Vilmos Koter - Vilmos Koter. Our story is better than yours

Vilmos Koter. Our story is better than yours

6 Jul – 6 Sep 2018
Opening Reception: 6 July / 6.00 pm
FB event: here.

Future Museum (Ion Ghica, 11, Bucharest)
Mon – Fri | 9.00 am – 4.30 pm

Vilmos Koter’s solo show consists of two newly commissioned works, namely Plaything of power, a 3.5-metre-high installation, and two photos that constitute What if …? The exhibition is an extension of the artist’s practice, which is based on minimalist gestures and visual comments on the surrounding world and its current social issues. Koter was born in Miercurea Ciuc (Csíkszereda), a bilingual region which is called Szeklerland (Székelyföld) or, in Romanian, Ținutul Secuiesc. Situated in the geographical centre of Romania, this is where the majority of the Székelys, also known as Szeklers (a distinct ethnic group of Hungarian people), in Romania are currently living. Coming from this part of the country, Koter uses his artwork to subtly interpret the problems of this particular region.

Plaything of power refers to the several layers which are encoded in the long-term relations between Romanians and Szeklers, and to the tension between them which is kept up by both sides. As with other nationalities such as the Scots, Welsh, Basques, Catalans, and Kurds, here too there is a wish to reach a certain autonomy which, in this case, was promised to the Szeklers during the Great Union in 1918.* In order to fight for the Szekler nation, it was decided that a unifying visual symbol would be strategically necessary. A new flag was therefore recently created to represent The Szekler National Council, a political platform for the promotion of Szekler autonomy. The flag became quite popular and now hangs from the facades of hundreds of ordinary houses. From the Szeklers’ position, what they feel they are lacking is a certain independence, or the basic right of their people to be themselves. On the other side, the upsurge of fear among Romanians raises the issue of increasing separatism, even while, as the more privileged side—the side that puts constraints on the other—the Romanians refuse to include the Szekler flag, as the symbol of this ethnic group, in the context of official buildings, for example. This is a seemingly endless problem which has influenced many bloody conflicts over the centuries. How can it be solved?

The second part of the exhibition, What if …?, questions the moment when the Szekler flag was shown in the context of the massive #rezist protests that take place each night in Piața Victoriei in Bucharest. If the Szekler flag is part of the protests, then can the #rezist movement be cohesive with the Hungarian initiative? If the Szekler flag is a part of the protests, then might the allegations that Soros is supporting civil movements be interpreted as true? Why can the presence of this flag be seen as offensive in this context, while that of other national flags is not? This part of the exhibition raises questions such as these that trigger each person to answer according to their own knowledge and beliefs.

Our story is better than yours thus brings up some controversial issues that can be invisible to some people, foregrounding the alterity of people living in the same place while variously experiencing the concerns of being with, within or without an ethnic minority. It may not be about looking for who is wrong and who is right, so much as looking at the story from another angle, one that enmeshes the human aspects of the situation together with an understanding of the concept of otherness.

Vilmos Koter graduated from the University of Art and Design in Cluj-Napoca. His past exhibitions and projects include: Altart, Cluj-Napoca, Romania (2017); Žagarė Fringe Festival, Lithuania (2017); Korean Cultural Center, Budapest, Hungary (2017); GNAP Eastern Europe, Lăzarea, Romania (2017); Simultan, Timișoara, Románia (2017);, Bucharest, Romania (2016); Geumgang Nature Art Biennale, Gongju, South Korea (2016); Caucasus–Balkan Express, Bozar, Brussels, Belgium (2016); Caucasus–Balkan Express, Ljubljana, Slovenia (2015); Seoul, South Korea (2015); Pulzus Art Camp, Odorheiu Secuiesc, Romania (2015); Szatyor Bar and Gallery, Budapest, Hungary (2015); Altart, Cluj-Napoca, Romania (2014); HAU, Berlin, Germany (2014); Festival Temps D’Images, Paintbrush Factory, Cluj-Napoca, Romania (2014); m21 Gallery, Pécs, Hungary (2014); Magma, Sfântu Gheorghe, Romania (2014); Megyeháza Gallery, Miercurea-Ciuc, Romania (2013); Guangzhou, 53 Art Museum, China (2013); Wongol, South Korea (2013); Siló, Miercurea-Ciuc, Romania (2012); Geumgang Nature Art Biennale, Gongju, South Korea (2012); Csíki Székely Museum, Miercurera-Ciuc, Romania (2009); Art-Mill, Szentendre, Hungary (2009); Partapur, Banswara, India (2008); Míves House, Sfântu Gheorghe, Romania (2008); Geumgang Nature Art Pre-Biennale, Gongju, South Korea (2007); Mirtill – audio-visual performance, Gödör Club, Budapest, Hungary (2007); Binar Centre for Digital Culture, Cluj-Napoca, Romania (2006); Masca Theatre, Bucharest, Romania (2006); Future House, Budapest, Hungary (2005); Tranzit House, Cluj-Napoca, Romania (2004); Ion Mincu University of Architecture and Urbanism, Bucharest, Romania (2003); Ataş Gallery, Cluj-Napoca, Romania (2002).

This event is organised by Future Museum (Czech Centre Bucharest), with the support of the Balassi Institute in Bucharest and Budweiser Budvar.

Media partners: Agerpres, Dilema Veche, The Romania Journal, Radio România Cultural, The Institute, TANĂNANA, TVR, Hargita Nepe, Observator Cultural, Revista Arta, Revista Zeppelin, Ziarul Metropolis, Igloo Media.

Andrei Ujică, João Tabarra, Sophia Schiller - João Tabarra & Andrei Ujică. Allegro Molto Lento – b

João Tabarra & Andrei Ujică. Allegro Molto Lento – b

29 Nov 2017 – 23 Feb 2018
opening reception: 29 Nov / 7pm

Future Museum (Ion Ghica, 11, Bucharest)
Mo – Fri | 9.00am – 4.30pm

The Museum is closed 30 Nov, 1 Dec, 21 Dec – 3 January 2018 but is open every other day of the year. Thank you for your patience!

Joao Tabarra’s site-specific installation ‘Allegro Molto Lento – b’ reinterprets Andrei Ujica film trilogy Videograms of a Revolution (1992), Out of the Present (1995) and The Autobiography of Nicolae Ceaușescu (2010) in the gallery context which is dismantling Ujica’s syntactic films into another reading – turning our perspective from the narrative medium, in our case from three particular historical events to one comprehensive Ujica’s complexity.

This installation combines fragments that come from different mediums and are put together in the same space with the purpose of creating the emergence of new circumstances. Right in the centre of the space are projected three fragments taken out of the context from Andrei Ujica’s film ‘Out of The Present’, three apparently random layers re-edited to generate the exact distance in the frame of <nature> being invariably bigger than <history>. The historical events related part is manifested through 4 channels of sound – voices, chosen words and sounds that are also taken from Andrei Ujica’s previous work, combined and coming from all the corners of the room. These pieces of sound are subtitled and projected on a black cloth. Their principle is to create a narrative that underlines precisely the time, the space, the historical events and how they transform when observed from a different perspective. Together with the visual half, the whole context gives us a hint about the greatness of both history and nature and how time plays with both, the first being subjected to temporality and the latter to atemporality, but both being governed by evolution in slower or faster processes. We see the greatness and wilderness of the planet as it is and hear the roar of history unravelling. The already established work of the artist is a sphere which can always be broken to smaller pieces and glued together to bring forth something completely new.

João Tabarra (Lisbon, 1966) studied photography at Ar.Co (Centre for Art and Visual Communication) and currently lives and works in Lisbon. He began exhibiting regularly at the end of the 80’s, having today a solid path that includes participating in important national and international exhibitions, both individually and as part of collectives. He is represented in prestigious (institutional and private) collections to which his artworks belong, both in Portugal and abroad. João Tabarra is currently teacher at the Moving Image in the Media Arts department, at the HGK Karlsruhe University for Arts and Design, Karlsruhe, in Germany.

Andrei Ujica (Timisoara, 1951) studied literature in Timișoara, Bucharest, and Heidelberg. In 1981 he emigrated to Germany. After publishing poetry, prose and essays throughout the 60’s and 70’s he became a filmmaker at the beginning of the 90’s thanks to his exile and to the encounter with Harun Farocki. His first film, Videograms of a Revolution (1992), is considered one of the 10 most subversive films ever made. He continued creating his syntactic cinema as he calls it himself, directing Out of the Present (1995) and The Autobiograpy of Nicolae Ceaușescu (2010), in a manner he defines as it follows: “I try to reconstruct the film of history with fragments of conserved time.“

Sophia Schiller (Rottweil, 1992) studied at the Saarland University Psychology. Since 2015 she studies Film directing and scriptwriting at Karlsruhe University of Arts and Design with Răzvan Rădulescu and Andrei Ujica. Her Short Film “St. James Infirmary” was presented in Doclisboa 2017 (Green Years Section).

The Future Museum’s 2017 program objectives are to articulate the position of Romanian artists who were born in Romania and then either settled in another country or spent many years abroad. The programme started in May 2017 with the solo exhibition by Ovidiu Anton and the summer season continued with Anetta Mona Chisa & Lucia Tkáčová and this autumn’s exhibition is a collaboration between the artist Joao Tabarra and the film director Andrei Ujică.

This event is organised by Future Museum (Czech Centre Bucharest), with the support of BCR, Instituto Camões, Embassy of Portugal in Romania and Staropramen.

Media partners: RFI RomaniaRadio România CulturalObservator cultural,Revista ARTAThe re:artRevista Zeppelin.

Fb event.

Anetta Mona Chişa & Lucia Tkáčová, Raluca Voinea - Anetta Mona Chişa & Lucia Tkáčová. a huMan, a Lack, a Coin, a cAst. voTe it

7 Jul – 30 Sep 2017
opening reception: 7 Jul / 7pm
curator: Raluca Voinea

Future Museum (Ion Ghica, 11, Bucharest)
Mo – Fri | 8.00am – 4.30pm

“We believe that in our world, ruled by invisible economies, it is the body with its physical presence and its material urgency that stays as the ultimate structure which embodies (through its ornamentation and ritualisation) the potential of change” – declare Anetta Mona Chişa & Lucia Tkáčová. The artists have worked, during their 17-year long collaboration, with their own or hired performers bodies – which talk, confess, march, whisper to, climb on or symbolically consume each other; with bodies seen “as potential barricades and locuses of resistance” but also with memories of disappeared bodies, whose remembrance is part of a healing process and at the same time can help shape the future. For their solo show at the Czech Centre in Bucharest, Anetta Mona Chişa & Lucia Tkáčová present an installation comprising several of their recent works, linked by their connection to the body (human or animal) and how this can transform and materialize abstractions such as finance, time or mathematical codes. However, the body is no longer evoked as a whole but through its capacities such as language, manual skill or tactility.

Different works are brought together in a set-up which is at the same time a material background, a hidden sequence of pedestals, a soft fabric skin and an outgrowth generated by the exhibition space’ excessive decorations. In this scenography, works are connected and floating, lying down and taking roots, fragile and menacing. They seem preciously displayed on an altar, waiting for a future archaeologist who would have to understand a human history which only remains are these artefacts. Names deconstructed to the letters that form them and recombined as golden pendants, a dictionary with definitions that have lost their meanings and are instead releasing LSD vapors, euro coins melted and reconfigured by the grasp of the hand into potential weapons, animal bones chained in geometrically impossible structures, a carpet hand-woven with the elaborated patterns of broken touchscreens. The organic and the manual imprint are the dominating narratives; the works are witnesses of a past too rigidly submitted in its march towards the levelling progress and they are at the same time announcing a future where the basics need to be negotiated again, a future in which concepts need to be touched and inhaled, names need to be worn around one’s neck and financial value needs to be literally manipulated for survival. The spectre of a different future, un-corporeal and blinking mysterious codes, is only appearing briefly, self-undermined in fact by its own, “liberated pixel”. This anarchist pixel, with its corporate semi-robotic voice, is “a prosthetics for the imagination covering the realm between unconsciousness and oblivion” (Manifesto of the Liberated Pixel) and is probably the only surviving dissident, “floating free” and “making mistakes”, waiting for the analogue world to make sense anew, before releasing its consciousness to the virtual for good.

The title of the exhibition is an anagram of the artists’ names, in a recent practice through which each of their solo exhibition or project receives one of the 11 octillions of possible permutations from the 27 letters of their names.

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Anetta Mona Chişa & Lucia Tkáčová have been working in collaboration since 2000. Their solo presentations include: i Look At a sun, i aM a caTch, a Cave ant, Rotwand, Zürich (2016); ah, souL in A coMa, aCt naive, atTack, GAK, Bremen (2015); aCtivaTe aMok, not a causaL chAin, waterside contemporary, London (2013); Clash!, Art in General, New York (2013); Either Way, We Lose, SWAC, Brussels (2012); Material Culture / Things in our Hands, Christine Koenig Gallery, Vienna (2011); 54th Venice Biennale – Romanian pavilion (2011); How to Make a Revolution, MLAC, Rome (2010); n.b.k., Berlin (2008). Participations in group shows include: How Long Is Now?, KINDL – Centre for Contemporary Art, Berlin (2016); L’Economie de la tension, Parc Saint Leger (2016); Capitalist Melancholia, HALLE 14, Leipzig (2016); Afterimage. Rappresentazioni del conflitto, Galleria Civica, Trento (2014); Unlooped-KINO, Manifesta 10 (2014); An I for an Eye, Austrian Cultural Forum New York (2013); 3rd Moscow Biennale for Young Art (2012); The Global Contemporary, ZKM, Karlsruhe (2011); Rearview Mirror, The Power Plant, Toronto (2010); While Bodies Get Mirrored, Migros Museum, Zürich (2010); Gender Check, MuMoK, Vienna (2009); The Reach of Realism, MoCA, Miami (2009); The Making of Art, Schirn Kunsthalle, Frankfurt (2009); 6th Taipei Biennial (2008); Prague Biennale 3 (2007).

Thanks to: Viktor Vejvoda, Eduard Constantin, Adelina Ivan

The Future Museum’s 2017 programme objectives are to articulate the position of Romanian artists who were born in Romania and then either settled in another country or spent many years abroad. The programme starts in May 2017 with this solo exhibition by Ovidiu Anton. Works by Anetta Mona Chisa & Lucia Tkáčová will open the summer season and the series will close with an autumn exhibition by the film director Andrei Ujică.

This event is organised by the Future Museum (Czech Centre Bucharest), with the support of BCR, Staropramen and Becherovka. Partners: Media partners: RFI România, Radio România Cultural, Observator Cultural, Revista Arta, re:art, Scena 9, Zeppelin.

Alexandru Bălăşescu, Ovidiu Anton - Ovidiu Anton. Home is where my problems are

Ovidiu Anton. Home is where my problems are

Please note that the exhibition will be closed during the holidays, from 1st of June, 2017 until 5th of June, 2017 inclusive.

18 May – 30 Jun 2017
Opening reception: 18 May / 7pm
Future Museum (Ion Ghica, 11, Bucharest)
Mo – Fri | 8.00am – 4.30pm

The key subject matter of the work in Ovidiu Anton’s solo show is an emphasis upon several significant contemporary phenomena, but which might at once almost be considered ordinary and matter-of-fact. With our lives becoming not only more dynamic but also more complicated daily, it becomes more and more difficult to recognise authentic cultural, social and political events, which too, in turn, melt imperceptibly into the real. The particular focus of Anton’s works is thus upon normal day-to-day events which are then turned around or shifted to uncover further important layers of meaning.

The exhibition is centred around the work Smells like Paradise (2016) which was created in collaboration with the anthropologist Alexandru Bălăşescu. The main protagonists of the film are two dogs who have been removed from the places of their birth to new countries. Through their eyes we are able to observe the different cultural codes of Austria and Romania. There are two fundamental and opposing elements at play here: the state and the way it is formed by history, culture, politics and its economic development; and, at the same time, the relationship between humans and their environment. Here, through the special relationship between humans and domestic animals, we are able to perceive further significant shades of meaning, deciphering them with ever more subtlety.1

Another work presented here, the performance Exchanging Lemons in Lefkosia and Lefkoşa (2015, 7 min) compares the quality of lemons that were grown in two different political systems (are lemons really any better on the other side?) In the Turkish Republic of Northern Cyprus, the name of the city of Nicosia is Lefkoşa, while in the Republic of Cyprus, which has de jure sovereign rule over the whole island (with the exception of military bases Akrotiti and Dekeleia that belong to the United Kingdom), the Greek name for Nicosia is Lefkosia. It is worth mentioning that the British may be held accountable for the escalation of the national tensions in Cyprus, which they stirred up in the 1950s and which are ongoing today, in a typical case of permanent conflict and generic misunderstanding between minority and majority ethnic groups. In a 2009 interview, (Fruits of Trust, (2009)) Alexander Kluge and Niklas Luhmann discuss the polarity and duality of our mental spaces (peripheries and centres, us and them) which may lead us to the unstable boundary between bestiality and humanity. When we describe bestiality, we evidently feel human, or at least we wish to play such a role. But since from time to time we become beasts too, we can not insist upon any such precise distinction in our ranks. We should not forget that even the most committed humanists might also be observed from the side of bestiality as a beast.2

The other part of the exhibition’s film triptych is an older work, Street Cat Deluxe (2013, 37 min), a multilayered narrative concerning problems in the Turkish metropolis of Istanbul, where the issues of gentrification, human relations and feral domestic animals are intertwined.

The drawings 3m2 of Anarchy are presented as an installation that has been gradually increasing in volume since 2015. The drawings are made by the transformation and redrawing of photographic documentation in a singular 50 x 50 cm format. This work was originally made for the OFF Biennale in Budapest in 2015.

Born in Timişoara, Ovidiu Anton (1982) now lives and works in Vienna, Austria. His work has been presented internationally, in major exhibitions by leading museums and galleries including Koenig 2, Vienna (2017), Kunstmuseum Liechtenstein (2017), Graz Museum (2015), OFF-Biennale Budapest (2015), MAK in Vienna (2015) and Tobacco 001 Cultural Centre in Ljubljana (2014).

The Future Museum’s 2017 programme objectives are to articulate the position of Romanian artists who were born in Romania and then either settled in another country or spent many years abroad. The programme starts in May 2017 with this solo exhibition by Ovidiu Anton. Works by Anetta Mona Chisa & Lucia Tkáčová will open the summer season and the series will close with an autumn exhibition by the film director Andrei Ujică.

This event has been organised by the Future Museum (Czech Centre Bucharest), with the support of BCR and Staropramen. Partners: Austrian Cultural Forum Bucharest and Becherovka.

1 Ovidiu Anton and Alexandru Bălăşescu won the first prize in the competition “Create Your Bucharest” as part of the Vienna Biennale 2015 at the MAK Vienna. The production of the film Smells like paradise was sponsored by the Austrian Ministry for Art and Culture, the Otto Mauer Fonds and Brenntag Romania.

2 Bestiality could replace in this context by conqueror.

Adriana Gheorghe, Alina Popa, Catalina Gubandru, Florin Flueras, Ion Dumitrescu, Larisa Crunteanu, Stefan Tiron - Black Hyperbox, lectures and book launch

Black Hyperbox, lectures and book launch

30 Mar 2017 / 7pm / fb event
Future Museum (Ion Ghica, 11, Bucharest)

Short presentations by: Alina Popa, Florin Flueras, Ion Dumitrescu, Adriana Gheorghe, Stefan Tiron, Larisa Crunteanu, Catalina Gubandru.

A point alienates from itself and becomes a line. A line alienates from itself and becomes a square. A square alienates from itself and becomes a cube. A cube alienates from itself and becomes a hypercube. Black Hyperbox is a dimension of productive alienation from concepts through experience and from experience through thinking. Black Hyperbox is a productive lie, a future-oriented spatiotemporal ruse, where the conceptual horizon is mutilated through doing and the horizon of imagination is mutilated through thought. In Black Hyperbox, any known can be black-boxed and the unknown can turn out to be most banal.

This was the text that announced Black Hyperbox, initiated by Florin Flueraș and Alina Popa in 2015. Black Hyperbox started as a frame for performance and text based on the alienation between practice and conceptualization. Meanwhile, individual artworks, mostly performances, emerged from its process. They are circulating sometimes independently, sometimes together. Now Black Hyperbox is also a book, the outcome of the discursive section of the project. Its contributing authors were immersed in Black Hyperbox or gravitating around it, at least conceptually. In the book, Black Hyperbox comes forth as a place that holds incompatible conceptual zones and spatiotemporalities together: Old World and New World, theater and jungle, jaguars and AI, prehistory and futurism, the earthly home and the alien space,Mecca and the North Pole, spaceships lost in cosmos and the politics of Isis, Malevich’s black square and the moon travel, thought and hallucination.

Contributions by: Florin Flueras, Alina Popa, Ioana Gheorghiu, Ștefan Tiron, Gabriel Catren, Irina Gheorghe, Garett Strickland, Sina Seifee, Bogdan Drăgănescu, Eleni Ikoniadou, Cristina Bogdan, Cosima Opartan, Nicola Masciandaro, Ben Woodard, Blake Victor, Adriana Gheorghe, Gregory Chatonsky, Dorothée Legrand, Georges Heidmann, Matt Hare, Larisa Crunţeanu, Dylan Trigg, Ion Dumitrescu.

Edited by Alina Popa and Florin Flueras
Design by Radu Lesevschi and Alexandru Andrei

Published by PUNCH

Editorial project published with the support of The National Cultural Fund Administration (AFCN) and the National Dance Center Bucharest.
The project does not necessarily reflect AFCN’s position. AFCN is not responsible for the content of the project or how the project’s results might be used. The beneficiary of the funding is solely responsible for these aspects.

Mona Vatamanu & Florin Tudor, Ovidiu Țichindeleanu - Mona Vatamanu & Florin Tudor. What seems to be still alive is the power of that dream to bring people together and to create another history

Mona Vatamanu & Florin Tudor. What seems to be still alive is the power of that dream to bring people together and to create another history

19 Sep – 21 Oct 2016
Opening reception: 19 Sep / 7pm / fb event
Future Museum (Ion Ghica, 11, Bucharest)
Mo – Fri | 8.00am – 4.30pm


The exhibition centers around the new film essay ‘Gagarin’s Tree’. An interview with philosopher Ovidiu Tichindeleanu engages issues of space exploration, imagination and propaganda in the socialist utopia, the post-communist condition as liberal colonisation, linked – Ovidiu proposes – to other sites of decolonisation through a new historical consciousness. The protagonist’s reflection departs from the unstable nature of today’s ruins: these are the ruinous future of different pasts, of different messianisms, or modes of conceiving the notion of historical destination in the last decades. Ovidiu’s analysis revolves around the reciprocal construction of pasts and futures, ideas of renewal or historical horizon, temporal or spatial ‘elsewheres’. The backdrop for the conversation the film proposes is the Gagarin Youth Centre, in Chisinau, Moldavia, where most of the footage was filmed. Now deserted, and waiting to be replaced by a construction more adapted to today’s oligarchic liberalism, the building reads like a palimpsest of unrealized historical projections, perhaps captured in the large mosaic of outer space labor: a worker ploughing the universe. “An entirely different history of the world was about to be written. The feeling and the memory of this divergence is still active and alive, and it is awakened in connection with those utopias that actually became daily life and are now the history of the people who grew up in the tradition of real socialism. But if the post-communist transition meant a colonisation, and if real socialism was partially an attempt to write a history divergent from that of Western modernity, then what is left of that, what is alive?” Ovidiu’s insistence on communism as a heresy, as deviation from other forms of imagining the modern selfhood and society, may have left something behind, a residue that might activate its catalytic, transformative potential. In his words, this is “the power of a dream to bring people together and create another history”.

The exhibition also includes a selection of older films by Mona Vatamanu and Florin Tudor, such as The order of things (2011), All that is solid melts into air (2012-2013), and Rite of Spring (2010).

Mona Vatamanu & Florin Tudor, born 1968/1974 live and work in Bucharest. Selected shows include: EVA Biennial, Limerick, 2016; 49 Nord 6 Est – Frac Lorraine, Metz, 2016; Para Site, Hong Kong, 2015;, Bratislava, 2015; Muzeum Sztuki ms2, Lodz, 2015; MUSAC, Leon, 2015; Argos Centre for Arts and Media, Brussels, 2014; 10th Shanghai Biennale, 2014; Centre Pompidou, Paris, 2014; New Museum, New York, 2014; Württembergischer Kunstverein, Stuttgart, 2014; The Jewish Museum, New York, 2014; Ludwig Museum, Budapest, 2014; Extracity, Antwerp, 2013; Kunsthalle Lissabon, 2013; Frankfurter Kunstverein, 2013; M hka, Antwerp, 2013;, Bucuresti, 2013; daadgalerie, Berlin, 2012; ZKM, Karlsruhe, 2012; 12th Istanbul Biennial, 2011; 54th Venice Biennale, 2011; 1st Ural Industrial Biennial, Ekaterinburg, 2010; Mucsarnok Kunsthalle, Budapest, 2010; Secession, Vienna, 2009; BAK, basis voor actuele kunst, Utrecht, 2009; 5th Berlin Biennial, 2008; 52nd Venice Biennale, 2007.

This exhibition is produced in connection with that which Mona Vatamanu and Florin Tudor will open at Salonul de proiecte on 9 November, 2016. Together, the two shows will give an overview of the duo’s most recent projects.

Anca-Raluca - Anca-Raluca. B L A N K, 24. 06. 2016

Anca-Raluca. B L A N K

24 Jun – 02 Sep 2016
Opening reception: 24 Jun 2016, at 8pm, fb event

Blank is a radical ceremony that performs a rupture between past and present; it aims to break the past away from the present in an attempt to invent a new space for the future. By selecting random ready-made objects gathered* throughout the years in what can only be described as a domestic museum, the artist proceeds in painting them white before placing them in a white space.


The ritual therefore entails a removal of pieces from the past, an act of cleansing by painting that partly removes their identity, and their repositioning into a designated non-space, a blank space of full potentiality. By painting the object white the ritual organically connects the materiality of the object’s surface with the spirituality of the act of cleanliness – white paint becomes pure spirit. To move them from one particular place (the attic of the artist’s house) to this non-place gives the performance an open ending thus creating a tabula rasa for the full potentiality for the future.

While Blank is a personal ritual intimately connected to a defining stage in the artist’s life, it also draws attention to the wider needs of Romanian society to break with the past and reinvent the future.** (Bogdan Cornea)

* This evokes the “economical hoarding” phenomenon which emerged during the last decade of communism when Romania was exporting a large percentage of its internal production to pay off the country’s external debt, thus leaving the Romanian people to scrape for their livelihoods. During this period, people started to salvage what they consider to be relevant bits and pieces which one day might be reused to improve or to fix damaged goods. (Anca-Raluca)

** White representing the light, which is formed from all the colors, white is non-restrictive space; it is the symbol for openness to healing past traumas and reinventing a future where each of us has a chance, no matter the color.
Blank is inviting everyone to introspection and a change that will start with our personal space (home), mind, by giving up useless thoughts of negativity, hatred or fear. When we ourselves will be freed from the burden of fear, only then we can truly contribute to a future that will give space to everyone to manifest themselves.

Anca-Raluca quitted Art History at University of Arts Bucharest after a failed exam on the object of museology. It was then when she sensed how erroneous the educational system in Romania was, and how much it worked against the true formation of a future artist, or in her personal case of an arts historian. The following years Anca-Raluca pursued a personal research into the subject of human nature in the political and social space of a country, and now she is interested in farming, and the dynamics of small communities and their specific living and working spaces. Anca-Raluca is a part of a group Biserika. She lives and works in Arad.

The exhibition is supported by Future Museum, a newly established platform based on a system of open call commissions. All artists and curators based in Romania and Moldova are invited to submit project proposals which will be selected by an international board. The ethos of the museum is a belief in unexplored concepts, uncharted intentions, unknown phenomena, undiscovered schemes and unprecedented theories.

Event organized by the Czech Centre in Bucharest.
Media partners: Revista Arta & The Re:Art Event.
Supported by Staropramen.

Iulia Turcanu, Vlad Dumitrescu - Exhibition Time. Instalație de lumină (Noaptea Muzeelor)

Exhibition Time. Instalație de lumină @ Future Museum
21.05. 2016, 18:00 – 24:00

Instalația reflectă limitele societății contemporane, în care o anumită parte a culturii nu este accesibilă nonstop, precum emisiunile TV, ci trebuie să-i dedici o parte anume din timpul personal. Atunci când lucrăm 8 ore zi, sau, deseori, chiar mai mult, nu putem să ne bucurăm de formele culturale oferite de stat sau de oraș și suntem reduși la urmărirea serialelor și stirilor apocaliptice la televizor.

Intrare liberă.



Tatiana Fiodorova, Vasile Ernu - QUIET ODD #8 _ Beside the Bright Future @ Future Museum, 21. 02. 2016

QUIET ODD #8_ Beside the Bright Future @ Future Museum

Screening and lecture by Vasile Ernu: 21.02. 2016 at 7pm, fb event.

In connection to Tatiana Fiodorova’s exhibition When a book becomes a message, part of the Future Museum program launched by the Czech Centre in Bucharest, ODD invites cultural critic Vasile Ernu to propose a screening revealing to the public, aspects of the Soviet underground in the 80s and 90s.

The 80s is home to the last generation of young communists, who no longer wish to build the “bright future”, and instead break it apart through various means. The underground is a central element of this generation boycotting the regime through insubordination and constructing various survival techniques: from work to music, from visual arts and literature, to sports and black economy. Ernu will paint the picture of this generation, telling its stories and playing films, videos and music.

The event kicks off with a commented selection of shorter tapes, videos and other documents, followed by a longer discussion with Ernu and Fiodorova. The evening ends with a feature film, which we will reveal in due course. Stay tuned!

Soviet passport, (2014)

Vasile Ernu was born in the USSR in 1971. He graduated the Faculty of Philosophy (Al. I. Cuza University, Iasi, Romania, 1996) and has a master’s degree in philosophy (Babes-Bolyai University, Cluj, Romania, 1997). He was one of the founding editors of Philosophy&Stuff magazine  and associated editor of Idea arts + society magazine. He was an active member of Idea and Tranzit Foundations, of Idea Publishing House and of Polirom Publishing House. Since 2006 he has permanent columns at România Liberă, HotNews, Noua literatură and Suplimentul de cultură. He is one of the founders and coordinators of the leftist platform Ernu is the author of: Born in the USSR (Polirom, 2006), The Last Heretics of the Empire (Polirom, 2009), That which separates us (Polirom, 2010, together with Bogdan Stanescu), The Russian Intelligentsia today (Cartier, 2012), I am a Leftist (Cartier, 2013), The Sectarians. Small trilogy of the marginals (Polirom, 2015), The Illusion of Anti-communism. A Critical Interpretation of the Tismaneanu Report (Cartier, 2008, together with Costi Rogozanu, Ciprian Şiulea and Ovidiu Ţichindeleanu), Ukraine live. The Ukaine crisis: from Maidan to cicil war (Tact, 2014, together with Florin Poenaru).

Tatiana Fiodorova, Vasile Ernu, Vasilii Lefter - Tatiana Fiodorova. When a book becomes a message, 27. 01. 2016

Tatiana Fiodorova. When a book becomes a message

27.01. – 11.03. 2016
Opening reception: 27.01. 2016 at 7pm, fb event.
Screening (with QUIET ODD) and lecture by Vasile Ernu: Beside the Bright Future, 21.02. 2016 at 5pm, fb event.

Tatiana Fiodorova is a Moldavian artist, curator and educator working with current political and social themes, often evaluated in contextual relation to the history of the Soviet Union. Certain areas of her practice are also deeply engaged with the artworks of her prematurely deceased father, Vasilii Lefter,* who left Tatiana a large archive of sketchbooks, diaries, drawings, manuals, poster designs and documentary photographs; and at the intersection of these two.


This exhibition is the first solo presentation of Tatiana Fiodorova in Bucharest. Taking the form of a retrospective, in which she presents her artist’s books, which are one of her most prevalent means of expression. For Fiodorova, the artist’s book is a medium that allows for the presentation of different artistic practices. The show includes her publications IN search of the social body of Soviet artist, Soviet Passport, and Factory Steaua Rosie; accompanied by a guide book to healing herbs,** a book about the organisation and remuneration of the soviet artists and an archive of poster designs, which are one-off publications by Vasilii Lefter). Two new publications, Bessarabia and Inhabitants and Toilet Paper Map Bucharest have been made especially for this solo show.

Fiodorova’s IN search of the social body of the Soviet artist (2012)*** addresses the role of contemporary art through the work of Vasilii Lefter. The publication introduces several research topics, for example past theoretical discourse;‌**** current perspectives on past artistic practices; past ideas of social engagement; and the visual works of Vasilii Lefter. The book is a meta-discourse (or grand narrative) of Soviet ideology, which can be loosely associated with the contemporary policies of European society. Indeed, themes and ideas about the ‘representation’ of European society are created and recommended by a system of commissions. To obtain financial funding for community-based projects implies developing projects which support the new geographical borders.*****

In the photographic book Soviet passport (2014) Fiodorova introduces a series of portraits of people with their Soviet passports, miscellaneous objects and photographs from the Soviet era as well as preserved children’s toys which were found in houses of those portrayed. The book is concerned with two research fields: Republic of Moldova and Transnistria. Until March 2014, there was no law forbidding the use of these documents in Republic of Moldova. At that time however, the government of Moldova approved a draft law that stated that by September 1, 2014, Soviet passports must be exchanged for Moldovan ones. In Transnistria, however, Soviet passport are still valid now. As Transnistria, often called a mafia enclave, is officially unrecognised as an independent state, these people are in fact inhabitants of what is currently a blank space on the map. The fact that they held passports from the time of the Soviet Union shows the paradox of talking about the Soviet Union as if it were the distant past. To an extent, this anomaly began around 1988–1990 with the threat of the annexation of the Moldavian Soviet Socialist Republic by Romania. Moldavian was the only official language permitted in this multi-ethnic area. As a response, the Moldavian Soviet Socialist Republic was established as a Soviet republic of the USSR. Even though Michail Gorbachev had not recognised this new Soviet republic, when the USSR fell apart the Soviet Army (later transformed into the Army of the Russian Federation) supported the status quo in this area. The separatist state was not officially recognised by anyone but it existed for twenty years, backed by international egalitarian Soviet ideology and the new oligarchic elites that emerged in this period. Ordinary people were drawn into the trap, almost like hostages, and at the same time intentionally maintained in an ideological lethargy. It may be quite difficult for such people to part with their Soviet passports, because for them these documents represent a memory of the past; of a utopian state, where they spent their youths and lives.

The book Steaua Rosie (Red Star), 2013–2014 is based on memories of the Soviet Moldavian textile factory, Steaua Rosie, in which the artist’s mother worked for more than 25 years. Through the personal story of her mother, the artist reinterprets and analyses the role of women and labour in the Soviet and post-Soviet context. The communist enterprise Steaua Rosie was the flagship of the Moldovan light industry in the Soviet era. In Soviet times, the factory had eighteen departments, 240 brigades and 3855 workers. It was closed in 1999 due to its huge debts and was declared bankrupt by the Economic Court.

The latest in a series of notebooks, in addition to Toilet Paper Map Prague (2012) and Toilet Paper Map Vienna (2015), a new notebook, Toilet Paper Map Bucharest (2016), has been conceived for this exhibition. The project is a comparative collection of toilet paper from different art institutions, museums and public spaces for the purpose of analysing it together with entry costs and customer service. The toilet paper is then positioned as an important data carrier for the given institution, the paper’s quality loosely reflecting the attitude of the institution to its audience.

The project Bessarabia and Inhabitants continues Fiodorova’s research into the Bessarabian-Soviet past via the photo archive created by Vasilii Lefter. The book is based on archival materials and images of the villagers; Fiodorova analyses, in an artistic way, and reinterprets the role of the peasants in the Soviet and post-Soviet context. The peasants are shown in the background of nature from their infancy to adulthood. On the one hand this cycle is infinite ­– on the other hand, and from time to time, there are failures, errors and losses. In the context of the present day, the traditional concept of the peasant is blurred now; the majority of those who were peasants have become city dwellers or migrant workers. According to the latest report by the Centre for State Information Resources, 50 villages in Moldova have effectively disappeared, left with fewer than 40 inhabitants. Villages in Moldova are dying in this way due to lack of employment and migration to the cities and abroad.

The exhibition is supported by The Future Museum, a newly established platform based on a system of open call commissions. All artists and curators based in Romania and Moldova are invited to submit project proposals which will be selected by an international board. The ethos of the museum is a belief in unexplored concepts, uncharted intentions, unknown phenomena, undiscovered schemes and unprecedented theories.

* Vasilii Lefter (1942–1982) trained at the Construction School N3, Chisinau. He developed a serious interest in art by attending courses at the studio for youth in the Art School for Children during the evening. In 1961 Lefter was drafted into the Soviet army, where he attended drawing courses at the studio near the House of Culture in Saratov City on Sundays. In 1964 he enrolled in the National University of the Arts, N. C. Krupskaya in Moscow, doing part-time studies, and graduated in 1970. Then he worked for the Orgstroy department of the Ministry for Building as a designer, while simultaneously documenting ordinary Moldavian life as an art practice.

** Vasilii Lefter created a booklet by making photocopies of the herbarium which was reduced in dimension. Photocopies were glued into book-pages. The booklet was made intentionally for practical reasons. As an object it has a unique aesthetic quality; it also documents and explains difficulties in the Soviet Union.

*** Fiodorova, Tatiana, IN search of the social body of the Soviet artist (ed. Dana Andrew), «Unknown Artist» Publishing House, Chisinau, 2012.

**** Obviously, the main characteristic of socialist realist art has always been and will remain focused on the working man, the representative of the working class – a contemplative artistic personality. Essays on art, P. A. Pavlov, Soviet Union Institute for Research of the Ministry of Culture of the USSR, Soviet painter, Moscow, 1980, p.10.

***** It is more than obvious that artists are tools of power at any given moment. In the Soviet Union and nowadays artists have longed for a kind of recognition and success which might be called universality; i.e., the ability to situate one’s own work in the international context, and consequently as a tool of globalisation and connected economies.

Tatiana Fiodorova (1976) was born, and is based, in Chisinau, Republic of Moldova. She works with installation, live performance, public art, video and artists’ books. The subject matter of her practice tends to reflect the contemporary world in response to current social, political and aesthetic issues. Fiodorova’s work has been shown at The Delhi Photo Festival; the parallel programme of the Moscow Biennale of Contemporary Art (2015); Salonul de proiecte at Viennafair (2013); 7th Berlin Biennale (2012); Moscow Biennale of Contemporary Art (2011); Periferic 8: The Romanian Biennial for Contemporary Art (2008); and also at museums such as MNAC Bucharest, freiraum Q21 International, MuseumsQuartier in Vienna, Kalmar Art Museum, MOCAK Krakow, Neues Museum Weimar, Docks on the Seine Paris, Museum of Ethnography and Natural History in Chisinau, and in galleries such as Karlín Studios in Prague, Zacheta Project Room in Warsaw, Anzenberger Gallery in Vienna, Constitution Hill in Johannesburg, Gallery apARTe in Iasi, Alert Studio in Bucharest, Arsenal Gallery in Białystok, National Cultural-Art and Museum Complex “Mystetskyi Arsenal” in Kiev, Visual Culture Research Center and Political Critique in Kiev, «ЦЭХ» in Minsk, Welch School Galleries in Atlanta (USA), Garage Center for Contemporary Culture in Moscow, Short Cuts Gallery in Namur, WG KUNST in Amsterdam, M’ARS Centre for Contemporary Art in Moscow and NCCA National Centre for Contemporary Arts in Moscow, Donau-Universität inKrems, Emil Filla Gallery in Ústí nad Labem, Zpatiu Gallery in Chisinau etc.

Event organized by the Czech Centre in Bucharest.
Media partners: Revista Arta & The Re:Art.
Event supported by Staropramen.

Future Museum
Ion Ghica 11

Since January 2016
Mo – Fri | 9 am – 4.30 pm

For more information,
images, quotes and interview
requests, please contact:

Sorina Neaga
0724 352927

Exhibitions are organized by the Czech Centre in Bucharest.
Since 2018 supported by Budweiser Budvar.

Media partners: AGERPRESDilema vecheThe Romania JournalRadio România CulturalThe InstituteTANANANATVR Pagina OficialaObservator culturalRevista ARTARevista ZeppelinZiarul MetropolisIgloo media.