin, Ioan Galea, Florin Hornoiu, Calin Man, Ioan T. Morar, Marcela Muntean, Gelu Mureșan, Cristian Ostafi, Alexandru Pecican, Ioan Plesh, Iosif Stroia, Viorel Simulov, Demian Șandru, Liliana Trandabur, Emanuel Țeț cabaret KF Adrian Notz, Judit Angel, Horea Avram, Cristina Bogdan, Diana Marincu, Ileana Selejan, George Sabau

Media Art Festival Arad 3rd edition:

staging newly commissioned artworks in symbiotic as well as contradictory relationships to the permanent collection, converting gallery space through multimedia DADADA {If an image is worth a thousand words, then interventions. While the second > R.E.M.x Rapid Eye an image with an explanatory caption is worth one Movement < under the pretext of excessive somnolence thousand words minus the number of words that make abandoned this space altogether, antagonizing the up that caption.} traditional(ist) museum, by inserting itself in the midst of the public’s main local attraction (infiltrating it?), – Short Introduction – the mall. Provoked by the query “Where is the art Here’s a thought! Or perhaps an explanation. As absurd museum?” the city’s inhabitants began to see art even when and where they least expected to find it, on the and haphazard as it may be, it is the explanation of an street and, yes, at the mall. They followed the trail until exclamation, one which provokes precisely because it it brought them back to the museum… a banner was appears to require no explanation... Even without any raised on the side of the building in the meantime. It sense of what it might refer to, the phrase DADADA, is easily perceived as universally valid and self-explanatory. should make it easier to remember from now on.

The 3rd edition of the Media Art Festival brought Three sections parallel to the main exhibition presented together once again and once more, avant-gardists equally essential contributions towards the Festival’s of many species and allegiances (artists, designers, wholesomeness. In an adjacent gallery, kinema ikon architects, film-makers, film-lovers, art critics +). All unveiled the last episode from its “serial”: a time of them share primarily experimentalist aesthetic capsule. (“Serial” was 3-part series of solo exhibitions agendas, and even when divergent, their practices of film, video and media works, launched in 2014, and complement each other to a significant extent. The curated by Călin Man). Sealed at the end of this most artworks that were fabricated following our invitation – primarily installation work, multimedia, painting, object, recent Festival, the capsule will only be opened on October 28, 2070, when the group will celebrate its photography, video – were shown as part of a group 100th anniversary. On the second day of the Festival, at exhibition at the Art Museum in Arad. Galleries were the Arad Museum, kinema ikon hosted a screening of open between October 27 and November 26, 2016. experimental films produced by the group’s members between 1970 and 1989, all recently transferred to a After a long journey, the Festival has finally returned to new digital edition > atelier kinema ikon <. The last its original location, at the Art Museum. Launched in section of the Festival > cabaret KF < was held that the autumn of 2014, it passed through a commercial same Saturday at KF café. The evening began with space at Atrium Mall, with a stop-over at the National Museum of Contemporary Art in Bucharest in 2015. One a presentation by Adrian Notz, director of Cabaret Voltaire in Zurich, followed by a discussion with the might argue it has become a palindrome, of sorts. Our public and with critics invited to participate in the new title, DADADA, ties in with the 100th anniversary event: Horea Avram, Judit Angel, Cristina Bogdan, of the Dada movement. Although intentional, all ties Diana Marincu, George Săbău. Each of them graciously remain however accidental. By sheer coincidence, contributed a critical text, included in the last section we took up the idea of DADA as a provocation, as a of this exhibition catalogue. The final touch, although productive disruption, or an undisruptive production more of a final blow / coup de grâce was delivered at that. We performed an exercise, a coordinated through a performance by gH, while site-specific movement, inspired by Dada gymnastics: through the installations by Bogdanator and Arina Varga phased in addition of one more +DA, we obtained a superlatively and out of the background... The curtain was drawn, the affirmative DA! Sidelining this excuse of a title, we put edition has ended, the newsroom closed for the night. forth a call for projects formulated as an equation: {If Any successful trilogy deserves perhaps a good sequel. an image is worth a thousand words, then an image The effects this small media art movement we sought to with an explanatory caption is worth one thousand stir in Arad may have had remain to be determined. For words minus the number of words that make up that as long as the story keeps us hanging on the edge of caption.} We extended our search to locate aesthetic our seats, may the force be with you. approaches and strategies shaped by this notion of the image as idea/word, or by the idea/word as Curators, Călin Man & Ileana Selejan image. To recapitulate in slightly different terms, the main exhibition focused on the relationship between word and image, via ludic media-based explorations.

It likewise sought to further dialogues concerning the archival function of the museum – keeping in mind of course the reinsertion of these playful experiments into the (almost) white cube. Was this return necessary? Was it redundant?

Where else to go? The first Festival > R.A.M. Random Access Memory < tackled institutional memory by Unknown, Untitled, n.d.

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vineri, 28 oct. 2016 ora 18.00 -Muzeul de Artă Arad Str. Gh. Popa de Teiuș 2-4

DADADA

3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

Media Art Festival

DADADA

Apparatus 22 Arantxa Etcheverria Maria Balabaș Linda Barkasz Sandor Bartha Octavian Belințan Bogdanator CitiZenit Claudiu Cobilanschi Ioan Paul Colta flo’ gH Gelu Giricz Levente Kozma Natalia Lazurca V. Leac Cristina Luchici Nita Mocanu Ioana Vreme Moser Adela Muntean Sorin Neamțu NEURO Cosmin Neaga Pnea Adrian Sandu Sergiu Sas Marius Stoica Iosif Stroia Taietzel Ticalos Vlad Anghel Stefan Tiron Iulia Toma Bogdan Tomșa Arina Varga Mihai Zgondoiu

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reVoltaire: Muzeul de ArtÄ&#x192; Arad . banner, 500x100 cm

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Arantxa Etcheverria: Comedia . digital print on foam board, 200x300 cm & installation of 5 painted wood structures, variable dimensions

DADADA

Sorin NeamČ&#x203A;u: Almost Chair Lifted Against a Blue Ball . steel, rubber, 100x100x440 cm

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DADADA

Cristina Maria Luchici: hyla arborea arborea . glass, desiccated frogs, dimensions variable

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Bogdanator: “... și acum urmează știrile despre vreme” . acrylic on canvas, 120x120 cm

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CitiZenit: Meta Green . digital video, 05:52

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Bogdanator: inovision . acrylic on melamine fibreboard, 230x330 cm

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Gelu Giricz : nununu . rocks, light, shadows, dimensions variable

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n.e.u.r.o. / Cosmin Neaga: Naive Video . digital video, 06:10

DADADA

Ioana Vreme Moser: Lazeadaisical . installation: digital video, 03:

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:48, stereo sound & Sound Object (2015) glass bottle containing 366 tips to help you with your operating overflow, mono bluetooth sound.

DADADA Adrian Sandu: network . glass cube, mirror, wire and electronic components, 80x80x100 cm 21

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Iosif Stroia: Desen . digital print on foam board, 70x100 cm

DADADA

Ioan Paul Colta: ダダイズム . ready-made, 20x20x7 cm

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Vasile Leac / Stefan Tiron: Chat la Moinesti . digital video, 01:00

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Linda Barkasz: DADAD Aciâ&#x20AC;&#x2122;Ya . acrylic on melamine fibreboard, 240x330 cm

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Sergiu Sas: Vanessa . digital video, 09:43

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Bogdan TomČ&#x2122;a: Folders: 432 file tabs with random text cut-outs, dimensions variable

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Nita Mocanu / Marius Stoica: Only Tomorrow 2 . digital video, online application

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Sandor Bartha: Bracket . media installation, video, objects, 120x220 cm

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floâ&#x20AC;&#x2122;: posters banners flyers advertising directions lights warnings . thermo glass, stickers, 100x40 cm

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gH: now, why in the world would i put butter near the drawing of a fly? . spraypaint on melamine fibreboard, petri dish, 82% fat butter, mirror

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Adela Muntean: Alter Ego . 35mm film negatives, photographs, collage, light table, dimensions variable

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Levente Kozma: Expirator . object

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Apparatus 22: Still Life (raven), Still Life (chimera), Still Life (bestiary) . installation, 100x180 cm

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Maria BalabaČ&#x2122;: Compunere din imaginaČ&#x203A;ie . permanent marker on melamine fibreboard, 130x330 cm

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Pnea: 361, 358, etc . fineliner on paper, 0,6X14,8 x 21 cm

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Iulia Toma: #orientalswelcome . cut-out carpet, 115x183 cm

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Claudiu Cobilanschi: Shy Tanks . digital print, edition of 350, 10x14 cm

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Octavian BelinČ&#x203A;an: The Bigger Picture . mixed media on melamine fibreboard, 250x330 cm

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Natalia Lazurca: Love Me in American Years . digital video, 01:50

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Taietzel Ticalos / Vlad Anghel: Only humans search for meaning . digital video, 03:08 + GIFs loop

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Mihai Zgondoiu TZARA, TZARA, VREM DADA . stencil on canvas, 121x221 cm DADA LOVE . mirror object, 21x21 cm

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*** Tambur / Drum . oil on canvas, video, text, variable dimensions

Picturile au fost expuse, pentru prima oară la Arad, cu prilejul inaugurării Palatului Cultural, octombrie 1913. În perioada interbelică lucrările au făcut parte din pinacotecă. Se presupune că în anii ‘50 tripticul s-ar fi aflat în spatele unui perete fals. În 1977 muzeul a fost reorganizat, iar galeria de artă a devenit expoziție de istorie contemporană. Cele două lucrări au fost rulate pe un tambur. În anul 1984 galeria a fost mutată în sediul actual al Muzeului de Artă (str. Gh. Popa de Teiuș 2-4, etaj II). Din 2015 Palatul Cultural se află într-un proces radical de renovare. Cu această ocazie vor fi reabilitate și sălile cu luminator - spațiul fostei pinacoteci. În data de 19 octombrie 2016 tamburul, cu cele două lucrări, a fost adus la Muzeul de Artă cu scopul evaluării stării de conservare a picturii. În perioada 28-29 octombrie 2016 tamburul cu tablourile sunt expuse în cadrul Festivalului de Artă Media Arad. Până în luna noiembrie când specialiștii în artă și conservare vor începe expertiza, enigma din jurul celor doua picturi istorice va mai persista. tambur: Feszty Árpád (1856-1914) Nr. Inv. 23 Înmormântarea lui Christos (400x1300 cm), ulei pe pânză, triptic: Coborârea de pe cruce (400x310 cm), Cortegiul (400x680 cm), Plângerea (400x310 cm) Liezen Mayer Sándor (1839-1898) Nr. Inv. 10 Matei Corvinul primind însemnele regale (342x495 cm), ulei pe pânză video: * (19 octombrie 2016) Picturile sunt aduse pentru expertiză la Muzeul de Artă Arad (00:52, tambur.mp4, 1280x720, loop)

The paintings were first exhibited in Arad at the opening of the Palace of Culture in October 1913.

During the interwar period they became part of the pinacotheque collection. It is speculated that in the 1950s one of the paintings, a triptych, was placed behind a false wall. The museum was refurbished in 1977, and the art gallery redesigned to host a permanent display on contemporary history. The two paintings were rolled up for storage. In 1984 the art gallery moved to its current location at the Art Museum (Gh. Popa de Teiuș 2-4 str., 2nd floor). Since 2015 the Palace of Cuture has undergone substantial renovation work. The galleries of the former pinacotheque will be rehabilitated as part of this project. On October 19, 2016 the sealed drum was brought into the Art Museum for conservation assessment. Between 28-29 October 2016 it was exhibited as part of the Arad Media Art festival. Its enigma will carry on until November when a group of art historians and conservators will unroll the paintings, and begin their analysis of the two historic pieces. drum: Feszty Árpád (1856-1914) Inventory No. 23 The Burial of Christ (400x1300 cm), oil on canvas, tryptich: Descent from the Cross (400x310 cm), Cortegiul (400x680 cm), Lamentation (400x310 cm) Liezen Mayer Sándor (1839-1898) Inventory No. 10 Matthias Corvinus Receiving the Royal Insignia (342x495 cm), old on canvas video: * (19 October 2016) The paintings are brought in for assessment at the Arad Art Museum (00:52, tambur.mp4, 1280x720, loop)

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vineri, 28 oct. 2016 ora 19.00 -Muzeul de Artă Arad Str. Gh. Popa de Teiuș 2-4

kinema ikon: serial

3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

Media Art Festival

DADADA

reVoltaire Ioan Paul Colta flo’ Bogdanator Bogdan Tomșa Nita Mocanu Marius Stoica KF Alex Leric Maria Tămășan Traian Selejan Anamaria Tatu Darius Cheța Sergiu Mureșan Amalia Ignuța Gelu Giricz Robert Jianu Crista Milici Adela Muntean Ioan Liviu Orlețchi Adrian Sandu Oana Furdea Mihnea Rareș Hanțiu Teo Cociuba Sergiu Sas Adelina Laura Mihai Sălăjan Mihai Păcurar Mihai Zgondoiu Anca Manga on Earth Cristina Bogdan V. Leac Andrada Pecican Alexandru Pecican gH

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reVoltaire: DADADA

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kinema ikon: serial / season 3 / episode 1

Ioan Paul Colta: intimacy

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kinema ikon: serial / season 3 / episode 2

floâ&#x20AC;&#x2122;: offline

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kinema ikon: serial / season 3 / episode 3

Bogdanator: worship RNG majik

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kinema ikon: serial / season 3 / episode 4

Bogdan TomČ&#x2122;a: Alien Armpit

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kinema ikon: serial / season 3 / episode 5

kinema ikon: serial / season 3 / episode 6

Nita Mocanu / Marius Stoica: Network Expressions

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KF: Jonny

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kinema ikon: serial / season 3 / episode 7

kinema ikon: serial / season 3 / episode 8

L’ENE: Le’Jam Alex Leric / Maria Tămășan / Traian Selejan / Anamaria Tatu / Darius Cheța / Sergiu Mureșan Amalia Ignuța / Gelu Giricz / Robert Jianu / Crista Milici

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Adela Muntean: Snakes & Circles

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kinema ikon: serial / season 3 / episode 9

Ioan Liviu OrleČ&#x203A;chi: Me, Myselfie & I

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kinema ikon: serial / season 3 / episode 10

Adrian Sandu: The Balcony

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kinema ikon: serial / season 3 / episode 11

kinema ikon: serial / season 3 / episode 12

Oana Furdea / Mihnea RareČ&#x2122; HanČ&#x203A;iu / Teo Cociuba: a relative human product

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Sergiu Sas: PÄ&#x192;zind merele de aur

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kinema ikon: serial / season 3 / episode 13

Adelina Laura / Mihai Salajan: Catchfish

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kinema ikon: serial / season 3 / episode 14

Mihai PÄ&#x192;curar: Cutia albÄ&#x192;

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kinema ikon: serial / season 3 / episode 15

Mihai Zgondoiu: Nu mai avem artÄ&#x192;!

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kinema ikon: serial / season 3 / episode 16

Anca Manga on Earth: Am uitat tot

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kinema ikon: serial / season 3 / episode 17

kinema ikon: serial / season 3 / episode 18

Vasile Leac / Cristina Bogdan: testând planeta

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kinema ikon: serial / season 3 / episode 19

Andrada Pecican / Alexandru Pecican: 1979 | 2009 | 2039

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gH: cheap kills (p.END.ing)

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kinema ikon: serial / season 3 / episode 20

kinema ikon: Time Capsule

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kinema ikon: serial / season 3 / last episode

kinema ikon: serial season one / 2013 - 2014 episode 1. reVoltaire: Fifty Mississippi episode 2. Bogdan Tomșa: Synthetic Space episode 3. A.L.K.M.Y., Iv Daqu, Golem, Neuro, Newclearfairy, Pnea, Lavinia Grama, Amalia Ignuța, Traian Selejan, Andrei Grec, Cătălin Indreica, Maria Tămășan : CRACIUNIKON episode 4. gH.: Ink & Blood episode 5. Radu Cosma / Iulia Cosma: Mioase a pești de sticlă episode 6. Sergiu, Vulpilandia, Selfmademusic, Cosmin, Lavinia: The Garden Of Freaky Delights episode 7. Nita Mocanu - Jurnal evaziv episode 8. Mihai Pacurar: Your Name Here episode 9. Salajan Mihai: Tribology episode 10. Bogdanator - Utopian (păstrătorul de limbi moarte) kinema ikon: serial season two / 2015 episode 1. geosab // kf: 46016’92”N 21031’57”E / Șantier arheologic / 4175 A.D. episode 2. Judit Angel // Sandor Bartha: Devices For A Better World episode 3. Adriana Oprea // gH.: Black episode 4. Diana Marincu // Nita Mocanu / Levente Kozma: Aproape că nu s-a întâmplat nimic episode 5. Daria Ghiu // Maria Balabas / dslx: [Limitele limbii mele sunt limitele lumii mele] episode 6. l’ene // l’ene / monocore: SOUNDBOARD episode 7. megatron // kinema ikon: AIDC (Automatic Identification and Data Capture) episode 8. Horea Avram // kinema ikon: Screen Savers episode 9. Ioana Calen // Ana Carlan [Modulab]: S.T.E.L.A. - Silver Tech Engineered Light Artifacts episode 10. Ileana Selejan // reVoltaire: Mașina Timpului kinema ikon: serial season three / 2016 episode 1. reVoltaire: DADADA episode 2. Ioan Paul Colta: intimacy episode 3. flo’: offline episode 4. Bogdanator: worship RNG majik episode 5. Bogdan Tomsa: Alien Armpit episode 6. Nita Mocanu, Marius Stoica: Network Expressions episode 7. KF: Jonny episode 8. Alex Leric, Maria Tămășan, Traian Selejan, Anamaria Tatu, Darius Cheța, Sergiu Mureșan, Amalia Ignuța, Gelu Giricz, Robert Jianu, Crista Milici - L’Ene: Le’Jam episode 9. Adela Muntean: Snakes & Circles episode 10. Ioan Liviu Orlețchi: Me, Myselfie & I episode 11. Adrian Sandu: The Balcony episode 12. Oana Furdea, Mihnea Rareș Hanțiu, Teo Cociuba: a relative human product episode 13. Sergiu Sas: Păzind merele de aur episode 14. Adelina Laura, Mimi Salajan: Catchfish episode 15. Mihai Păcurar: Cutia albă episode 16. Mihai Zgondoiu: Nu mai avem artă! episode 17. Anca Manga on Earth: Am uitat tot episode 18. Vasile Leac / Cristina Bogdan: testând planeta episode 19. Andrada Pecican / Alexandru Pecican: 1979 | 2009 | 2039 episode 20. gH: cheap kills (p.END.ing) series finale. kinema ikon: Time Capsule curated by: Calin Man at Art Museum Arad . etaj ][ sala kinema ikon 2013-2016 © kinema ikon

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sâmbătă, 29 oct. 2016 ora 16.00 -Museum Arad Piața G. Enescu 1

atelier kinema ikon

3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

Media Art Festival

DADADA

George Sabau Romulus Bucur Romulus Budiu Roxana Cherecheș Valentin Constantin Ioan Galea Florin Hornoiu Calin Man Ioan T. Morar Marcela Muntean Gelu Mureșan Cristian Ostafi Alexandru Pecican Ioan Plesh Iosif Stroia Viorel Simulov Demian Șandru Liliana Trandabur Emanuel Țeț

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kinema ikon: transfer telecinema HD One Light in ProRes / 1920x1080 / 24fps. a 32 de filme experimentale de pe suport pozitiv 16 mm alb negru si color. // 32 experimental films, digital transfer HD One Light in ProRes / 1920x1080 / 24fps. from 16mm, b&w and colorized.

atelier kinema ikon 72

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George Sabau: Ipostaze simultane / 03:00, fiction, 1970 George Sabau: Decupaje / 09:00, fiction, 1980-1985 George Sabau: Fragmentarium / 09:00, fiction, 1985-1990

atelier kinema ikon 74

75

Demian Șandru: Open-flash / 07:53, fiction, 1975 Romulus Budiu: Singur cu zăpada / 08:03, doc, 1975 Florin Hornoiu: Navetiștii / 07:21, doc, 1975 Ioan T. Morar: Autopsia uitării / 05:21, fiction, 1977 Gelu Mureșan: Concertul / 06:12, anime, 1980 Marcela Muntean: Pulsiuni / 07:21, fiction, 1983

atelier kinema ikon 76

77

Ioan Plesh: Poluare / 05:34, doc, 1977 Ioan Plesh: Efecte de împrimăvărare / 04:43, anime, 1978 Ioan Plesh: Panta Rhei / 05:30, anime, 1979 Ioan Plesh: Iluminări / 05:48, anime, 1981 Ioan Plesh: Solarizare / 04:29, anime, 1981 Ioan Plesh: Emergență / 06:45, anime, 1982

atelier kinema ikon 78

79

Emanuel Țeț: Poem dinamic / 04:30, anime, 1978 Emanuel Țeț: Îmblînzitorul de șerpi / 07:03, fiction, 1981 Emanuel Țeț: Vînătoarea de păsări / 06:55, anime, 1980 Alexandru Pecican: Exercițiu subliminal / 06:12, fiction, 1979 Alexandru Pecican: Fereastră deschisă spre / 06:38, fiction, 1984

atelier kinema ikon 80

81

Valentin Constantin: Început de coerență / 08:45, fiction, 1981 Valentin Constantin: Gros-plan de zi / 06:40, fiction, 1985 Iosif Stroia: Autoportret / 05:46, anime, 1984 Cristian Ostafi: Convergență spre inutil / 06:06, fiction, 1984 Romulus Bucur: Nu trageți în pianist / 03:31, anime, 1984 Calin Man: Pleonasm în peisaj / 02:20, doc, 1986 Roxana Cherecheș / Liliana Trandabur: Mise-en-écran / 06:51, montage, 1989

atelier kinema ikon 82

83

Ioan Galea: Studiu 1 - Detalii / 04:55, fiction, 1986 Ioan Galea: Studiu 2 - Fibonacci / 10:07, anime, 1987 Viorel Simulov: Manuscript / 06:06, anime, 1984 Viorel Simulov: Ocular / 05:36, fiction, 1985 Viorel Simulov: Peisaj Lichid / 08:23, doc, 1988

.4

sâmbătă, 29 oct. 2016 ora 18.00 -KF Piața A. Iancu 11

cabaret KF

Adrian Notz Judit Angel Horea Avram Cristina Bogdan Diana Marincu Ileana Selejan George Sabau

3 d 1 \, 1 a a ///-a 2 0 1 6 A r A d

Media Art Festival

DADADA

Arina Varga dslx Bogdanator

84

85

86

dslx w/ bogdanator: pandora1[vision] | hybrid-formance

Adrian Notz: the art of the upswing | presentation

Arina Varga: Turn your light on lace, glue paste, light bulb, floor lamp, 170x45x30 cm

cabaret KF 87

Ileana Selejan: Da Da Da1 & other (e)motions

These pages might as well be blank.2 Why? Because no gesture, or sound could possibly encompass this relational game. Best this way, all explanations kept soundly, profoundly, at bay. Much of what is being said these days can be easily deemed superfluous. Much of it is. Perhaps nonsense makes more sense, when and where what’s supposed to make sense is complete nonsense. This fluid interdependence we all sometimes wish away, admittedly.

Severed in our loneliness, we desire, we ache. Everything ends up being something, or no-thing.

3 Through our mediated co-presence, drifting towards the depths of the universe, scavenging to survive, like all elsewheres. Classic example of mise en abîme.

Here we are, meeting in the forever of a page. However long this encounter will last and however far it will reach is determined purely by accident and faith. Others might call it a pure accident of fate.

Still, nobody, nobody, nobody believed it would lead to such astounding events.

Let’s see if I can remember how it started.

4

We originally planned the 3rd edition of the Arad Media Festival for another, slightly more exotic, venue.

5 By force or circumstance, we found ourselves returning to the place where it all, indeed, proverbially started, in 2014: at the Art Museum.6 Back then we had no thoughts as to continuity, we started something without knowing if or where it would lead. It seems like the idea took root, and here we are, responsible for having manufactured a suite of exhibitions around some rather marvelous ideas, a trilogy even. Or is it a tryptic by now? If it is, I’d like to claim the predella i.e. the raised platform onto which altarpieces were placed during the Middle Ages, and later during the Renaissance. I, maker of steps, gatherer of words // memento mori // to be placed onto those steps alongside detail-rich miniature panels: strategically, architectonically, demure.

7

88

Someone, a critic, once cautioned us to grow up, stop wearing Bermuda-shorts, and start taking

8 ourselves seriously.

Since that outcome is most unlikely, perhaps we could start wearing each other instead. That much can be promised.

What more fitting spirit animal than the hobby-horse, pointed at by a paper knife cresting the pages of a French-German dictionary. A faked death, a stab at the establishing of the establishment. Friends, we have gathered here today to witness yet another exercise of faith. Behold ye the significance of pure accidents of fate! With what consequences, however, and at what cost! First we played with memory, until the repetition of a certain number of “key words” resulted in generalized stupor. We fell deeply asleep.

9

10

From the boundaries of my dream, I saw your minds explode like supernovas in unison. Don’t worry, no harm can come, as long as you remember you’re asleep. The sky is always brighter on the far side,

the “dark” side of the moon .

1. In June 2016 Mark Zuckerberg’s Twitter and Pinterest accounts were hacked, and his “terrible” password revealed to be “dadada.” Surprise surprise surprise! See Maya Kosoff, “Mark Zuckerberg’s Password Revealed in Hack, Not Even the C.E.O. of Facebook is Safe,” Vanity Fair, June 6, 2016. http://www.vanityfair.com/news/2016/06/mark-zuckerberg-terrible-passwordrevealed-in-hack.

2. I would imagine this textual space to have an equivalent in physical space. Something not unlike the lunar Mare Tranquillitatis, the Sea of Tranquility (00.67408° N latitude, 23.47297° E longitude) – a locus immersed in universal time, yet also anchored in human history, as the site of the first lunar landing of the Apollo 11 mission on July 20, 1969, at 20:18 UTC. 3. David Malin, M83, a spiral galaxy in Hydra, as a negative. See: David Malin, Ancient Light, A Portrait of the Universe (New York: Phaidon Press, 2009).

4. Detail of Hans Richter (?), Emmy Hennings with Doll, 1917.

5. Illustration of Philodendron (Monstera Deliciosa), colloquially known as the Swiss cheese plant, commonly encountered in Romania in domestic spaces, as well as in public institutions such as government offices, ministries, schools, museums, etc.

6. Granted, if we were to have been truly true to our myth of origins, this exhibition would have been planned on a surface of roughly 1 square meters, within and without the boundaries of Calin’s office desk at the Museum.

7. Jean Morin, Memento Mori, n.d. Engraving. Bibliothèque Nationale, Paris.

8. Detail of Man Ray, Portrait of Tristan Tzara, c. 1921.

9. Woodcut illustration from Dryander, Der Arzney gemeiner Inhalt, 1542.

10. Detail of Ford Madox Brown, Study for the Head of Parisina, Parisina’s Sleep, 1842. Black chalk, with ink wash, on grey paper.

299 x 320 mm. Birmingham Museum and Art Gallery.

89

Adrian Notz: The Art of the Upswing (Die Kunst des Aufschwungs) «The Art of the Upswing» is a very dadaistic idea.

One might say it refers to adolescent thoughts, the type we have in puberty. That time, when we, living in this spa of the world, used to get stoned daily and began to discover the first philosophers. Some of them where brought to us by our teachers, the Existentialists for example, like Albert Camus or Jean Paul Sartre.

More clandestinely we then discovered Friedrich Nietzsche and started reading Immanuel Kant or Martin Heidegger even if we couldn’t understand a word.

Much easier to assimilate was Soren Kirkegaard or Karl Jaspers. The latter, a psychiatrist and philosopher born in 1883 in Oldenburg, Germany, was a contemporary of the Dadaists and spoke in twelve radio lectures of his «Introduction to Philosophy» (1953): «Only in the upswing from our restriction to emotions – not by their elimination – can we come to ourselves.» («Nur im Aufschwung aus der Gebundenheit an die Gemütsbewegungen – nicht durch ihre Tilgung – kommen wir zu uns.») Back then, as teenagers, the focus was on «coming to ourselves» of course, while on a subconscious level, we were also very fascinated by the «Upswing». There was something elitist about it. Just a few, a “special league” could manage this upswing, while the masses, as Sigmund Freud believed and demonstrated a hundred years ago, were restricted to their desires and emotions.

Today, no longer adolescent and seemingly getting wiser with silver hair, 100 years after Jaspers and Freud’s first thoughts, we know that the masses are very easily controlled by attacking and seducing their emotions and desires. We know now that fear leads us to vote against «the other», electing populists while our desires are satiated with consumption and controlled by corporations.

Hugo Ball, the founder of Cabaret Voltaire and Dada, wrote in his diary «Flight out of Time» (1927): «The world in 1913 looked like this: life is completely bound and shackled. A kind of economic fatalism prevails; each individual, whether he resists or not, is assigned a specific role and with it his interests and his character.»

We could say, it is still the same. We can easily relate to this prevailing economic fatalism that assigns us a specific role, deciding on our interests and character, as Hugo Ball observed. But in fact it is much worse today, our lives are confined and shackled in a much more complex way. In 1913 the economic and political systems still believed that one should convince and could control people with reason and good sense. In our mass individualism today reason and common sense don’t make sense anymore.

Hugo Ball didn’t trust reason and good sense. In 1913 he was longing for a freeing force: «The most burning

90

question day and night is this: Is there anywhere a force that is strong enough and above all vital enough to put an end to this state of affairs?» A year later for many artists, writers and intellectuals the outbreak of World War I seemed to be precisely this force, the one that would put an end to this state of affairs. Except the conflagration became a devastating war of attrition lasting four years, which wasted a whole generation away in the trenches amidst damp, filth, rats and lice.

Hundreds and thousands of people were torn to shreds by grenades and tanks, gassed by phosgene or burned by mustard gas. It was only then that one realized, that too much rationality would unleash the suppressed primal instincts of human beings and turn human beings into slaughtering monsters.

Therefore, in 1916 the Dadaists in Zurich started to protest reason and rationality. They became the “special league” that Hugo Ball was already searching for in 1913, as he noted on the very same page with the two thoughts above: «What is necessary is a league of all men who want to escape from the mechanical world, a way of life opposed to mere utility. Orgiastic devotion to the opposite of everything that is serviceable and useful.»

In Zurich, the financial eye of the storm and spa of the world, the Dadaists – as described by Hans Arp – sang, painted [abstract art], made collages, composed poetry and danced, searching for an elementary art and a new order that would heal human beings from the folly of the era and create a balance between heaven and hell.

In the orgiastic devotion to the opposite of everything that is serviceable and useful, they discovered their search for «New Art» («Neue Kunst»).

By creating a balance between heaven and hell the Dadaists wanted to destroy the idea of dialectics, of a thinking in left and right, right and wrong or yes and no.

The human dilemma with which the world was fighting, the battle between desire and reason should not be answered by an «either – or» but by an «as well as». Not punk or bank, but punk and bank. Not bliss or fame, but bliss and fame. In the vision of the scale the focus is not on the two bowls but on the pivot in between. Or as a later Dadaist Walter Mehring summed it up: «I am not left, I am not right, I am vertical». Being the pivot or going into the pivot creates a new “Vortex dimension,” that is beyond masculine dialectic thinking. Yes, the pivot is actually very feminine.

Singing, painting, making collages, dancing and searching for an elementary art does sound like a self-help course, one where you would learn to let go and discover, express yourself anew. While on Monte Verità, in the south of Switzerland, they were doing what the masses would only discover in the 60s, the Dadaists weren’t very eager to get stoned and discover themselves. On the contrary, the goal of the Dadaists was to bring the self into a «soulèvement», an upheaval or uprising, as one would translate the term into English.

In French, the word «soulèvement» also has a strong dimension of dissolving, loosening up. They wanted to bring the self into an uprising in order to dissolve it, destroy it and get rid of it. To achieve this, they nourished themselves with the twelve forces: mysticism, psyche, philosophy, literature, art, revolt, primitivism, dance, masks, branding, language and soirée. They melted these forces and categories together in their «Soirées». These were daily evening events, that might have seemed like psychedelic group therapy sessions but were in fact sacrificing rituals for their Selves. In this witches’ cauldron they unconsciously created an event – an «événement» as Jacques Derrida would say – that would befall them from the realm of the impossible into the possible. Only after a while in this self-inflicted exorcism, they found a name for «The Bigger» they were conjuring up: «Dada».

adds dynamics into rigid structures and subsequently opens new dimensions. So we could say, that Dáda is our pornographic, superficial, transparent and glossy time that has no style. As a pivotal dynamic vortex Dadá brings verve, seduction and eros into our time.

Dadá goes in-between things and gives us access to imagination again. Yes, we could even say that Dáda is masculine and Dadá is feminine.

We can use our imagination to create art and see a «Gesamtkunstwerk» arise, one that generates an image of the whole and opens our thinking to vision and utopia. First used by Richard Wagner, the idea of a «Gesamtkunstwerk» was part of the beginning and end of Dada. At the beginning of Dada, Hugo Ball was thinking of Cabaret Voltaire as a Gesamtkunstwerk the way Wagner had described it: a place where all art disciplines are joined together in the making of Hans Richter, a second-hand witness of the events in art. He claimed that «it is not about the artwork, but Cabaret Voltaire, would later describe this moment about art (i.e. life)». At the end of Dada Kurt Schwitters as an immaculate conception: «Dada came over the took this idea further and proclaimed «Merz» to be Dadaists without their knowing it; it was an immaculate a Gesamtkunstwerk that would bring back «form» conception. [...] In the hands of the gentlemen in and style to our time. The «Merzgesamtkunstwerk» Zurich, Dada grew into a creature which stood head «uses of all kind of materials for artistic work» - even and shoulders above all present.» They got in-between human beings could become material for the artwork things, they became the pivot.

- and «plays off these materials against each other», aesthetically and artistically placing them into relation At the end of the Dada era in 1923 the German artist to each-other following an «imperative claim to Kurt Schwitters differentiated between three possible autonomy for art (pure art)». The Gesamtkunstwerk is meanings of Dada by adding an accent to the word, a bachelor machine («Junggesellenmaschine») for the that had first worked as magic gesture and then became masculine self that needs to compensate for not actually an art movement: Dáda, Dada or Dadá. Dáda with the being able to be or live the whole, i.e. the feminine emphasis on the first syllable, Schwitters associates with whole. It is therefore also not surprising that mainly the intonation common to Saxony and finds it trivial. men have been using the notion of Gesamtkunstwerk to Dáda is almost reminiscent of Swiss German, peasant, describe their work. By trying to create an «artwork of rude and vulgar, as if spoken out in a men’s locker room the whole» they became «real-experimenting subjects» or by a group of drunken Romanian politicians. By of the whole. They started to be personifications of the contrast, Dadá, with emphasis on the second syllable, whole they imagined and arranged their lives according sounds French, colored with verve and cosmopolitan it. It is a state of becoming: Art becomes life and life urbanism, says Schwitters. It sounds like a question becomes art. that remains open and suggests that there is more; it is playful, saucy and witty. While Dáda only encourages This movement, using the feminine vortex Dadá as a short, blunt nod and slumps down in dull provincial a pivot to get out of a masculine Dáda time and dip affirmation, Dadá lifts up, making the pointer finger down into imagination, from where we can create and the eyebrows rise, making one’s spirit bright and a Gesamtkunstwerk, is what we call «The Art of the awake. Dada finally, sounds indifferent to Schwitters.

Upswing». By re-enacting this Dadaist upswing today, It sounds like somebody who doesn’t know what they we can create our own «Art of the Upswing». We leave want. It is very monotonous, almost automatic, lacking the restrictions of the contemporary postmodern identification or attitude towards the sound of the word. swamp we find ourselves in and find inspiration in By using Dada, the critics display the same indifference the avant-garde Gesamtkunstwerk ideas to upswing towards Dada as they do towards art. Schwitters uses ourselves towards a «New Art» today and tomorrow, these accents to draw a conclusion: «Our time is called one that will overthrow dialectics in favor of imagination Dáda, we live in an age of Dáda. We experience in the and give us back style and attitude: «Haltung». age of Dáda, nothing is as characteristic of our time as Dáda.» This means that our time has dully collapsed, expresses itself only in snorting laughter, and lacks style. «Dadá is the commitment to the lack of style.

Dadá is style of our time.» Dadá seems to pick up on time. It loosens up the game, rouses, looks at things as they are with verve, questions them, intervenes,

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THE END OF ENDS! SIMULACRUM DIFFÉRANCE L‘AUJOURD’HUI AUTHOR ? / † NEW MEDIA: FURTHER! ART IN THE REALM OF … / ART AS… THE ARTIST AS CURATOR/CRITIC/ACTIVIST…

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Yona Friedman: Merz World Zaha Hadid: Kurt Schwitters

«Das schwarze Quadrat» «Suprematism»

«Die innerliche (geistige) Ähnlichkeit neuer Kunst mit Formen vergangener Perioden birgt den Keim der Zukunft in sich.»

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Mnemosyne Atlas «Denkraum»

[…] das schwarze Chaos, die Undendlichkeit möglicher Formen kosmischen Lebens, in der sich alles Gegebene, Realisiert und Ererbte jederzeit restlos auflösen kann.

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Judit Angel & Peter Szalay: Less, more, enough Rather than the image – text relationship, it was the equation that captured me in the Festival’s motto.1 One thousand words minus X words will be less, while the value of the image may increase/decrease according to the role we confer to the caption’s explanatory function.

Therefore less may be less, more or just enough. This led me to the rhetoric of less which has lately appeared in several domains such as human sciences, architecture, activism and social movements. I’m considering some of my recent encounters with it.

I discovered the fascinating book Less is Enough. On Architecture and Asceticism by Pier Vittorio Aureli at Pro QM, my favourite Berlin bookshop this summer.2 The author is an architect and writer, and his main field of research is situated at the intersection of architecture, political theory and urban history. Taking a critical stance on the modernist dictum of “less is more”, Aureli unveils the hypocrisy behind its combination with today’s austerity politics: while producing more with fewer means has always been part of the logic of capitalism, in the context of an economic crisis, doing more with less means working for less money and with less social security. Aureli delineates a common thread linking the “less is more” attitude in design and austerity politics to the tradition of asceticism, understood as abstinence and self-discipline, deliberate sacrifice of the present for a better future. It is precisely this aspect which makes asceticism both the ideological and moral source of the idea of austerity. The measures of cutting public spending are implemented to deal with public debt, the result of living beyond our means - an ironic consequence of capital’s pursuit of profit and consumption. However, Aureli argues that inasmuch as asceticism addresses the transformation of the self, it can be a means of opression, but also a form of resistance leading to a different way of life than the one forced upon us.

Going back to the etymology of the word (the Greek askein), following the rise of asceticism and monasticism in early Christianity, the author highlights the original meaning of the concept, ”a way to radically question given social and political conditions in a search for a different way to live one’s life”.3 According to the early Franciscans, asceticism was meant to be a form of life devoid of private property, based on coexistence and sharing. It is this tradition of asceticism which is worth revisiting today. In an attempt to reinterpret the idea

1. If an image is worth a thousand words, then an image with an explanatory caption is worth one thousand words minus the number of words that make up this caption.

2. Pier Vittorio Aureli: Less is Enough. On Architecture and Asceticism, Strelka Press, 2013.

3. Idem, p. 15.

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of “less”, Aureli proposes less is enough (instead of more), which “means to redefine what we really need in order to live a good life, a life detached from the social ethos of property, from the anxiety of production and possession, and where less is just enough”.4 Aureli’s thoughts resonate with the connotations of the concept of degrowth, which was at the centre of debate at the 5th International Degrowth Conference held in Budapest this summer. The concept itself, which has emerged over the last ten years, started as an activist slogan and became a social movement. As one may instinctively think, degrowth opposes the dictum of “more and more” - the process of endless growth in a finite world, and searches for alternative economies, politics of sustainability, while calling for a democratic redistribution of production and consumption, and economic and social solidarity. The movement has a global perspective and views today’s economic, political, existential and environmental spheres as interconnected. As Vincent Liegey, one of the conference spokespersons noted, the first step towards change is decolonising our imaginary, which has been colonised by mainstream economy, as most of the limits are within us.5 This summer I also read an article on degrowth and its connections to design, art and mainly architecture by Peter Szalay, the Bratislava based architectural historian and curator. The article discusses the challenges architects face in re-defining their roles in times of crisis.

One the hand, they often find themselves in the place of workers in mass-production, with all the deriving existential and professional consequences. On the other hand, some turn to practices of reducing, reusing and recycling in order to create liveable places in the best sense of the word.6 With Peter we discovered our mutual interest in Aureli’s writings, in degrowth – related issues and of course, in topical matters of architecture, among them, the question of how architects can do truly relevant social work today? That’s why I’ve asked Peter to contribute some notes to this text, leaving open the question of images (with or without). (JA)

4. Idem, p. 59.

5. http://budapest.degrowth.org/ and http://verde.444. hu/2016/08/18/interju-a-nemnovekedes-apostolaval 6. Peter Szalay, Nerást’, in ERA21, 03/2016, Brno.

My essay in the ERA 21 magazine is introduced by the iconic work of French architects Anne Lacaton & Jean Philippe Vassal - the “embellishment” of Aucoc Square in Bordeaux (1996). In the interview for Croatian magazine Oris, Lacaton explained: “In Bordeaux they waited for an image. The major wanted us to do a project of a beautiful layout of the squares in the city. When we come to Place Aucoc there the first impression was that it was already beautiful.” So, the architects decided to leave the square as it was and change only some minor features in the management of maintenance and transportation. As she claimed, their decision was “not about refusing to do something, but we consider that the work of an architect is not only to build, the first to do is to think, and only after that are you able to say whether you should build or not”.7 Doing nothing as a regular architectural approach can be interpreted as an overcoming of the “natalist ideology of architecture” as defined by Steven Cairns and Jane M. Jacobs in their monograph Buildings must die.8 Lacaton & Vassal stepped away from the heroic position of the modernist architect, creator of a new world and from the position of postmodern architects who also enrich our built environment by new spectacles. In the modesty of understanding that what is already here is enough, the role of the architect is moving from inventor of grand social utopias and producer of solutions of particular individual needs to mediator and interpreter of the built and natural environment, who “recognise architecture as a common concern” as defined by London architect Jack Self in his manifesto Real.9

“Heavenly Hundred” Garden, a memorial for the EuroMaidan victims in Kiev, is a good example.11 The NGO Misto-sad organised the re-cultivation of the square where materials from the barricades were stored. Volunteers cleared the land and removed tons of rubbish. Moreover, local residents began to plant trees brought from other parts of the country to honour the victims with a symbol of life. The idea “No tears or candles but only action” filled the square with a playground, a community garden and an open event space which is constantly in use. It is a memorial without any rigorous artistic or architectural conception yet it was opened by high state representatives as a revolution memorial. Could this turn from representation to common experience be the dawn of Aureli’s “search for a different way to live one’s life”?

(PSz).

Focusing on the recognition of common interests which overlap interests for the growth of economic wealth is visible in the increasing interest in collective and collaborative approaches in architecture as well as art. Acknowledging that this way of thinking is current in both art and architecture was demonstrated by the group of architects and artists known as Assemble which won the 2015 Turner prize for their collaborative work on the reconstruction and social rejuvenation of an abandoned street in Liverpool.10 Common and collaborative principles are favoured in current artistic discourse and have become a global trend. In addition to representing a type of creative method, these practices have begun to replace the representative functions of art and architecture. The

7. Ante Niksa, Sasa Bradic, Vera Grimmer: “We don’t much believe in form” interview with Anne Lacaton. Osis nr. 24, 2003, p. 116 - 117.

8. Steven Cairns, Jane M. Jacobs: Buildings Must Die: a Perverse View of Architecture. London, Cambridge: MIT Press, 2014, p.

156.

9. http://real.foundation/ 10. http://assemblestudio.co.uk/?page_id=1030

11. http://www.publicspace.org/en/works/j308%D0%A1%D0%BA%D0%B2%D0%B5%D1%80-%D0%9D%D0 %B5%D0%B1%D0%B5%D1%81%D0%BD%D0%BE%D1%97%D0%A1%D0%BE%D1%82%D0%BD%D1%96/prize:2016 95

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Horea Avram: Re:DADA Revizitând, remixând, renegând DADA - Un (pseudo) manifest al secolului 211 „Pentru a lansa un manifest, trebuie să vrei: ABC. Pentru a izbucni împotrivă, 1, 2, 3.” (...)

apocalipsa radicalismului religios face prăpăd prin oraşe şi sate. Şi în mințile oamenilor. Dar care, în numele ideologiilor anti-anti, multi-culti, post-tot e mereu iertat, dacă nu întreținut în virtutea aceloraşi idei aşezate de-a latul democrației. Câtă vreme obscurantismul religios îşi dă mâna cu doctrina, totul merge de minune. Pentru ei. Valorile democrației şi libertatea sunt amestecate şi siluite, apoi lustruite şi proptite ca argumente forte în marea lor zacuscă totalitară.

Alții – mai prieteni, mai neprieteni cu cei dinainte – revendică şi rezistă şi ei în prime-time, dar pe sens opus: îşi arogă întâietăți şi exclusivisme naționale, revendică tradiții, flutură populisme şi produc gargară „Dacă gasiți că e futil şi dacă nu vom pierde timpul rasistă construind radicalisme pe bază de identități cu un cuvânt care nu înseamna nimic.” pure. Şi eventual dure. Asta, deşi ADN-ul şi albumul de familie le este încâlcit şi colorat. Oamenii aceştia vor Căci, în fond, ce relevanță mai are DADA astăzi? E un imperii – mici sau mari, nu contează – dar zămislite pe cuvânt golit de sens (de un sens pe care nu l-a avut bază de certificat de naştere „curat” şi limbă maternă niciodată), sau mai poartă cu sine revolta, revoluția? Sau cu aprobare. Ei nu au îndoieli, ci doar certitudini. Ei arta, poate? nu se întreabă şi nu dezbat critic despre ei înşişi, ci întotdeauna despre ceilalți. Indiferent de cum îl definesc Tzara arde şi DADA se piaptănă.2 Arta e o miză şi politica pe „celălalt”. Pentru ei, femeia e anexă, minoritarii o e un joc. Arta stă rău, iar politica e pe lângă. Cu toate pacoste, iar imigranții, răul absolut. Ăştia sunt fascistoizii acestea, se dezbat idei şi se arunca lucruri în aer (uneori cu bibliografie. Sunt cei care consideră că naționalitatea, la propriu). Se spun şi se nespun lucruri, se fac şi se etnicitatea şi religia în care s-au născut sunt un soi de desfac idei cu poftă, ciudă şi lecturi obligatorii. dat suprem, eventual pogorâte direct din ceruri. Ei cred cu tărie în pedigree-ul lor impecabil şi în identitate Astăzi toată lumea revendică ceva. ca un fel de parolă de acces la eternitate. Pentru ei, Pe tărâmul politicii, unii vor să afle întrebări pentru protocronismul ține loc de istorie, păşunismul e filosofie nişte răspunsuri deja ştiute şi consumate, însă niciodată motivațională, iar retorica revendicativă şi ***-fobă viabile. Reşapează himere şi se complac în gândire substituie civismul şi etica socială. Transa lor identitară second-hand. Preiau grațios/grețos clişee de secol nu lasă loc Europei sau alterității: tot ce iese din lumea XIX, propunându-le ca panaceu şi cale de mântuire lor ridicol de pură şi penibil de mică trebuie amendat şi tip instant pentru probleme reale, actuale, dar perene. condamnat. Liderii lor politici fac guverne pe persoană Mulți intelectuali (puțini dar vocali) poartă boala gravă fizică, iar supuşii lor au pe suflet sigla de partid. Politica a totalitarismului, îmbrățişează inconştient o religie acestor pseudo-cavaleri ai dreptății ar putea ține de politică retrogradă, dar mereu – nu ştim de ce – la stand-up comedy, dacă nu ar fi tristă şi de-a dreptul modă. Un opium al intelectualilor, ăsta e comunismul toxică, un amestec de gândire de tip selfie şi religie gen lor de salon. Intelectualii radicali „rezistă”. Față de cine? fast-food „cu specific”.

Față de propria lor lume. Față de lumea strâmbă pe care o legitimează şi la decăderea căreia sunt complici. Între timp, arta e bine, merci. Nedumerită şi superbă, De la înălțimea micului lor cont de FaceBook, aceştia scade surâzând.3 Idei puține, dar „opere” multe. anatemizează valori şi oameni, opinii şi principii ce Comerțul e în floare, târgurile şi muzeele sunt pline de nu le sunt pe plac. Ideologia lor e hip, atitudinea lor e negustori, banul curge, artistul produce. Artiştii sunt cool. Au şi un țap ispăşitor pentru toate relele: Europa curatori, curatorii sunt agenți de vănzări, iar criticii şi occidentul, cu toate valorile lor. Asta, câtă vreme sunt agenții tuturor. Nu se mai face critică de artă, ci laudatio, căci spiritul critic e politically incorrect. De ce să critici când scopul e să vinzi, nu să conceptualizezi? Şi cum să critici când există pericolul de a fi judecat pentru hărțuire textuală? „DADA – iată un cuvânt care aruncă idei pentru a fi vânate” (...)

1. Acest text este o interpretare/actualizare a faimosului „Manifeste Dada 1918” de Tristan Tzara. Manifestul a fost citit la 23 iulie 1918 de către Tristan Tzara la Zunfthaus in der Meise, Zurich şi publicat în decembrie în revue Dada3, Zurich 1918.

Ghilimelele indică citatele din manifestul original (în franceză, sau în traducere proprie).

2. „Tzara arde şi DADA se piaptănă” este titlul unei piese de teatru inspirată de şi bazată pe texte Dadaiste. Scenariul aparține lui Ion Pop, Ștefana și Ioan Pop-Curşeu. Piesa a fost pusă în scenă la sala Studio „Art Club” a Teatrului Național ClujNapoca, în primăvara anului 2016.

3. Cf. Gellu Naum, „Crusta”, Poeme alese, Bucureşti: Cartea Românească, 1974. „... în tot acest timp copiii / creşteau şi puneau o singura întrebare / pe când adulții nedumeriți şi superbi / scădeau, scădeau surâzând.”

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Instituțiile de artă se descurcă fiecare cum pot: unele se închid, altele se deschid.... spre comerț. Câtă vreme unele muzee, programe, granturi şi centre de artă dispar, altele se reorientează: devin depozitul şi aparatul de legitimare al galeriilor comerciale, al dealership-ului global şi al colecționarilor cu pasiuni offshore. Şcolile de artă oscilează nesigur între lucrativ şi critic cu studenți ce împrumută măştile trecutului pentru a inventa roata din nou şi din nou. Târgurile de artă, lățite acum spre noi şi noi fruntarii, prosperă financiar, în timp ce mimează progresul şi interesul pentru... artă. Bienalele au devenit vitrine de bibeloruri şi cuprinzătoare showroom-uri pentru colecționari bogați şi muzee cu dedicații. La Veneția, de exemplu, Marx şi Rolls-Royce se dau ipocrit şi duplicitar în aceeaşi barcă.4 În oricare format, însă, artiştii şi negustorii o fac lată pe bază de contract. „Nu ne pierdem timpul pentru un cuvânt care nu semnifică nimic...” Asta era DADA pe vremuri, asta riscă să devină acum arta, fără a fi devenit DADA. Un cuvânt care nu semnifică nimic. Arta se complace în formula anything goes atâta vreme cât treaba merge. Îngrijorător de multă artă de azi e urâtă pur şi simplu. E şi idioată, de multe ori. Prea des vedem artă cu emfază, dar goală de sens, poversism involuntar şi epigonism cu ştaif: asta nu arată decât incultura artiştilor şi fățărnicia galeriştilor. În multe expoziții, Readymade a devenit dé­ jà-vu. Statementul ține loc şi de statement şi de lucrare, căci, aceasta din urmă nu e decât o încropeală cu pretenții de lucrare. De multe ori, cubul alb al galeriei se transformă în cutia neagră a cinemaului, fără a o problematiza, ci doar a o transforma într-un spațiu neutru unde ingurgităm cu greu, în picioare, panseuri video nesfârşite. Mai nou, ignoranța, autosuficiența şi rețetele semipreparate sunt motorul de căutare al ideilor. Publicul are programare la şoc şi neprevăzut: nimic nu mai surprinde acum, când totul s-a făcut şi s-a vândut. Estetica a fost condamnată şi decapitată de inchizițiile postmoderne. În schimb, pentru unii, eticul şi „angajamentul social” sunt suficiente pentru a umple cu sens o lucrare de artă, altminteri total lipsită de sens.

Căci, în virtutea relativismului postmodern..., anything goes. Şi totul trebuie vândut!

senin, ci era acolo de ceva vreme. Apărută odată cu tehnologia. Acum, însă, tehnologia pare mai prezentă ca oricând. Tehnologia ne schimbă şi se schimbă, vine peste noi, invadându-ne şi îmbogățindu-ne viața.

Ecranele sunt ochii lumii virtuale deschişi înspre noi şi deschişi de noi spre celelalte lumi. Noi şi restul lumii. Utopişti sau distopişti deopotrivă, au avut până la urmă dreptate: viața noastră s-a schimbat radical odată cu tehnologia. Am asimilat tehnologia, aşa cum facem cu îmbrăcămintea. Nu putem fără ea. Ne e frig existențial dacă nu ne „înfăşurăm în pixeli,” vorba poetului.5 Dar artiştii, instituțiile, criticii şi curatorii prea ocupați cu arginții şi colecțiile ignoră potențialul imens al tehnologiei din fața ochilor, din jurul nostru şi din aer. Asta pentru că, nu-i aşa?, o instalație media e greu de atârnat pe peretele din living sau din biroul „cu vedere”. Un video, ca şi o lucrare digitală interactivă, cere întotdeauna timp. Şi uneori, spațiu. Arta media, în general, de fapt, cere efort şi concept şi nu doar cotă de piață şi ifose de muzeu. Asta o face dificilă pentru mainstream, dar tot asta o face fascinantă pentru noi (care noi?) şi o califică drept (principală) purtătoare de vector progresist pentru noi toți (care toți?!). „Avem nevoie de opere puternice, drepte, precise şi pentru totdeauna neînţelese.” Mai exact, avem devoie de o tabula rasa 2.0. DADA style, după 100 de ani. Doar că DADA nu (mai) înseamnă nimic. Poate doar re:DADA. O „revoluție” (ah ce cuvânt uzat şi abuzat!), care să răstoarne sistemul cel mare şi să reaşeze astrele cele mici. O nouă ceartă a universaliilor, o nouă încrucişare de idei care să se lase eventual cu bătaie. Un re:DADA! Merită efortul...

„Ainsi naquit DADA d’un besoin d’indépendance, de méfiance envers la communauté.” Şi tot astfel, din nevoia de independență şi din neîncrederea față de sistemul mainstream şi de piață, a apărut o altă artă ce-şi caută rostul şi rolul în altă parte, mai exact, între meandrele tehnologiei. De fapt nu a apărut din

4. La Bienala de la Veneția din 2015, în expoziția centrală a cărui curator a fost Okwui Enwezor, artistul Isaac Julien a prezentat lucrarea intitulată Kapital, un video cu imagini ale unui dialog între Julien şi teoreticianul marxist David Harvey despre muncă, inegalități sociale şi capitalismul actual. Ironia tristă este că lucrarea, în pofida mesajului ei critic şi anticorporatist, a fost finanțată de firma care întruchipează luxul şi exclusivismul: Rolls-Royce!

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5. Mircea Cărtărescu, Pururi tînăr, înfăşurat în pixeli, Bucureşti: Humanitas, 2005.

HUGO BALL’S DATA MANIFESTO, OCTOBER 2016

uh. One shouldn’t let too many words out. A line of poetry is a chance to get rid of all the filth that clings to [Hugo Ball’s DADA Manifesto was read at the first public this accursed language, as if put there by stockbrokers’ Dada soirée, at the Waag Hall in Zurich, July 14, 1916. The hands, hands worn smooth by coins. I want the word present text is an adaptation for the digital age of the same where it ends and begins. Data is the heart of words. manifesto by Horea Avram. The word DADA has been replaced with the term DATA] Each thing has its word, but the word has become a thing by itself. Why shouldn’t I find it? Why can’t a tree Data is a new tendency in art. One can tell this from be called Pluplusch, and Pluplubasch when it has been the fact that until now nobody knew anything about it, raining? The word, the word, the word outside your and tomorrow everyone in Zurich will be talking about domain, your stuffiness, this laughable impotence, your it. Data comes from the dictionary. It is terribly simple. stupendous smugness, outside all the parrotry of your In French it means “hobby horse.” In German it means self-evident limitedness. The word, gentlemen, is a public “good-bye,” “Get off my back,” “Be seeing you sometime.” concern of the first importance.

In Romanian: “Yes, indeed, you are right, that’s it. But of course, yes, definitely, right.” And so forth.

An international word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Data psychology, data Germany cum indigestion and fog paroxysm, data literature, data bourgeoisie, and yourselves, honored poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Data world war without end, data revolution without beginning, data, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Data Tzara, data Huelsenbeck, data m’data, data m’data data mhm, data dere data, data Hue, data Tza. How does one achieve eternal bliss? By saying data. How does one become famous? By saying data. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smacks of journalism, worms, everything nice and right, blinkered, moralistic, europeanized, enervated? By saying data. Data is the world soul, data is the pawnshop.

Data is the world’s best lily-milk soap. Data Mr. Rubiner, data Mr. Korrodi. Data Mr. Anastasius Lilienstein. In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.

I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Data Johann Fuschgang Goethe, Data Stendhal. Data Dalai Lama, Buddha, Bible and Nietzsche. Data m’data.

Data mhm data da. It’s a question of connections, and of loosening them up a bit to start with. I don’t want words that other people have invented. All the words are other people’s inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation in seven yards long, I want words for it that are seven yards long. Mr. Schulz’s words are only two and a half centimetres long.

It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat miaows… Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, 99

Cristina Bogdan: Private Freedom Hannah Arendt in The Human Condition discusses the relationship between private and public realm in the Ancient world, which she explains differ on the grounds of freedom: the household is the domain of necessity and hierarchy, where the head (family father) rules and the other are ruled, and besides each is ruled by the necessity to fill in a role and perform their duty – thus, no-one is free. To be free is neither to be ruled nor to rule – and this can only take place in the public realm, where all men are equal (although this presupposes the existence of un-free men and women). Further on and into the modern world, social and political increasingly overlapped, and society started to be considered as a large household (hence the term ‘political economy’ to describe its governance); the concept of freedom thus ceased to have the complex meaning explained above, and started to refer only to the first part of the definition.

An interesting operation, that surely has been attempted in recent years (especially with the emphasis on the intimate sphere as yet another level of interaction – or lack thereof), is to reconsider the concept of freedom as related to the household, both in opposition to and a model for the public realm (or society). One simple idea would be to focus solely on activities taking place in a well-framed household and see how they can be taken as models for society – basically reversing the modern operation. But I think communes and artist-led schools in the 60s and 70s attempted just that, without ever being able to function on a more important level than ‘source of inspiration’ for the social sphere.

Slightly differently, I would want to question the possibility of again conceiving freedom as this powerful situation of neither ruling nor being ruled – rediscover the necessary simultaneity of the two, whilst subtly inquiring more into the idea that freedom means to not rule (since freedom as not being ruled is a very basic concept still).

To this effect, I propose a curatorial and theoretical investigation of private freedom, using a rather simple case study: the legal ban on smoking in public. The proposal is based on the realization that contemporary space where the individual may act in is a public one which in fact is governed by the rhetoric of the private.

The public space no longer functions on the basis of negotiations between different individuals or various groups, it is claimed by an abstract entity which is nonetheless humanized, a kind of moral absolute master, acting in its own interest, that of economic profit.

Under the pretext of the health of the “civic body,” the possibility of mature individuals to negotiate a banal

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situation (to accept or not for a smoker to stay in the room when none of those sitting at the table are smoking, how many cigarettes to give him permission to smoke, etc.) is denied. People are infantilized, the law is a wise parent who knows better than them what is good for them and decides for them what gestures to adopt. Such a course of conduct eventually governs the gestures that one can do in public. Finally, it is noted that indeed the aim was not to take care of the health of citizens (though a financial interest may exist here, I’m not sure), but to restrict gestures (by that I mean including decisions) in public space, to impoverish the public imagination, which obviously will have an economic impact (think, for example, that a depleted imaginary is equivalent to a mechanization, people become working machines, or a depleted imaginary requires a leisure time of the entertainment type, which again leads to mechanization, etc.)

So what would the solution be – on the terms observed

by Arendt? The way I see it, the contemporary take on freedom should lead to the construction of a truly private space, one in which one neither makes the rules nor has to obey any he hasn’t made, in the sense that there is no public dimension to it whatsoever, regardless of the presence of more than one person in it. A space in which several private people meet and maintain their private positions, without ever becoming a public. A space where one is subject inasmuch as he is object. A space where actions never become strategies, not even with time. A space where time transfers its relativity to movement. A space in which intention is the best gesture. A space, in the end, that one buys or sells at the risk of seeing it become immediately worthless.

I know of several such spaces in history. One of them seems to have been the Cabaret Voltaire when Dada identified (with) it. I was thinking of it whilst roaming the Mayday Rooms in London, a temporary repository of counter-cultural archives from recent European history.

Just like Cabaret Voltaire, Mayday Rooms resisted the public – resisted capitalism, resisted meaning – only for a short while. Perhaps what we do every year when we meet for the KI festival is produce such private spaces – a collection of idiosyncratic gestures which never have the absurd pretention of creating value.

Diana Marincu: Povești imaginate și imagini povestite fragmente Vocea lui Nick Cave sfărâma fiecare mișcare pe care încercam să o fac. Stăteam imobilizată ca în coșmarurile pe care le am periodic unde nu mă pot mișca nici un milimetru și nici nu mă pot trezi. M-am afundat în scaunul de la cinema ca să mă ascund de toți oamenii din jur.

Life is not a story... (Nick Cave) De aceea a dispărut narativitatea din cântecele lui și a decis că cea mai bună răzbunare este fericirea. În ciuda a tot, în mijlocul absurdului vieții și al suferinței, a rămas „fericirea ca răzbunare”. „Viața nu e o poveste”, e doar o înșiruire de întâmplări pe care le legăm stângaci în povestiri de mâna a treia, în cele mai banale narațiuni repetate la infinit, imitații palide ale romanelor sau ale filmelor care ne plac. Și totuși, ceva ne face să căutăm cu disperare firul roșu, povestea necesară unei stabilizări temporare a ansamblului, gata să se destrame în orice moment.

Imaginile fotografice, în special, sunt cel mai adesea sufocate în acest mecanism. De fiecare poză atârnă o poveste. Dacă nu este reală, o inventăm. Dacă nu are un autor, îl căutăm. Dacă e ruptă, o lipim.

Obsesia arhivelor sau „febra arhivelor” (Derrida) se agață în egală măsură de obsesia narațiunii. Acumularea de date vizuale invocă luxul narațiunii. Cum scria Allen Feldman, „evenimentul nu este ceea ce s-a întâmplat, ci ceea ce poate fi povestit”. Alături de dovada fotografică, stă capacitatea imaginii de a declanșa o poveste vie, valabilă și demnă de a fi răspândită. Fascinația imaginii este fascinația poveștii...

nu sunt nici ele inocente. Ele reprezintă un decupaj subiectiv, o suprafață abrazivă și selectivă, care reține doar anumite date, în timp ce altele sunt șterse. Condiția aceasta a imaginii fotografice și filmice, de ascundere și revelare, sintetizează veșnica problemă a comunicării – ce nu se spune atunci când se spune ceva? Ce nu se vede atunci când se expune ceva?

O mie de cuvinte pot fi tot atâtea eșecuri de traducere, bucle ale firului narativ care se încâlcește între invenție și reproducere.

Narrative is international, transhistorical, transcultural: it is simply there, like life itself.

(Roland Barthes) Despre narativitate și fotografie s-a mai scris, iar într-un text cunoscut, Towards a Philosophy of Photography, Vilém Flusser vorbește despre „textolatrie”, ca un înlocuitor al idolatriei. Credința în text trece prin aceelași conflict intern precum cea în imagine, iar dorința de a media realitatea prin text poate opaciza și mai mult imaginile pe care le explică. Realitatea ca funcție a textului sau imaginea ca reprezentare a narațiunii devin relevante pentru post-istoria pe care Flusser o asociază epocii fotografice, iar fiecare acțiune tinde să fie repetată la infinit prin tehnicile de înregistrare a ei – fie video, fie fotografie. Traducerea aceasta într-o nouă stare a lucrurilor, o absorbție totală a memoriei în film și fotografie, restructurează realitatea și o transformă, în cuvintele lui Flusser, într-un „global image scenario”. „Imaginația a devenit halucinație”, iar oamenii au uitat codurile de descifrare ale imaginii.

Acum viața a devenit o funcție a imaginii și a textului.

{dacă o imagine face cât o mie de cuvinte, atunci o imagine cu text explicativ face cât o mie de cuvinte minus cuvintele textului explicativ} kinema ikon

Adela Muntean: Alter Ego

Cotitura narativă (the narrative turn) a adus în primplan relevanța pe care povestirea o are pentru domenii culturale variate, nu doar pentru literatură. Storytelling este un proces constitutiv esențial pentru modelul narativ la care ne raportăm și prin care ne poziționăm în lume. În cartea sa, The Narrative Turn in Fiction and Theory, Hanna Meretoja descrie o mișcare graduală spre acceptarea povestirii ca un aspect ireductibil al existenței umane, în tandem cu o conștientizare a nevoii de a reflecta critic asupra narațiunilor culturale care ne copleșesc. Odată cu anii 1980, aceste narațiuni culturale, cuplate cu fascinația pentru imagine și cu abundența vizuală fără precedent, au format o constelație care leagă punctele haotice și ordonează debandanda realității. Gesturile prin care narativitatea ajunge să suprasatureze viața devin problematice atunci când ele falsifică istoria și bruschează realitatea. Dar puzderia de imagini care contribuie la regândirea subiectivității 101

Apparatus 22 is an art collective initiated by current members Erika Olea, Maria Farcas, Dragos Olea and late artist Ioana Nemes (1979, Bucharest – 2011, NY) in January 2011 in Bucharest, RO. Apparatus 22 explores the intricate relationships between fashion and economy, politics, gender studies, social movements, religion in order to understand contemporary society. Exhibitions include: Biennale di Venezia 2013, MUMOK, Vienna, Museion, Bolzano, MAK, Vienna, Steirischer Herbst, Graz, Akademie Schloss Solitude, Stuttgart, Ujazdowski Castle – CCA, Warsaw, Württembergischer Kunstverein Stuttgart, MNAC, Bucharest, KunstMuseum Linz etc.

Judit Angel is a curator and art historian born in Arad, Romania. Between 1990 and 1998 she was a curator at the Arad Art Museum. Between 1998 and July 2013 she worked as a curator at Műcsarnok / Kunsthalle Budapest. Since August 2013 she has been the director of tranzit.sk in Bratislava.

Vlad Anghel works as a multidisciplinary artist in Berlin and Bucharest. His practice is located at the intersection of art, design and technology. He studied Cybernetics, Statistics and Economic Informatics at the Academy of Economic Studies in Bucharest.

In his work, he often appropriates obsolete 3-D aesthetics as well as surrealist references and creates virtual environments that can be described as magical realism.

Horea Avram is Lecturer at the Department of Cinematography and Media, Faculty of Theatre and Television, Babeş-Bolyai University, Cluj, Romania. Doctoral studies in Art History and Communication Studies at McGill University, Montreal. He researches and writes about new media art, representation theory, technology and visual culture.

His most recent publications include “Augmented Reality”, Encyclopedia of Aesthetics, Oxford and New York: Oxford University Press, 2014; “The Visual Regime of Augmented Space”, in Theorizing Visual Studies: Writing Through the Discipline, James Elkins (ed.), New York: Routledge, 2013. He publishes essays in: M/C Media and Culture Journal, International Journal of Arts and Technology, Kinephanos, Ekphrasis, Idea. Art + Society, Arta, etc. Independent curator since 1996. He has curated most notably for Venice Biennale in 1999.

Maria Balabaș is a Romanian artist and radio journalist. She moderates Dimineața crossover – a daily show broadcasted by the national public Cultural Radio, and has created projects dedicated to the new forms of radiophonic creation such as The Sonorous Generation. She initiated musical groups such as Avant’n’Gard and Soare Staniol, inspired by techniques of improvised music, electronic and acoustic. She creates installations generated by her artistic interest in the acoustic memory specific to field recordings. Almost one year ago she started drawing a strange small wise girl.

Linda Barkasz aka Nuclearfairy is a street artist, painter and illustrator who studied fine arts Timisoara. Linda Barkasz is the author of the controversial object-trouvé that rose to infamy in the Romanian media under the name The Pink Pony [aka Poneiul Roz]. It may seem that she creates her own set of semantics, however the elements she uses are often extensively researched for their historical and mythological meanings.

She is thus interested in storytelling, fairy tales and folklore, and the social importance they carry in explaining the meaning of life. Nonetheless, she is bound to the present as her works have a postmodern aesthetic appeal and give a first impression of contemporaneity, and intended tongue-in-cheek humor.

Sandor Bartha, born in 1962, Odorheiu-Secuiesc, Romania. Lives and works in Budapest, Hungary. Education: Academy of Art Bucharest, 1986. Awards and grants: 2006 Grant of the Hamburg Kulturbehörde (residency-program, Hamburg), 2002 Grant of the ECF (European Cultural Foundation) ID (Intercultural dialogue) residencyprogram Kassel, 1997 „Kulturkontakt” Grant, Austria (residency-program Vienna), 1993 Diet Sayler Award, 1990 Award for Graphic Art, Ministry of Culture, Romania. Selected solo exhibitions: 2010 Liget Gallery Budapest, 2009 Ivan Gallery Bucharest, 2003 Ludwig Museum, Kis.terem, Budapest, 1997 Kulturkontakt, Vienna. Selected group exhibitions: 2010 „When History Comes Knocking” Plan B Gallery Berlin, 2006 “On Difference #2” Stuttgart, 2003 Prague Biennial, Prague, 2001 “Context Network” 49th Venice Biennale, Romanian pavilion.

Octavian Belințan is a multidisciplinary graphic designer who lives and works in Bucharest, Romania, owner of the design studio Colorblind www.colorblind.ro He creates big campaigns and small ideas for clients, both big and small. He is not an artist, for the time being. He likes cats.

Cristina Bogdan: Born in 1985 in Bucharest. Cristina is the online editor of Revista ARTA and runs ODD, a curatorial and educational platform in Bucharest. She is currently a PhD researcher in Art Theory at the Université Paris 1 Sorbonne, with a background in Art History and Philosophy. She lectured in Contemporary Art at the London College of Communication and the University for the Creative Arts Farnham.

Bogdanator (born 1979) painter, graduated from “Universitatea de Vest Timisoara,” Fine Arts Faculty in 2004. Since 2006 has participated in several “kinema ikon” exhibitions and published in “intermedia” magazine. His works are a mix between comics and illustration, usually on canvas, and also installations.

Romulus Bucur: nu trageți în pianist [anime, 16 mm, b.w., 3’31’’] 1984. randevuul [computer, e-mail, fax, photo, video] 1994. ready media [media installation, cd-rom, video tape] 1995. the knight from carpatzi [computer, video, cable tv] 1996. ditty / opera prima [cd-rom] 1996. through the looking glass / commedia del multimedia [cd-rom] 1997. a treat of cat / alteridem.exe [hypermedia installation] 2002. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. freestyle I, II, III [mixed media] 2006-2009. D.P.R.T. [exhibition. intervention: various cities] 2010. kinema ikon 7010 [interactive projection. photo installation] 2010. humanopraxinoscop / wunderkammer & other apparatus 2011. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon:

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Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Romulus Budiu: singur cu zăpada [doc, 16 mm, b.w., 8’03’’] 1975. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005.

2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

CitiZenit is a non-governmental organization based in Arad, aiming to develop the cultural sector by initiating an independent platform for regeneration and urban revival projects, artistic expression and distribution. This platform represents a long-term initiative intended to explore local heritage, by implementing restoration projects, promoting contemporary art & non-formal education and by activating the local community.

Roxana Cherecheș: mise en écran [montage, 16 mm, b.w., 6’51’’] 1989. domotique / opera prima [cd-rom] 1996. la fusillade / commedia del multimedia [cd-rom] 1997. peripatetic sitting on / alteridem.exe [hypermedia installation] 2002. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Claudiu Cobilanschi lives on the blurry boundary between art and media, using, as a journalist, multiple mediums for different kinds of expression and, as an artist, the benefit of these media’s mutual influence. In his practice, he is approaching issues of stereotypical thinking, forecasting and physicality, etc. projecting messages in different contexts: photography, portraits-oracles, post-apocalyptic sculptures, studies of expressiveness in conventional images, video-documents of immigrants, DIY saunas, interactive movies, etc. He has worked within the framework, and tested the limits of institutions such as ParadisGaraj & Die Kunsthalle Bukarest, Platforma Anexa MNAC, Barbara Seiler Gallery, Zurich, Depo Instanbul, Nida ArtColony Lithuania, HBK Saar Deutschland, Romanian Cultural Institute, Bucharest Biennale etc.

Teo Cociuba is a designer, biker and generally speaking a bad-ass. Teo is the cofounder of the ID design company, as well as the man with the plan in the CitiZenit Association. With a hand, knack and know-how in terms of interior, product and graphic design, Teo is a graduate of the Timișoara Art and Design Faculty, and responsible for the way in which many particularly edgy pubs, bathrooms and orthodontic lounges look today, to quote just a few of the quirky places where Teo left his mark.

Ioan Paul Colta, born 1986, visual artist. Lives and works in Arad, Romania. Member of kinema ikon group. Selected exhibitions: 2014 – R.A.M. – Media Art Festival Arad, Arad Art Museum; 2015 – R.E.M.X. – Media Art Festival, Atrium Mall Arad, Romania; 2015 – R.E.M.X., National Museum of Contemporary Art , București; 2015 – E-story, Arad Art Museum; 2016 – Intimacy / E2S3 Kinema Ikon, Arad Art Museum; DADADA – Media Art Festival, Arad Art Museum.

Valentin Constantin: început de coerență [fiction, 16 mm, b.w., 8’45’’] 1981. gros-plan de zi [fiction, 16 mm, b.w., 6’40’’] 1985. hymera / ki data base: images and sounds [net. work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Arantxa Etcheverria - Born in France in 1975, has lived in Romania since 2006.

Studied art at Villa Arson, Nice, and scenography at Theatre National of Strasbourg.

Solo exhibitions : 2016 Architectures, BARIL Gallery, Cluj. 2015 Comedia, Art on display Project, Musette Kube, Bucharest. 2015 Given a Random Point, Atelier 35, curators X.Popescu and L. Crunteanu, Bucharest 2014 Traces, BARIL Gallery, Cluj.

2014 Anatomy, Alert Studio, Bucharest. 2014 : Corner, Calina Gallery, Timisoara, curator Liviana Dan. 2013 : Studio/Structure, Anexa of Museum of Contemporary Art, Bucharest, curator R. Balaci. 2009: “01” H’art Gallery, Bucharest, organiser Dan Popescu.

Group exhibitions : 2016 DADADA, Media Art Festival, Arad, curator Calin Man and Ileana Selejan. 2016 ReRe. Overriding Design with Art and Vice-Versa, ICR Vienna, Vienna Design Week, curator R. Gibescu and M.Zgondoiu, Vienna, Austria. 2016 NAG Retrospective Memory Leaks, Arcub, curator S. Padurariu, Bucharest. 2016 Three Versions for Something who will come, Victoria Art Center, Bucharest. :BARIL - 2016, A Silent Dialogue, Club Electroputere, curator S. Padurariu, Bucharest. 2015 Video Zoom Romania, Museo di Roma and Sala Uno, curator M. Tanasescu, Roma, Italy. 2015 Pulling Strings, Art Encounters Cazarma, curated by Baril Gallery. 2015 Art-o-Rama, Marseille, BARIL Gallery, Marseille France. 2015 Object of Desire, Sabot Gallery, Cluj.

2014 Artissima, BARIL Gallery (Guido Carbone Prize), Torino Italia. 2013 Viennafair, BARIL Gallery, Vienna, Austria. 2013: “White Night of Galleries”, Anexa of the Museum of Contemporary Art, Bucharest. 2012: “Volta Show”, Basel Art fair, Switzerland. 2011: “Avant Premiere”, Fashion and Art Festival, The Ark, Bucharest. 2010: “White Night of Galleries”, The Ark, Bucharest. 2010 : “Pasarela”, Fashion festival, French Institut, Bucharest. 2009: Cultural event organized in cooperation with the French Embassy at the Romanian National Art Museum, Bucharest. Others: 2015, Artistic direction for “The Treasure” of Corneliu Porumboiu, “Un Certain Talent” prize, section “Un certain regard” Cannes Film Festival. flo’: born 1978, living and working in Timisoara, Romania. member of GRPL/CNTR, since 1999 interplanetary dreamer, navigating through the surrounding illusiveness, beautifully placed on the outskirts of the Galactic Empire, mapping the earthly life. exhibitions: Student Fest Timisoara. 2001, 2002 “sms poemz”, Budapest Art Expo Fresh II [Budapest, Hungary], 2002 “eating process”, cinemania[c] [Pula, Croatia], 2002 “very useful objects”, Van Graph [Timisoara, Romania], 2005 “turned on, tuned in, trashed out”, Van Graph [Timisoara, Romania], 2005 Simultan Festival: 2008, 2010, 2012 “half full / half empty”, MOI muzeul ordinii interioare [Timisoara, Romania], 2012 Spatii in Asteptare #II [Timisoara, Romania], 2013 BackUp, Magma [Sf. Gheorghe, Romania], 2013 “familiar”, Alkmylab [Timisoara, Romania], 2013 WAD weekend-ul artistului dependent [Arad, Romania], 2014 Media Art Festival [Arad, Romania], 2014, 2015, 2016 Natura, Pygmalion Gallery [Timisoara, Romania], 2016. misplaced, O.Z.I, [Timisoara, Romania], 2016. colaborations: NuKontrast, Almanahul alb si negru, fanzin Incepem, fanzin Povesti, Dilema, Omagiu, Intermedia, Mamifer cu Ecler.

Oana Furdea is a consumer and foremost a hunter of cultural experiences and experiments, and throughout the course of the past two years a cultural manager for the CitiZenit Association. With a background in philology, Oana graduated in the Comparative Literature class of the Cluj Faculty of Letters and has an MA degree in Contemporary Literature and Culture from Birkbeck College, University of London. She was an editor and contributing writer for various cultural magazines in Romania and in the UK. Ioan Galea: studiu 1 - detalii [fiction, 16 mm, b.w., 4’55’’] 1986. studiu 2 - fibonacci [anime, 16 mm, b.w., 10’07’’] 1987. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [dvd] 2005. kinema ikon 7010 [projection. photo installation] 2010. 2011 FILE [Festival Internacional de Linguagem Eletronica], Sao Paulo | ki website. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan | Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode) kinema ikon: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Presentation by Ileana Selejan | Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode) kinema ikon: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Amalia Ignuța young architect_passionate about the archaic, the social, the material, craft, nature and their present manifestations in the world of economical pragmatism, and in spite of it _ part of l’ENE group, participated in activities such as: kinema ikon season 1_Crăciunikon, kinema ikon season 2, R.E.M.X. festival organized by kinema ikon, Particles festival (kinema ikon installation) organized by CitiZenit, ArtEncounters.

Levente Kozma is an artist, cultural activist and a graphic designer. Born in 1978 in Kezdivasarhely, he lives and works in Timisoara, Romania. He studied at the University of the West, Timisoara - Faculty of Art and graduated in 2002. He works with video, photo and installation. He has participated in a variety of projects including exhibitions, performances, lectures in Romania, the U.K., Hungary, Serbia, U.S.A., Germany. He is the co-founder and director of the Simultan festival for video, media arts and experimental music, and a founding member of Simultan Association, a cultural NGO that promotes and supports manifestations in the field of contemporary art and culture.

KF: connecting kf [net.work] 2005. hymera / ki data base: images and sounds [net. work] 2005. kinema ikon: worx [interactive dvd] 2005. freestyle I, II, III [mixed media] 2006-2009. D.P.R.T. [exhibition. intervention: various cities] 2010. kinema ikon 7010 [interactive projection. photo installation] 2010. depositoriumkaef / wunderkammer & other apparatus 2011, kinema ikon: Wunderkammer 2012, kinema ikon: serial episodul 1. geosab // kf: 46016’92”N 21031’57”E / Șantier arheologic / 4175 A.D. kinema ikon multimedia atelier has undergone different stages of activity: 1970-1989 experimental film, 1990-1993 mixed media, 1994-2005 hypermedia, and from 2006 hypermedia and hybrid media. ongoing projects include: kinema ikon: serial / season 3; Wunderkammer.

Adelina Laura is a young photography/videography student and a former theater actress. She started making short and experimental videos around 2014 and she feels more comfortable showing them in a fitting environment, meaning that she wants to create basic installations for her videos that can reach out to senses (taste, smell, hearing, touch) other than only visual perception.

Natalia Lazurca (born 1995, Timișoara). Cluj-Napoca University of Art and Design student, senior year. Group shows: I am what I am, Baril Gallery (Paintbrush Factory, Cluj-Napoca), 2015, with Radio Tern; Ecole Supérieure Des Arts Saint-Luc, Liège, 2015; 89plusplus #1, non+ ultra (Paintbrush Factory, Cluj-Napoca), 2016.

V. Leac, artist and poet, lives and works between Arad and Bucharest. He has published several poetry books, most of them in several revised editions, a few of them renegaded; he is a founding member of the literary group Celebrul Animal and of Ca și Cum magazine. In 2012, together with Bianca Baila, he set up in Timișoara the MOI/ Museum of Interior Order. He took part in the Awaiting Spaces 2013 platform with the project Sugar Factory Oven. Curator of the W.A.D. (The Dependent Artist’s Weekend) event in Arad in 2014. Director of The Village Drones l, 2014; The Village Drones ll, 2015; Descriptive Trajectories with Intruder, for Expanded Space, 2016.

L’Ene: (Alex Leric, Maria Tămășan, Traian Selejan, Anamaria Tatu, Darius Cheța, Sergiu Mureșan, Amalia Ignuța, Gelu Giricz, Robert Jianu, Crista Milici): kinema ikon: serial, s.2, e.6; Art Encounters Biennial, Particles - Teba Arad, R.E.M.X - Media Art Festival Arad Atrium Mall, R.EM.X. @ MNAC Bucharest, kinema ikon: serial, s.3, e.8.

gH. [ gHeorghe iosif ] n. Arad (RO) 1983, UVT ( BA - graphic design, multimedia/ adv. ) 2006. gheorgheiosif.com

Alexandru Leric is a crude architect / archtist member of l’ENE and kinema ikon. He participated in solo and group exhibitions including: kinema ikon: serial / season 2 / 2015 @ Art Museum Arad, Art Encounters First Cut @ Teba Factory Arad 2015, R.E.M.X. Media Art Festival @ Atrium Mall Arad & MNAC Bucharest 2015.

Gelu Giricz_golem sculptor, visual artist_part of groups such as: biserika and l’ENE_ participated in events organized by kinema ikon and by biserika, and in collective exhibitions. Latest activity includes kinema ikon season 1_Crăciunikon, kinema ikon season 2_Soundboard, R.E.M.X. festival organized by kinema ikon, Particles festival (kinema ikon installation) organized by CitiZenit, ArtEncounters.

Cristina Maria Luchici - Universitatea de arte si design, Timisoara, Group: 2010 UNAgalerie, Bucuresti. Solo: 2013 LXV BOOKS, 65 Globe Rd. London, 2014 My room, unit 7 Fontaine Rd. London.

Mihnea Rareș Hanțiu is a director, actor, film-buff, video-art enthusiast and cofounder of the CitiZenit Association. Rareș Hanțiu’s extensive background in cinema includes a degree in Film Directing from UNATC, a series of shorts, such as The Kite (2010), tHIS iS nOT a bANANA (2013), This is Peter (2015) and more recently the short documentary White Is the New White (2016), about the alternative art space initiated

by CitiZenit at the Teba textile factory in Arad. He is also known for the leading role in Discordia (2016) as well as some experimental films, like The Cabin (2015) and Meta Green (2016).

Florin Hornoiu: navetiștii [doc, 16 mm, b.w., 7’21’’] 1975. randevuul [computer, e-mail, fax, photo, video] 1994. ready media [media installation, cd-rom, video tape] 1995. the knight from carpatzi [computer, video, cable tv] 1996. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo | ki website. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated

Diana Marincu (born 1986) is a Ph.D. candidate at the National University of Art in Bucharest, in the Art History and Theory Department. Her research focuses on curatorial discourses built in relation to political and geographical criteria during the last twenty years of exhibition making. She writes art reviews for Arta, IDEA arts+society, Poesis International, and other publications.

Ioana Vreme Moser: Transmedia narrator with a traditional educational background in fine arts, graphics, working with the correlations and the boundaries between audio & visual environments by using bought digital and analogue technologies. Her praxis includes interactive installations, sound sculptures, video art, text, design projects, and monochrome graphics. Currently investigating the impact of technology and expansion of new mediums onto daily habits.

Adela Muntean (born 1988) is the new media coordinator and curator for new forms of documentary and interactive storytelling at Astra Film Festival (AFF), one of Eastern

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Europe’s leading documentary festivals. She is also a transmedia director and researcher developing creative concepts that fall within the documentary genre. Her current projects deal with immersive media: VR, 360 photography and video, dome projections and the implementation of tactile interfaces in order to create experiential works. She is interested in methods associated with moving image documentary practices which merge with new media hybrid arts and explore the intersection of art, anthropology, serious video games and the possibilities made available by the internet: database narratives, webcams, Google Street View, archives, etc. The main criterion of her works is to engage with the real in creative ways. In 2014 her works were presented in Holland within the framework of Live Performers Meeting festival (LPM); in France during the Sophia Digital Art Festival and in Italy, Milano during “La Repubblica delle Idee 2014″ event. In 2015 she won the Digital Visions project first prize organized by GéoCulture Limousin (France). In the same year as part of Bucharest International Experimental Film Festival (BIEFF) she led the conceptual/art direction part of an Architecture Film Workshop. Her on-going project is devoted to the changing role of the moving image and classical cinema in the digital age. http://transcinemaexpress.com/ She has been awarded a Master’s Degree graded excellent and the professional qualification of Media Designer at Moholy-Nagy University of Art and Design Budapest, Hungary (2015). She completed her BA studies in cinematography, photography and media at the Sapientia Hungarian University of Transylvania, Faculty of Sciences and Arts, Cluj Napoca, Romania (2011).

Marcela Muntean: pulsiuni [fiction, 16 mm, b.w., 7’21’’] 1983. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation

by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara.

2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Nita Mocanu (born 1977, Arad) studied at the Art and Design University of ClujNapoca (2000 and 2002). Her work has been exhibited at various institutions including, in 2014: Atelier Conset, Casa Tranzit, Cluj- Napoca, Romania; in 2013: Serial kinema ikon, Arad Art Museum, Romania; 2012: European Travelers. Art from Cluj Today, Műcsarnok Kunsthalle Budapest, Hungary; 2011: Baby on board, Magma Spațiu de Artă Contemporană, Sf. Gheorghe, Romania; 2010: Intermedia 21 kinema ikon, Arad Art Museum, Romania; 2009: Feminisme, H.arta Art Space, Timișoara, Romania; 2008: The way things are…, Centre of Contemporary Art Torun, Poland; 2007: Social Cooking Romania, ICR Berlin, Germany. memete anca raluca aka ancamanga. astrological sign: gemini. occupation: self-taught emerging artist, chef, fairy *good and bad. media: animation, video, food, soil, seeds and fabrics. inner animal: ferret. works: anca manga on earth (series: anarchist garden /bruiaj, O.Z.I, Timisoara/, am uitat tot /kinema ikon, Arad/), Blank /Czech Centre, Bucharest, My personal Jessus /Teba, Arad.

Rares Moldovan: born in 1980, he graduated from high school and college arts + a Master in Cultural Policy. Exposes in personal and group exhibitions both at home and abroad.

Ioan T. Morar: autopsia uitării [fiction, 16 mm, b.w., 5’21’’] 1977. hymera / ki data base: images and sounds [net.work] 2005. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Gelu Mureșan: concertul [anime, 16 mm, b.w., 6’12’’] 1980. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Cosmin Neaga: Born in 1980, in Deva, he studied Informatics in high school and Romanian-English Language and Literature in university. He has been working as a designer for the past 12 years.

Sorin Neamţu has always been lured toward the object. Existing objects that had to be painted in order to be understood, not in their geometry, but in their sensual quality. Objects that contain the painter inside, landscape-objects. After that, constructed, invented objects, less interesting after they are finished than during their careful crafting. An almost impossible stake, and Sorin Neamţu, almost denying those objects any - in a classical sense - sculptural value, subjects them to a series of troublesome tests in order to bring the objects back to the metamorphic state previous to their execution. A state of an indecisive relation between the object and the environment or between the object and the public/author/user. These objects are called almost things because their design was conceived in order to produce discomfort and to lead almost to the impossibility of being used. Sorin Neamtu, born in 1977, lives and works in Arad and Cluj, Romania.

Adrian Christopher Notz, *1977 in Zurich, Director of Cabaret Voltaire. Notz has been working in Cabaret Voltaire since 2004, where he first started as Curatorial Assistant and in 2006 became Co-Director. From 2010 to 2015 he was Head of Faculty of Fine Art at the School of Arts and Design St Gallen. Since 2007 he is Diplomat of NSK State and since 2008 Ambassador of the Kingdoms of Elgaland-Vargaland for Zurich.

Cristian Ostafi: convergență spre inutil [fiction, 16 mm, b.w., 6’06’’] 1984. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation

by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara.

2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Ioan Liviu Orlețchi: born in Romania, in 1968. Based in Japan since 1994. Freelance photographer since 2002. Exhibitions and workshops in Japan, Romania, Serbia, France and the Republic of Moldova.

Mihai Păcurar is a visual artist, who works as a stage designer, video artist and animator.

Andrada Pecican (aka Damianovskaia) is a graduate of West University Timișoara, Faculty of Fine Arts. She is a member of UAPR and a founding member of the KOPAL group. Her main field of interest is photography.

Alexandru Pecican is a graduate of Babeș-Bolyai University Cluj-Napoca, Faculty of Theatre and Television. He is a stage director, dramatist, writer and visual artist. Member of kinema ikon since 1979.

Ioan Plesh: poluare [doc, 16 mm, b.w., 5’34’’] 1977. efecte de împrimăvărare [anime, 16 mm, b.w., 4’43’’] 1978. panta rhei [anime, 16 mm, b.w., 5’30’’] 1979. iluminări [anime, 16 mm, b.w., 5’48’’] 1981. solarizare [anime, 16 mm, color, 4’29’’] 1981. emergență [anime, 16 mm, b.w., 6’45’’] 1982. hymera / ki data base: images and sounds [net. work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE [Festival Internacional de Linguagem Eletronica], Sao Paulo | ki website. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan | Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}.

2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode) kinema ikon: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad. pnea - chronicler, explorer of nature, anthroposophist. born 1981. works in arad, romania. https://www.facebook.com/pneuma.pnea reVoltaire / Calin Man: ready-media provocateur, full-time trendsetter at kinema ikon, senior employee and trickster at the Arad Museum.

George Sabau is a founding member of kinema ikon, media theorist, writer, experimental film and media works auteur.

Ileana Selejan is a Research Associate in the Anthropology Department at University College London, where she is a part of the European Research Council funded project, “Citizens of Photography: The Camera and the Political Imagination.” She was previously the Linda Wyatt Gruber ’66 Curatorial Fellow in Photography at Wellesley College’s Davis Museum, where she curated the exhibition “Charlotte Brooks at LOOK, 1951-1971.” She received her PhD in Art History from the Institute of Fine Arts, New York University. She previously taught in the Photography and Imaging Department at Tisch School of the Arts, and in the Art History Department at New York University, at Parsons School of Design in New York, and in the Fine Arts Department at West University, Timisoara, Romania. Ileana also writes independently, and is a contributing member of kinema ikon.

Adrian Sandu, born 1968, Arad: 1998 member of U.A.P.R., 2000 member of kinema

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ikon. Exhibition history: 1997 Kanagawa (Japan), 1998 Tokyo (Japan), 1999 Venice (Italy), 1999, 2002 and 2008 Lodz (Poland), 2005 Taiwan, 2005-2009 Cadaques (Spain), 2006 Istanbul (Turkey), 2010 lahti (Finland).

Sergiu Sas is an engineer by day and a multimedia artist by night. He activates in Timișoara and Arad and is a part of kinema ikon and biserika groups. His projects were presented in group exhibitions and in various magazines.

Mihai Salajan or the artist formerly known as Mimi / Artur Ditu / selfmademusic / NOcomics / Lemmy Caution / ink / Indigo_206 / John Terp and part of: Planetneukoln. tv, Trei Pastori, Chemical Compound, Seventh Kind, Biserika, kinema ikon and Sefeu Comics Corporation Supreme.

Viorel Simulov: manuscript [anime, 16 mm, b.w., 6’06’’] 1984. ocular [fiction, 16 mm, b.w., 5’36’’] 1985. peisaj lichid [doc, 16 mm, b.w., 8’23’’] 1988. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation

by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara.

2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Marius Stoica is a sound system and artistic project whose aim is the serendipitous and transient electronic music intervention using battery powered analog gear.

Traian Selejan is an architect based in Arad and Berlin. Participated in group exhibitions including: Craciunikon-Arad Art Museum 2013, Soundboard-Arad Art Museum 2015, Wunderkammer- Arad Art Museum 2015, R.E.M.x@Atrium Mall in Arad/ MNAC Bucharest 2015, Particles@Teba Factory Arad 2015.

Demian Șandru: open-flash [fiction, 16 mm, b.w., 7’53’’] 1975. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Anamaria Tatu is a self-taught visual artist, working with photography, video, and installation; interested in reflected imagery, graphic experiments, geometry, botany, interdisciplinary arts. Solo and group exhibitions: Innersound New Arts, Bucuresti, 2014, Comebacks, Arad, 2015, TebaExpo, Arad, 2015. Has published in Tataia, C41 magazine. www.anacuamic.com.

Maria Tămăşan is an architect & aspiring self-taught artist working in Arad. She participated in group exhibitions including: Craciunikon@Arad Art Museum 2013, Soundboard@Arad Art Museum 2015, R.E.M.x@Atrium Mall in Arad/MNAC Bucharest 2015, Particles@Teba Factory Arad 2015, Art Encounters Arad @Teba Factory 2015.

Iosif Stroia, designer: conversatia magazine 1990-1993. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. kinema ikon 7010 [interactive projection. photo installation] 2010. 2011 FILE [Festival Internacional de Linguagem Eletronica], Sao Paulo | ki website. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan | Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode) kinema ikon: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Taietzel Ticalos is a visual artist based in Bucharest, Romania. Her art practice investigates the transmutation of reality into the virtual space and contemplates the development of digital narrations. Strongly connected with her philosophical background, the visual outcome becomes often a meditative landscape. She focuses on sexual objectification, social media as consumer media, digital performances and digital reenactment.

centruldecalcul.blogspot.ro/ and http://ghettopalm.tumblr.com/ 1995 plays in The Reservation eco-horror movie. 2005 curated hardware parties, P2P hubs in Bucharest.

Founded Cozzzmonautica cryogenic sleep over events about space exploration & cosmology inhabiting various institutions/towns since 2006. 2012 participated at the Presidential Candidacy Fundraiser at Dogumenta 13 http://postspectacle.blogspot. ro/2012/10/the-romanianpresidential-candidacy.html 2014 Exit The Portal: Strange Comeback to a Weird Earth presentation at the International Conference on Exile & Visual Arts in Prague http://exile.197avu.cz/?p=616 2014/2015 currently doing research with http://utopiana.ch/ on Shipwreck Organizational Theory: After-Earth Corporations, Departments and Data Recovery Foundations in Geneva.

Bogdan Tomșa born 1989, Arad. Lives and works in Timisoara. Studied painting in the Arts and Design Department at the West University Timisoara, where he also received his Masters in painting in 2013 as part of the program Sources and Resources of the Image. His solo debut „Synthetic space” was hosted by kinema ikon as part of the project Serial in 2013. In 2014 he founded Avantpost.ro Iulia Toma http://www.iuliatoma.ro (born 1974) is a mixed-media artist who works with the means of aesthetic expression through textile, as well as with photography, painting, installation and text in each work. Recently she has been focusing on social issues that she expresses in her own individual way: feminism, women’s rights, interpersonal relations of closed communities, the materiality of urban living, social justice, etc. Toma builds a personal discourse that is expressively and aesthetically organized in visual and activist orientations, each time trying to place the balance between message and material at an ever increasingly elaborate level. She teaches in the Department of Art & Design, Textile section at the National University of Arts Bucharest, practicing pedagogy in harmony with her personal activity as well as with the innovation required for didactic activity within the artistic discipline. Exhibitions: Dura Europos (solo show, Galeria Ivan, 2016), Residence (Conset, Casa Tranzit, Cluj, 2016), WORKER’S DAY (MAGMA, Sf. Gheorghe, 2016), Buongiorno Varvara Stepanova!, Iulia Toma & Claudiu Cobilanschi (Gallleriapíu, Bologna, Italia, 2016), Artist-in-Residence programme at quartier21/ MuseumsQuartier Vienna, 2016, Legături (Camera K’arte, Asociaţia K’arte, Târgul Mureş, 2015), Kinder. Küche. Kirche. (solo show @ Galeria Calina,Timişoara, 2015), A Real Work of Art, (RAM Gallery, Oslo, 2015), Legături diagonal compus (Tranzit.ro, 2015), VIENNA BIENNALE 2015: Mapping Bucharest: Art, Memory and Revolution 1916 – 2016 (MAK Contemporary Art Collection,11 iunie - 4 0ct. 2015), Eroismul răsare într-un depozit de mărfuri (Salonul de Proiecte, Anexa MNAC, 2015), Untitled Fighter (solo show, Galeria Ivan, 2014), Give me five! (MAGMA, Sfântul Gheorghe, Covasna, 2015), De la aftershock la nemurire. Partea întâi: Discotopia, Spaţiul Platforma (MNAC Anexa, Bucureşti, 2014).

Liliana Trandabur: mise en écran [montage, 16 mm, b.w., 6’51’’] 1989. pataphysique / opera prima [cd-rom] 1996. le consommateur jettable / commedia del multimedia [cd-rom] 1997. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [interactive dvd] 2005. 2011 FILE, Sao Paulo. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan, Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Emanuel Țeț: poem dinamic [anime, 16 mm, b.w., 4’30’’] 1978. vînătoarea de păsări [anime, 16 mm, color, 6’55’’] 1980. îmblînzitorul de șerpi [fiction, 16 mm, b.w., 7’03’’] 1981. hymera / ki data base: images and sounds [net.work] 2005. kinema ikon: worx [dvd] 2005. 2011 FILE [Festival Internacional de Linguagem Eletronica], Sao Paulo | ki website. 2012 kinema ikon’s Esoteric Underground, Romania 1970-1989: An Illustrated Presentation by Ileana Selejan | Observatory, Brooklyn, New York. 2012 kinema ikon: Wunderkammer {on permanent view at the Art Museum Arad}. 2013 kinema ikon – Wunderkammer, Baril, Cluj-Napoca, Fabrica de Pensule. 2013 Une projection de films expérimentaux roumains des années 1970 et 1980, réalisés par le groupe d’artistes kinema ikon, Université Paris 3 Sorbonne Nouvelle. 2014 kinema ikon – May I Have Your Attention, Baril, Cluj-Napoca, Fabrica de Pensule. 2015 laughter and forgetting, Bucharest Art Week, Biblioteca Nationala. 2015 kinema ikon / reVoltaire: Time Machine, Wienna Contemporary. 2015 Art Encounters, kinema ikon: survival ki, Muzeul de Artă Timisoara. 2016 kinema ikon: serial (season 3 / last episode) kinema ikon: Time Capsule, Art Museum Arad. 2016 kinema ikon at Media Art Festival Arad /// DADADA Art Museum Arad.

Arina Varga, fashion designer. Graduated in Fine Arts and Design from the West University in Timisoara, Romania, and has a Master’s Degree in Fashion from the same University. In addition to founding her own label, in 2010 she started collaborating with kinema ikon. True believer in “Fashion is Supposed to be Fun.” Mihai Zgondoiu, born 1982, in Romania. He is a visual artist and the coordinator of the Atelier 030202 Gallery – contemporary art space in Bucharest and co-curator of geamMAT Gallery from the Art Museum in Timișoara. Currently he is Assistant Professor Dr. at the National University of Arts in Bucharest. www.mihaizgondoiu.ro

Stefan Tiron tw @TironStefan lives under suspended animation in Bucharest, writes about xenozoic technoscience horror fables, wormholes, biophilosophy, dark vitalism, bactereality, post-invasive hyperdensity on http://bio-matter. tumblr.com http://

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Media Art Festival Arad 3rd edition DADADA • organized by: Primăria Municipiului Arad / Centrul Municipal de Cultură Arad partnering institutions: Art Museum Arad, kinema ikon, :BARIL, APA curators: Calin Man, Ileana Selejan • catalogue: editor: kinema ikon concept, design: reVoltaire translation: Ileana Selejan photo credits: the authors • © authors & editor, 2016_ all rights reserved • Media Art Festival Arad mediaartarad@gmail.com www.mediaartfestival.ro

Media Art Festival

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