Lukáš Houdek. The Beauty of Oppression

Lukáš Houdek. The Beauty of Oppression

14 – 30 Sep 2021

Opening reception: 14 Sep / 6 PM

Future Museum (Ion Ghica 11, Bucharest)
Mo – Fri | 10.00am – 4.00pm

The work of Czech artist Lukáš Houdek focuses mainly on oppressed groups and manifestations of violence and injustice. The primary motivation for his artwork was his own experience with bullying, verbal and physical violence, which he, as a gay man in a small western Bohemian town, encountered throughout his whole adolescence. It was then that he first reached for a camera and captured his experiences to share them with his closest ones. The result was a series of eight photographs, Dream Life, the starting point for his future work. In his opinion, injustice and oppression are constantly recurring. Only the time, the scenery, and the actors change.

The exhibition The Beauty of Oppression looks at these themes in various ways. While on the one hand, it shows the manifestations and consequences of immediate violence and injustice in a straightforward manner, on the other hand, it deals with the topic in hints through subtle works.


In a series of twelve photographic sequences entitled Poor Morning of Marie B., the artist tells a fictional story from the end of the Second World War. It is set in the Bohemian Forest (Böhmerwald) region of western Bohemia, primarily inhabited by Germans who had lived alongside Czechs for centuries. After the war, most Czech-Germans were expelled from their homes, and thousands of innocent civilians were murdered in retaliation. For a long time, this topic was taboo in the Czech society, and only in recent years has there been a broader debate about these acts. Houdek has been working on this topic for several years, and his series The Art of Killing, exhibited in 2013 in the public space in Prague, caused a stir. With the help of dolls, it reconstructs specific 1945 massacres, which were swept under the carpet by the traditional narrative of the Czechs as victims of war. The images were then displayed as billboards on the main corridors in Prague’s center. Thousands of people drove past them every day for several months. In the video series Poor Morning of Maria B., Houdek points out that violence is always violence, whether it happens to Czech or German women. The viewer does not know what nationality Marie B. was, and the decision is up to them. In May 1945, both Czech and German women were victims of rape.

The Lilies series of photo portraits depict the transgender Hijra community in the Indian metropolis of Delhi, whom Lukáš Houdek has been portraying for a long time. Although they have been a respected part of the Indian society for centuries, due to the colonization of India by Great Britain and the implementation of its laws, Hijras became a criminalized group. Today they are among the most marginalized sections of Indian society. Hijras find themselves in a schizophrenic situation. Many Indians still believe in their magical powers, and any traditional Indian wedding cannot be held without their blessings out of superstition. However, at the same time, they are a target of discrimination and physical and sexual violence.

Two of Houdek’s projects in the Bucharest exhibition touch on women’s status within their own families. In a series of 48 photographs entitled All My Mother’s Knitters, he has created an intimate portrait of the most important woman in his life. The underwear, usually hidden from the public eye, reflects his mother’s personality and dedication to her family and her position in it. In his new installation, Happiness, created especially for this exhibition, he works with his grandmother Josefa’s reflections on her life with her husband, the artist’s grandfather, whom he did not have the opportunity to get to know better. However, throughout his childhood, the ideal life she told her grandson about acquires cracks with the onset of adulthood and critical reflection when the author realizes that the humorous stories are actually full of restrictions on personal freedom and violence.

The Bucharest exhibition The Beauty of Oppression is the first presentation of Lukáš Houdek’s work in Romania. Although it is mainly based on Czech realities, its themes are also relevant to the Romanian context and dealing with the position of marginalized groups.

Lukáš Houdek (1984) is a Czech artist, activist, and documentary filmmaker. Since 2013, he has been leading the Czech government’s HateFree Culture campaign. He studied Romani Studies (Romani culture, history, and language) at Charles University in Prague. In his artistic work, he mainly deals with xenophobia, injustice, and violence. Since 2017, he has drawn his attention to the radio, where he has been working on similar topics in audio documentaries for the wider public. His documentary White Wears Death, about the stigmatization of albinos in Ghana, Africa, won the 2019 Journalism Award. This year he was awarded the Grand Prix at the International Portrait Triennial (Liptovská galéria P. M. Bohúň) for a work touching on the artist’s experience of sexual violence.

Ana & Sever Petrovici-Popescu. The Other’s Skin

Ana & Sever Petrovici-Popescu. The Other’s Skin

12 – 26 Nov 2020
opening reception: 12 Nov / 6pm

Future Museum (Ion Ghica 11, Bucharest)
Mo – Fri | 10.00am – 4.00pm

‘The Other`s Skin’ investigates the social, religious and political constructs that affect the interpersonal relationship by normalizing the hierarchies and divisions destined with predilection for Other. The rules are internalized until the personal identity is broken.

In this context, the identity of the Other looks like the folds of the skin that gather in its layers unequal conglomerates of fat and memory of the power relations encountered both in one’s own society and abroad. Thus, the Other enters into a process of definition and self-definition in which he is cut and researched, but once broken, it gives rise to new cuts, new angles that help him or prevent him from reacting. The skin becomes heavier and detaches itself from the body by losing its subjectivity.


My works come from a power relationship that is always unequal to the Other, his tendency to impose himself and my inability to retaliate.

Society is built on relations of subordination whether we are talking about the hierarchical structure at work, or we are talking about family relationships. Any interaction between two people gives rise to an unequal relationship.

In this situation of aggression and domination specific to society, the weakest does not have any chance to express himself, his skin becomes his last protection in front of the other. When the skin becomes an armor, it no longer belongs to you, it’s just a coating that keeps track of all aggression.

On top of the society`s rules comes the one created by religion. Even today, religion is often used as a supreme argument to make people shut up, to put the Other on the defensive position in the name of a supreme authority, and it can be used to dismiss any inconvenient public manifestation, but also to regulate the most intimate aspects of life.


When a person migrates, he is automatically assigned the role of the Other that he considers temporary if he follows the requirements of integration. What follows is a love and hate situation for both the migrant and the host society.

The condition and integration of the migrant can also be discussed in agricultural terms, especially during the pandemic that highlighted the inequalities on the Romanian seasonal workers. Integration can be like the grafting in pomiculture, because it involves the inoculation of principles and values much more appropriate to become the universal/ global individual. However, in the process of cutting, by opening the skin, the inside can pour and contaminate the space with its strangeness and specificity.

Just as it is normal for agricultural products to be eaten, it is required for the migrant to assimilate, to digest a new culture. Claude Levi-Strauss stated that in order to be able to identify with the other, it is necessary to eat him, so integration becomes equivalent to cannibalize and letting yourself be cannibalized.

From this perspective, the EAT ME, EATING YOU installation approaches the digestion process, which can only be in both directions. The armpit is that part hidden from sight that we hardly use in touching the Other, but when the underarm expands, the movement becomes disarticulated and new, and it begins to resemble an always full and hungry mouth through which it can grasp the Other. The armpit tastes it with desire, with moisture and with cracked pores, but it can’t keep it inside for a long time, so it ends up flooding the others` corporal space. The repetition of the form with methyl blue disinfects and cleanses, keeping to a certain extent the toxicity that by obsession gives rise to fetishization.

A FINGER IN EVERY PIE addresses the statement of German Foreign Minister Bernhard von Bülow who said in 1897 that Germany needed colonies to have the same status as the world’s great powers.

To emphasize the power of seduction and anxiety of a cannibal relationship, I chose to use the artificiality of plastic because it contrasts with the naturalness of the skin, becoming a support while imitating / replacing the softness and smoothness of those areas of the body excluded or hidden in clothes.

This event is organised by Future Museum (Centrul Ceh București), with the support of Budweiser Budvar.

Alexandra Croitoru. Between 100 and 30, 30. 01. 2019

Alexandra Croitoru. Between 100 and 30

30 Jan – 29 Mar 2019
opening reception: 30 Jan / 7pm

Future Museum (Ion Ghica 11, Bucharest)
Mo – Fri | 10.00am – 4.30pm

Official celebrations and festivities have recently gained a lot of momentum. If 2018 has been marked by the Centenary commemoration, 2019 will certainly be the year remembrance of the ’89 Revolution. In this short respite between festivities, the exhibition explores artisanal methods of writing and recomposing history that lay outside of the main, official narratives.

How can several definitions of our past coexist? If we agree on the fact that the public space is represented by a spatial concept — the social sites or arenas where meanings are articulated, distributed, and negotiated via public institutions or via acts like history writing — then we have to acknowledge it is produced by a process of self-representation and self-authorization.[1] In a problematic context like the one that we are currently experiencing, our lives and sense of publicness, individuality and community is heavily compartmentalized and fragmented into multiple (public) spheres or spaces that are dependent on different experiences.[2] The official narratives are far away from the everyday realities.

The exhibition circles around A Fresco for Romania, a project developed in 2009 by Alexandra Croitoru and Ștefan Tiron in collaboration with Vasile Pop-Negreșteanu as an attempt to discuss the role of colective memory in the establishing of recent history. The public would go online to name people and events that have left a mark on the first 20 years following the Revolution, and the suggestions were included in a collage that became the first draft of a collectively drawn national fresco. Within the present exhibition, visitors are welcome to add their suggestions regarding the last 10 years that have passed since the making of the first draft, and thus become part of a non-hierarchical mechanism of arranging recent historical moments.

As an alternative to focusing on iconic political events and personalities (perceived in positive or negative light), the show features two reproductions selected from the Mihai Oroveanu Image Collection, communist propaganda collages that honor work and ordinary people. Alongside these representation models connected to collective memory and political propaganda, in the exhibition are presented two installations that showcase extremely subjective historical reconstructions. The first one displays an inter-war period scrapbook produced by an unknown author by mixing cut-outs from various publications centred on the topic of national and international history with personal or everyday life elements. The second one is constructed around an impressive archive of television news broadcasts, recorded on video tapes and DVDs by doctor Florin Gâldău starting in the 2000s, now part of the collection of the National Centre for Documentation, Research and Public Information on Romanian Revolution of December 1989 in Timișoara. The attempt to extract relevant episodes from the daily flux of information in order to place them into a cronological narrative produces a doubly mediated reality – a politicised history written by mass-media and edited by the author of the archive.

All of these deviations from the official canon of national history have the potential to undermine the monopoly of the official voices, which select and use historical events only to preserve and modulate their power. In the context of present nationalism, when our rights and possibilities to interfere into public discussion are limited, the exhibition can become a space for reflection and productive distrust that is so necessary in a time of official celebrations and festivities run amok.


Special thanks: Serioja Bocsok, Cristina Cojocaru, Grațian Gâldău, Emil Ghiţă, Cătălin Năstăsoiu, Vasile Pop-Negreșteanu, Anca Oroveanu, Andrei Pripasu, Magda Radu, Ștefan Sava, Ștefan Tiron, Ovidiu Ştefan Toader

Alexandra Croitoru is a visual artist based in Bucharest. Between 1993 and 1998 she studied at the National Academy of Arts Bucharest and since 1999 she has been teaching at the Photo-Video department of the same institution. Her projects have been presented in exhibitions organized by institutions such as Kunsthalle Winterthur, MNAC Bucharest, Bucharest, Club Electroputere Craiova, MUMOK Vienna, Zachęta National Gallery of Art Warsaw, Shedhalle Zürich, Casino Luxembourg, Künstlerhaus Bethanien Berlin, Salon of the Museum of Contemporary Art Belgrade, Kunsthallen Nikolaj Copenhagen, Centre for Contemporary Art Plovdiv, Kunsthalle project space Vienna, Brukenthal Museum Sibiu, among other. Her PhD research (2010/2014 UNArte Bucharest) was focused on the “nationalization” of Brancusi in Romania and was the starting point for the book she published in 2015—Brancusi. An Afterlife (IDEA Cluj & Archive Books Berlin). She is a founder of the independent art space Salonul de proiecte Bucharest, a platform for art production and research. Since 2011 she has been co-curating its public program and editing its publications.


This event is organised by Future Museum (Czech Centre Bucharest), with the support of The Image Collection Mihai Oroveanu.

Event supported by Budweiser Budvar.

Facebook event here.

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

[1]    Simon Sheikh. Public Spheres and the Functions of Progressive Art Institutions

[2]    Oskar Negt and Alexandr Kluge. Public Sphere and Experience

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.

– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

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.

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.