In the same spirit, Veda Popovici
meditates on the status of the artist in both the artworld and the society, foregrounding his/her oscillation between activism and helplessness. Giving an active role to the spectator and transferring the information from the art space to the real world are distinctive features in the exhibition that also emerge in Răzvan Botiș
’s proposal, who distributes an invitation to an exceptional event that will never take place. At the opposite end, Claudiu Cobilanschi
documents the production of utilitarian objects relying on sketches published in the handbooks of the FRR collection (The Fan Club of Romanian Achievements) which feature various types of bricolage, widely encountered before 1989, but which, in today’s consumerist age, is a rare and almost absurd activity. Marina Albu
’s interventions comprise a range of concrete actions by transforming the exhibition space into a waiting room that provides access to a separate space where a series of “Mind, Body & Spirit” services are offered to the public during the entire duration of the exhibition according to a weekly program. Cătălin Ilie
focuses on the “process of searching” through a site-specific intervention whereby public is invited to decode Samuel Beckett’s poem What is the Word
, which is recorded on a magnetic tape whose content is revealed only fragmentarily. The transfer of textual messages into a new linguistic code also appears in the work of Alexandra Bodea
who illustrates a hybrid universe of tabloid press clichés filtered through the her own imagination.