VIDEO+RADIO+LIVE
Livestream of Live Performances,
Casa Artelor, October 2nd, 6-7:30pm
Catinca Malaimare
Live performance broadcast, between movement and rest, duration 1h, daily 6-7pm Casa Artelor, Timișoara
Sanja Latinović
“On Time”
Live Performance broadcast live from Belgrade
Performance Videos
Mădălina Zaharia & Ryan Ormonde
Public Figure
2K film with sound, 9 minutes and 43 seconds, 2021
Public Figure is a lyrical account of a body in space, a metrical composition in which poet Ryan Ormonde is carefully observed and re-imagined by Zaharia’s cinematic eye. Through this exchange, the poet and the onlooker are collectively staging a particular sense of ‘publicness’, a certain type of relationship that relies heavily on the tension between the body and the voice, and has its source in practices of embodied poetry and writing. The film is guided by the changing and wavering voice of the poet, a voice completely independent from the body and at the same time in restless search for a physical host, following its presence around the fictitious and dreamlike set of a domestic interior.
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Director & Producer: Mădălina Zaharia
Writer & Performer: Ryan Ormonde
Director of Photography: Emma Dalesman
Music & Sound Design: Joshua Fay
Voice: Ryan Ormonde
Choreography: Daniel Hay-Gordon
Costumes and Set Design: Thom Shaw
Focus Puller: Christopher J. Orr
Gaffer: Sabrina Corda
Colourist: Jason R Moffat
Voice-over recording: Chris Smith (Kluster Sounds, London)
Catinca Malaimare
Clip from live performance between movement and rest, Medium Bastard Amber, (2021), duration 1h, daily 6-7pm Casa Artelor, Timișoara
Medium Bastard Amber is a birth name that stands for average intensity, hybrid origins and the coloration present in an LED light filter for the enhancement of the skin’s undertones, with consistent color results from batch to batch. It serves as an analogue device that carries out the loud voice of a rhetoric of sentient flesh, a technological bastard with a huge amount of human form around it.
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Medium Bastard Amber will be performed for 360 mins in good visibility, for the public eye, inside the Arch of Casa Artelor, while the remaining ### mins will be performed before the tense sightlines of private encounters, in-between blinks.
Our tandems turn into tripartite bodies, chaotic, makeshift anatomies turn their anthropomorphised features into creatures we empathise with in our shared imagined spaces. Motorised, automated bodies facilitate our attempt to rationalise those technological bodies we increasingly don’t understand, a feeling intensified with each episode of intimacy we tender to.
Camera: Rocio Chacon
Choreography: Mariana Gavriciuc
Mechanics and automation: Mihai Drăgan
Performance Videography: Răzvan Riscută.
Silvia Amancei & Bogdan Armanu
GAME OVER
HDV, 6:30 min, single channel with sound, 2021
The screen deceives the eye making it void of space while the camera imposes its own ideological agenda. The game can only be played by the imposed parameters, no deviation from its mapping being permitted. The realities of the cinematic narrations, either interactive as video games are, or not, are prescribed while the freedom of interpretation and interaction are very much limited.
Taking advantage of our presence in the exhibition VIDEO+RADIO+LIVE, extension of the Art Encounters Biennial, we propose to interrogate our personal and professional relationship with this representative event for the scene, simultaneously searching for the definition of the interpersonal relationships that substitutes the presence of an institutionalized network in Romania (financed, autonomous and without political color).
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GAME OVER is a video-performance on one channel with 2 monologues (Silvia Amancei and Bogdan Armanu) that searches to deconstruct, through a subjective view, the mechanics of the art world. Shaping a critical and introspective stand upon the process of artistic production and its performativity, a video installation that proposes to underline the fragility and uncertainty from behind the art charade.
Arantxa Etcheverria
RED DOOR BLUE DOOR
Wood, acrylic, 190 × 152 × 80 cm & video, colour, 10:30 min, 2021. Model: Ada Musat
Red Door and Blue Door are performance works that belong to an exhibition project titled Apocalypse/Beatus, a series of photo-montages inspired by XIX century Spanish beatuses. “Beatus” is an Iberian manuscript from the Middle Ages where the interpretations of the Apocalypse after Saint John were commented on and deciphered. The Apocalypse is a term that heralds the end of these worlds, but at the same time a new beginning, a supreme happiness.
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Red Door and Blue Door talk about interpreting these terms in a performative manner, through a guard sitting in front of a door, in a meditative posture. The architectural constructions on which the guards are seated are inspired by two exterior areas of the building where Arantxa Etcheverria has her artist studio, a modernist house built by Marcel Iancu in 1934. The recomposed architectural pieces allow a moment of thought, a pause, a reflection on the lived moment, despite the external movements.”
(Text by Eugen Rădescu, English translation by Cristina Bută)
RACHEL MONOSOV
LIMINAL
3-channel performance-video, sound, 42 min, 2021
Inside this Liminal phase, we can change our identities and our governments. We exist in between the life we lived before and the life we will live after… whenever after comes. Still, the lasting effects on our psyche and social behaviors are still unknown. The only thing we know is that we miss touching another body, we miss our own bodies which could rebel! We are looking for the place of healing through movement together.
The boundaries between us have dissolved. The lens replaces your eye, initiating and sustainging contact. ENTER liminal.contact
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Liminal is a performance-based video work which translates the diverse states of our psychic and physical being during the Covid-19 pandemic into a digital exhibition. Conceived in early 2021 as a website to allow the public to virtually enter the three rooms of Villa Massimo in Rome without restrictions, this October, at Casa Artelor in Timișoara, the work is presented for the first time as a 3-channel installation available for in-person public viewing.
Concept and Choreography: Rachel Monosov
Co-Choreography and performers: Rachell Bo Clark, Stephanie Amurao
Music: Philipp Rhensius
Composer: Santa Bušs
Singer: Julia Shelkovskaia
Camera: Andrea Arnone
Video Editor: Vera Rosa Maria Herr
LIMINAL was originally commissioned by Accademia Tedesca Roma Villa Massimo.
Daniela Palimariu
Vineyard Slips
Excerpt from 4 channel video installation, 4K, 9’47”, 2021
To err is human; to forgive, divine.*
A group of well-intended friends, partners and acquaintances have dinner in an idyllic spot, deep between two vineyards. They do their best to capture, to profoundly feel the beauty of it all; the smells, the colors on the table and around, the good company, the lively conversations. They enjoy each other’s company and are committed to not letting anything ruin the relaxed vibes, although slips and mistakes of all kinds follow the group throughout the evening. Scripted dialogues trickle in amongst natural conversations, creating strange, awkward moments which are just as easily overcome by the overflowing joy of the guests. Coming from various contexts, and of different age groups, locals and international visitors, they almost instantly form a community whose sole purpose is creating well-being.
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The backdrop of the event is a seductive one, however the attention of the participants is focused solely on the dinner itself, on its ingredients. The group is particularly present and forms a specific noise – it attracts us into discussions that, although sometimes unpleasant, are inevitably surrounded by roars of laughter. Distributed on the four channels, the large views, the details, the dialogues, all in continuous motion and variation, use euphoria to make us dizzy.
Like many of Palimariu’s works, Vineyard Slips deals with the challenges of informal group gatherings, here combining scripted action with organic social dynamics, bringing together moments of familiarity and plain strangeness. Using contrast, seductive scenography, out-of-context dialogue, and a carefully curated meal design, the work embraces both the human fragility and its frivolity.
*Alexander Pope, 1711
Navid Nuur and Adrian Ghenie
The Possibility of Purple
Mixed media, video 46 min, amplifier, studio materials, 2013
[…] The two artistic discourses achieve new potentialities in this encounter, through the direct access they offer one another to work, to the physical and affective correlates of artmaking. A video work shows Navid Nuur holding a microphone connected to a Marshall amplifier, voicing out Ghenie’s act of painting as it unfolds in front of him.
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A first iteration of this project was exhibited at the first edition of Art Basel in Hong Kong in May 2013 and was awarded the Discoveries Prize. Guggenheim Museum’s curator Alexandra Munroe describes the project: “The installation by Navid Nuur and Adrian Ghenie encompasses performance, sound, painting, and assemblage in a complete environment that has keen art historical and critical relevance. It wrestles with the history of modern painting while showing an exciting and fresh perspective. Working collaboratively, the artists go beyond the constraints of conceptualism and engage with more current languages of art.”
Sanja Latinović
“On Time”
Live Performance broadcast live from Belgrade
The artist shoulders a yoke weighted with water to offer nourishment to young oaks on three successive evenings, the time of day when water is most easily absorbed, ensuring the basic metabolic processes necessary for their survival. Nevertheless, the trees are in poor condition.
The plight of the trees can be seen as literal or associative. As living entities, they are locked into an interdependent cycle with their environment which necessitates a struggle for equilibrium. Taken as an approximation they can represent individuals in a wider society who require nourishment and support from their own cyclic environment. More broadly, the situation raises questions regarding our own attitudes, actions, and place in a world facing major existential changes.
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How honest are our intentions? Is the watering of dying trees an act merely to assuage our own guilt, an ironic attempt at palliative care, or a consequence of the desperation and anxiety created by a lifetime of neglect? Or is it possible that our actions bud and bloom from love, compassion, mutual wellbeing and hope? Perhaps there is a beam of light on the path ahead.
Latinović’s practice is stark and direct. There is no relentless tide of clichés (turning point, elitist hierarchy of the art world, hotbed of radicalism, alienated modern lives) nor walking through labyrinths of meta and micronarratives. Her work seeks to trigger ruminations about duty, needs and negligence. By performing she reflects on the most potent moment to intervene, acknowledge and esteem what is around and within us.
- Jelena Veljković Wilson
Due to the travel restrictions imposed to ameliorate the effects of the pandemic, Sanja Latinović’s live performance initially programmed to takes place in the atrium of Casa Artelor in Timisoara will be instead be broadcast live from ___ in Belgrad each day at 18:00 Bucharest time.
Alexandru Antik Sándor
Memories implanted in the landscape of everyday life
Film, colour, black & white, 2021
My old actions have remained in my memory like ghosts, which reappear today in the most unexpected situations. They often appear only as fragments, without the background of old artistic actions, and deprived of their symbolic role. I wondered what it would be like to invoke some of these memories of my actions, how I could implant these in the current landscape of my daily life. These actions – whose real or imaginary spaces I chose then in accordance with my symbolic message – have now lost their performative character or their happening characteristics. They are rather metaphorical walks in the footsteps of memory, with the aim of reviving our increasingly blurred memories, a possibility to perceive them implanted in the setting of our daily lives. A meditation through rituals performed to make up for lost time. Thus, a mixture is made between the imprints of our old actions and the intuition of future actions.
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In this new set-up, Alexandru Antik starts from some of his real artistic actions, older or newer, and presents them in a film. These actions – which were initially interpreted by the author in real places or in imagined spaces, thus lose their character of real happening-event, or of actions in which a performance takes place; rather, they appear in the film as minimalist events, as uses of film recordings, in a form of inter-relationship with their dubbed variants. In this way, they appeal to the individual or collective memory, awakening our memories, dreams and experiences from the past, which lie in our subconscious.
Apparatus 22
ART IS WORK – Voices of a Community
Durational live performance daily during Opening Weekend Exhibition hours
+ installation (2 x ART IS WORK uniforms: artist version & curator version, video statements)
+ instructions for exchange (Timișoara: 11 uniforms), 2011- ongoing.
Through the texts inscribed on the two “ART IS WORK” uniforms for artists and curators opens crucial conversations about the recognition of artistic and curatorial work and continues a long-term commitment of the art collective to set in motion processes of change. “ART IS WORK” has Tuta as a starting point – an overall, ambitious piece of clothing, designed a century ago by Italian designer and artist Thayaht, well known for his involvement in the Italian Futurist movement.
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Apparatus 22 offers a new use and a new mission for Tuta: the jumpsuit becomes a tool for calling into discussion the working dynamics from the art sphere in contemporary society, oftentimes defined by a precariousness that escapes sight, by exploitation and self-exploitation.
The recognition and monetary pay for the work of artists and curators—or, more often, the lack of this recognition and its quantification—becomes the central theme in two sets of statement-uniforms to be used at openings, the most celebratory moment for artistic/curatorial work.
“ART IS WORK – Voices of a Community’‘ is distributing 200 empowering uniforms for artists and curators from several international scenes between June and December 2021. Therefore, also in Video+Radio+Live in Timișoara, the Apparatus 22 uniforms and their activist ethos become the currency for developing a video archive of the community and a pretext for dialogue. The trade-off is simple: in exchange for a uniform from the 11 available for the project, those who enter this relationship have to answer one of the questions aimed at artistic work: *Why do you think art/curating is work? / *Why is contemporary art vital for society? / *Do you have a dream relating to/do you imagine new support structures for art? (maybe beyond money)