Setting out from the case of Daniel Dumitrache, who was killed inside a police station, they construct a performance based on fictionalisation of the documentary materials archived during the research. Within the framework of a film-essay with autobiographical overtones, Iulia Toma
stages a performance based on a ritual that her father, an army sergeant, meticulously used to perform. She shifts the criticism of institutions found in the previous projects towards a subjective area. The male figure, dominant in public and institutional registers, is absent, almost invisible, in family life. The subjective viewpoint and reflection on the past can also be found in Claudiu Cobilanschi
’s documentary essay, which tackles the recent history of the strategic green houses and nurseries around the edge of Bucharest, which were designed during the communist period, but which are now in ruins, overrun with weeds and mounds of rubbish. For Irina Gheorghe
, science and technology, important pillars of the socialist utopia, provide the matter for a para-scientific study that is situated at the boundary between the exact sciences and the blurred areas where they are invaded by the inexact, the unknown and the irrational.
Although they seem to form a heterogeneous corpus, traversed by various types of subject and artistic practice, the projects selected by Mona Vătămanu and Florin Tudor are united by the critical attention they pay to the social context. Another example in this direction is the work of Simion Cernica
, which captures the moments of respite enjoyed by labourers who work in precarious conditions, moments that are perceived as a collective ritual. Where Cernica draws on a low-budget
aesthetic and hidden camerawork from a distance, Ivana Mladenovic
draws her subject matter from the social medium, creating a purely spectacular, cinematic moment. The character in her film, Miss Piranda, is filmed in a theatrical way, in a single extended shot, in which seduction manifests itself to an unseen viewer. Navigating through the raucous, libido charged world of turbo-folk, the character’s strategy is to conceal herself by exposing herself, and the film exacerbates precisely this paradox. The idea of the concealed/visible is also a defining feature of the other contributions to the exhibition, which brings to the fore a series of below-the-surface problems that elude the dominant perception of the social space and the public discourse.