Andr0meda is the pseudonym that Andra Bularca uses to sign the artistic installations placed in public spaces, the jewelry and the various artistic objects she works on. She is a graduate of "Hans Mattis-Teutsch" Fine Arts Vocational High School in Brașov (RO) and "Iuliu Hațieganu" University of Medicine and Pharmacy in Cluj-Napoca (RO). She is in fact a dental technician, but already gave up the idea of practicing and returned to art.

"In high school I started with mural painting, then I moved on to making jewelry, henna tattoos, string art, ceramics, some tailoring, and from 2018 I started to develop my passion for volumes, so I begun to work on installations made of natural elements, with the help of which I thought I could remind people how important it is to be able to free ourselves from the tensions acquired between the concretes of the cities and reconnect with our true nature.

After finishing my studies I had several attempts to integrate into this linear society, but my artistic spirit did not want to remain in the shadow, so I decided to declare myself an artist and do my best to make a living from it. Therefore, I am a visual artist and I like to work and learn the most diverse expression techniques, although since I was little I feel a stronger call towards volumes and installations", says the artist.

It is a form of art installation, which results in human shape, made of sticks, branches or roots, built in natural size, or various other structures. A recent project renders a DNA structure, for which she used wire, sticks and lights to accentuate its dynamism. In fact, lights are added to all installations, so the perception of the structure changes depending on when it is seen - day or night. Another of her installation is found in the center of Brașov, it is called "Mother nature" and it is a female figure, placed next to a tree. The project is part of Street Delivery Brașov.

"It is about recycling elements from nature, giving them an artistic touch. I wanted to highlight the idea of a bridge between humans and nature and the fact that without it we could not survive. It represents that cyclical rhythm in which we become one with the earth, becoming nourishment for nature, and it supports life.

The DNA structure was conceived within the Waha Festival, after the "roots" theme was nominated. In addition to using twigs and roots to design the installation, I dared to go a little further, to reach the root of life in the entire galaxy, the basis of our existence, namely that small, but surely the most precious structure in the nucleus of each cell, the DNA full of information", Andra explains.

Although she does not yet have a very extensive exhibition history, she has already managed to exhibit at two editions of the Waha Festival, then at Street Delivery Brașov, and will participate at Street Delivery Bucharest in September.

Andra can be seen on Facebook as Andr0meda and on Instagram – the page Andr.0.meda, where you can follow what she is creating. You will find her installations and original jewelry creations there, resulting from the juxtaposition of several types of materials, especially combinations of textiles with colored stones or beads. There you can find many other types of artistic objects created by Andra.

photos - Andr0meda 

Galeria Aparte (UNAGE Iași, Romania) presented the project "The story that could have been" (August 10-16, 2023), which included works signed by Oana Maria Nae, Ioana Păvăleanu (doctor) and Horia Ioachim Nae. In the current project, Oana Maria Nae is an artist-curator, responsible for both the exhibition concept and the artistic content and process. The exhibition is the story of a personal journey, from which the artist-curator extracted and then combined the practical and theoretical aspects of her own story and interaction with art over the years.

"Started as an intimate approach, an opportunity to reminisce and reactivate a personal creative process, the present exhibition becomes a support for the idea of the potentiality of an artistic career that did not happen", we learn from the curator. Oana Maria Nae is currently an art historian focusing on the area of modern art theory and modern design. However, several years ago she had a training in the field of visual arts, working with various artistic concepts and techniques. The exhibition consists of a fragmentary collage made of sketches, texts, works with various themes that Oana Maria Nae made from primary school to the period of her MA studies (approx. between 1990-2008). "Added to these are active and current process of self-analysis based on the temporal distance from that period. The period between the possible beginning of an artistic career and the present dominated by other concerns, professional or domestic, becomes a time in which the ability and freedom to choose, submission to choices and their acceptance, subtly transforms into a mechanism of regulation and understanding of the balance between reality and potentiality", Oana Maria Nae also conveys.

An obvious feminist reading of this artistic act is brought by the roles that Oana Maria Nae assumes and exhibits on this background. As a real echo of these ideas, several artworks made by Ioana Păvăleanu, a doctor, and Horia Ioachim Nae are brought to the exhibition, works that outline other creative potentialities, one of an amateur and the other of a child in training, which can be extinguished or, on the contrary, may increase or continue to exist.

"<<The story that could have been>> is an self-analysis exhibition of the creative process in its temporal evolution, signed by Oana Maria Nae, art historian, with an undeniable talent, enhanced by years of professional academic education. She could have been a visual artist - her cultivated talent fully recommends her, but her analytical spirit and pedagogic vocation opened other doors for her and it was not to be. The parable of the choices we make that shape or at least influence our professional destiny is obvious. But the humor, the self-irony, the appetite for mixed media and the collaborative text-image message are also remarkable. I also appreciated a nice nod to the passing of the years, with two guest artists - a transgenerational collaboration with Horia Ioachim Nae (in training) and a tribute to a friend in art, Ioana Păvăleanu, who finally chose medicine as a profession” - Cristina Simion, gallerist and curator at Tiny Griffon Gallery Nürnberg.

Oana Maria Nicuță Nae teaches modern and contemporary art courses at “George Enescu” National University of Art in Iasi. She is interested in the representation of women in modern Romanian painting, but also in the relationship between Orientalism and Westernism in modern art. She experienced the process of artistic creation for several years, especially the techniques of decorative art, being a graduate of the Mural Art specialization (2006) and participating in various exhibitions and collective artistic projects (2002-2008). She also created two mural art projects in Iasi (2002, 2006) and graphically illustrated the book "A super, mega, extra journey in the world of sleep" (ed. Sedcom Libris, 2022).

"Manifiesto Verde" (Green Manifesto) is an exhibition of Argentine artists at the Museum of Modern Art, as part of the annual exhibition program "El arte, ese río interminable" (Art, that endless river). Curated by Alejandra Aguado and Rodrigo Barcos as assistant curator, this exhibition highlights the pioneering art of ecological imprint created since the 1960s by Nicolás García Uriburu and proposes a dialogue with other Argentine artists whose works reactivate the imaginary of nature.

Sector 1 Gallery presented the performance "Reverse the Entropy" by artist Ștefania Crișan. The took place on Saturday, July 29th, at Băiculești 29, Bucharest.

<<"Reverse the Entropy" is a profound exploration, deeply intertwined with the video installation "Geamăna" currently showcased in the gallery, part of the group exhibition Mother's Nature. The genesis of this performance dates back to 2017 when Ștefania Crișan first encountered the haunting landscape of Geamăna, a Romanian village submerged under toxic waters from a settling lake. During the late 1970s, Nicolae Ceaușescu's regime sacrificed this village, nestled at the foothills of the Western Carpathian Mountains, to exploit the copper mines of Roșia Poieni, forcibly displacing 365 families. Tragically, the mining activities in the gutted mountains of Roșia Poieni continue to cause an ongoing ecological disaster, spreading over 130 hectares, with nearly 27 million tons of waste deposited in the lake annually.

Crișan's response to this poignant history involved collecting images, objects, and testimonies from the site. Through her profound sensitivity and understanding, she has masterfully translated these elements into performances, installations, sculptures, and intuitive chantings>>, the gallery informs.

Following the performance, there was an artist talk, where Ștefania shared her insights and inspirations behind "Reverse the Entropy", her creative process, and deeper meanings behind her work. The talk was moderated by Cristina Bută.

Ștefania Crișan (b. 1993, Romania) is interested in themes connected to the Anthropocene, questioning the paradoxes between the horror and the beauty of catastrophe, between observing the impossible inversion of the entropy and the healing virtues of ritual practices; between the death of a landscape and the death of painting. She is the winner of the 2022 Luxembourg Encouragement for Artists Prize (LEAP) and has exhibited at FRAC Lorraine, Casino Luxembourg, Stadtgalerie Saarbrücken and Centre Pompidou-Metz. She lives and works in Metz, France.

"On the skin of the world there are clues. Colours that change afterwards. Asperities and strange alchemies. Tears and cuts, blisters and burns. Skin marked with a branding iron. Ștefania Crișan walks on this skin. Barefoot. She walks slowly, often stops, kneels down, lays her hands on the ground, approaches her mouth, presses her ear against it. She feels the vibrations, hears the rumblings, listens to the pulsations. She knows that she is walking on eggshells. That these eggs contain creatures that are already alive, not yet born, monstrous-looking because they haven’t yet reached their final appearance. 

She walks on quicksand and knows that on the other side, the world below cries out in silence. Lying on her stomach, she becomes one with it, absorbs, receives the waves, and, motionless, samples fragments, collects them, deciphers them, translates them. She stays there for a long while. When she gets up, she remains silent. Then she sings." (Excerpt from Célia Charvet, CHUT.E. CHANT. SON. Ștefania Crișan against the skin of the world in LEAP – the Luxembourg Encouragement for Artists Prize catalogue, 2022)

“Geamăna” is a project of poetic activism comprising several works. In 2017, Ștefania Crișan discovered the existence of Geamăna, a Romanian village submerged under the toxic waters of a settling lake. In the late 1970s, Nicolae Ceaușescu’s regime sacrificed this village at the foot of the Western Carpathian Mountains in order to exploit the copper mines of Roșia Poieni, forcing 365 families to leave. Today, the mining of copper and other metals in the gutted mountains of Roșia Poieni is causing an ecological disaster that extends over more than 130 hectares, with nearly 27 million tons of waste deposited in the lake every year. 

The only trace of the presence of the former village, the roof of the church, a symbol of the sacred, emerges from the water, which has turned orange due to the presence of cyanide. It acts as a ‘vestige of the future’ and a warning. Despite the tragic fate of their village, the local residents have never ceased to believe in God and in spirituality. Crișan collected images, objects and testimonies from the site and, through a sensitive understanding, translated them back into performances, installations, sculptures or intuitive chantings.

The performance "Reverse the Entropy", in dialogue with the video installation "Geamăna", was created after the artist’s first encounter with the landscape of Geamăna in 2017. At the time, she met two women living close to the contaminated lake. Despite their own sufferings, they offered her water, a place to sleep and their blessings. When the artist returned in 2018, she learned that one of the women had died. The performative sculpture Ophelia and the Anthropocene is a ‘portrait-receptacle’, a reflection on death, the disappearance and transformation of matter – in tribute to the deceased woman.

The performance is part of the exhibition Mother’s Nature, curated by Maya Økland and Cristina Bută. This project was financed with the support of EEA Grants 2014 – 2021 within the RO-CULTURE Programme.

Performers: Ștefania Crișan & Victor Mopin

On 20th of July took place an ecoperformative conference embodying results of an art research funded under Culture moves Europe program and Goethe Institute.

Two ecoperformative trajectories embodied, on the one hand, the building of the body of nature as body of collapse; on the other hand, the alchemical process for transmutation of matter.

The immersive event was designed to recreate and showcase the results of the artistic research undertaken by Alina Tofan and GCV (co-founders of Plastic Art Performance collective) in Norway.

The ecoperformative conference was guided using points of visual installation, object installation and sound-design. The public could explore it with all senses and become part of the performative journey.

Between April and May 2023, the two resident artists have been hosted in Vestfold, Telemark region in Norway, working together with Creatorium International, an active NGO based in Steinsholt, in order to develop an art methodology centered on ecoperformance and bringing together practices at the intersection of art and ecology.

As a result of the 3-week-long program of practices, co-developed with the participation of Vladislav Calestru, a series of art products emerged: a durational ecoperformance installation opened for the public in Kruttverket art gallery center in Oslo, site-specific performances in various Norwegian landscapes, two video-art / ecovideoperformances, sound-art installation, as well as nature-object installations.

The resulted methodology stands as the group’s corpus of practices, developed, tested and implemented throughout the last 3 years in Romania, in the territory of ecoperformance - an international artistic practice, movement and community sprouted in Brazil and guided for the past 30 years under Taanteatro Companhia, initiators of the vision, practice and the first Ecoperformance Festival.

Plastic Art Performance Collective is an art group active in the Romanian arts and cultural scene based in Bucharest, focused on connecting awareness, body and ecology through various art forms. The group creates ecoperformances, immersive events and multimedia projects centered around the relationship with the environment.

Creatorium is a non-for-profit organization based in Steinsholt, Norway, developing international projects focused on active learning methods, community building, internationalism and global awareness, with focus on the self-development needs and creative expression.

The art mobility was awarded a grant by Culture moves Europe program.

Sector 1 Gallery presented a premiere performance by Norwegian-Brazilian artist Kiyoshi Yamamoto, entitled “It Takes No Compromise to Give People Their Rights”, 2023. The event took place on Saturday, July 22nd, in Bucharest.

Kiyoshi Yamamoto’s works convey political messages and address social issues, with a focus on the LGBTQ+ community and human rights. Inspired by the indigenous cultures of the Amazon, such as the Tupi and Maracatu populations, who have been colonized and exploited by the Portuguese since the 14th century, Yamamoto uses the traditions of Native American cultures to express their vibrant colors in the context of the LGBTQ+ community. 

Kiyoshi also integrates industrial production as an artistic method through which he creates his works, giving them functionality, such as sunglasses, bandanas, and costumes. The title of the new artwork presented at Sector 1 Gallery is inspired by a phrase from gay rights activist and politician Harvey Milk, recreated on the masks and costumes worn by the five performers, including the artist himself, each belonging to a different generation, from 20 to 60 years old. They will move to the melodies of Brazilian composer Villa-Lobos, wearing Yamamoto’s creations. Live music will be performed by Bogdan Postolache on cello and Monica Postolache on violin.

Kiyoshi Yamamoto (b. 1982) works in a variety of artistic techniques, including textiles, painting, printmaking, installation, and video. He has exhibited in various international contexts and holds a master’s degree from the National Art College in Bergen (2013). Currently, he lives and works in Bergen, Norway.

The performance was part of the exhibition “Mother’s Nature”, curated by Maya Økland and Cristina Bută. Partner: VISP – Produksjonsenhet for visuell kunst.

"Fulguraciones" is a solo exhibition by Argentine artist and set designer Renata Schussheim held at the Borges Cultural Center. Schussheim exhibits sculptures of ethereal swimmers suspended in the dome of the building, the most beautiful space in this place. The exhibition continues in the Berni Pavilion, where she exhibits large-scale intervened photographs showing strange men disguised as polar bears who, in turn, are photographed with young and old. According to the artist, it is the strangest exhibition she has ever done.

Catinca Tabacaru Gallery recently presented in Bucharest a solo exhibition by Ana Pascu - "Towards Inmost", curated by Iselin Huluba.

“Towards Inmost” is a 5-channel video installation that investigates the interaction between the human experience and the external environment. Through performance, video, sound and object, the installation invites the viewer to reflect on the mechanisms that shape our relationship to the physical reality.

<<The performance captures the fluidity and dynamism of human experiences, translating inner thoughts and outer interactions into a choreography of feelings, while the sound reproduces the soundscape of the border between the two spaces.

The installation highlights two planes - one physical and one intangible, both explored through movement. Through the interaction of the characters moving along the screens and through the imposing presence of the oversized self observing from the outside, the installation presents the metaphysical journey within the human-environment relationship>>, points out the artist.

<<At a form level, the objects within the installation detach themselves from their ordinary functionality and become casings for the screens they contain. This relation between the containing object and the containing screen launches a first attempt to thin the boundary between the two media.

Within the installation, the screen in its original function, becomes a window, which reveals the space proposed by the video material. In addition to the existing screens inside the objects, the concept of the internal is also supported by the two projections that are found on the outer walls of the space. In this way, the two spaces are demarcated even more strongly by relating to the architecture of the exhibition space.

The video content consists of capturing the body movement within a white cube space, a space whose borders are defined by the communication between the screen and the subject that contains it. From this moment, we can talk about the existence of a third space, only formed at the level of perception and investigated by the performative action of the character present in the screens.

The video is divided into all the screens of the installation, and its continuity is ensured by the singular and sequential presence of the subject in each object. Although, on a technical level, these are separate videos, the sensation perceived by the viewer is an integral one, of the same material, which is discovered from different perspectives through the objects that contain it>>, adds the artists.

<<With the 5-channel video installation, “Towards Inmost,” Ana Pascu invites the viewer to embark on a metaphysical journey of self-discovery and spatial awareness.

Integrating screens within domestic artifacts, the installation aims to open a dialogue between the inner and outer worlds; mediating the meeting through technology and performance. In an attempt to evoke the complex, yet eerily fluid human experience, Pascu transgresses her performers across the multiple screens while simultaneously introducing a larger than life “self” figure looking “in” from outside the insect-based installation.

The artist asks the viewer to reflect on the mechanisms that shape our perception of ourselves and our surroundings; to question the boundaries between the personal and the impersonal, the familiar and the foreign, the physical and the intangible>>, we learn from the curator.

"Towards Inmost" project is part of the Graduation exhibitions of the Photo-video computerized image processing department of the National University of Arts Bucharest, class of 2023.

Art Installation by Ana Pascu

Coordinator: Răzvan Tun

Choreography & performance: Anca Stoica

Soundscape: Shai Lavi

Photographer: Cătălin Georgescu

The opening of the exhibition “Mother's Nature”, curated by Maya Økland & Cristina Bută, took place on July 13th at Sector 1 Gallery, Bucharest, along with a performance by Monica Winther. “Mother's Nature” is a group exhibition which "tackles instances of the notion of mother in various contexts and art practices. From a personal to a post-anthropocentric dimension, the exhibition traces the potential meaning of the notion of mother in various contemporary art practices", we learn from the curatorial team. The exhibition is ongoing until August 28th.

<<In Norwegian, the word føde means both food and give birth. Nature is commonly referred to as Mother Earth, as she is portrayed in almost every culture: to the Aztecs, Earth was called Tonantzin - "our mother"; to the Incas, Earth was called Pachamama - "mother earth", the word pacha in Quechua also signifying "space-time" or "universe". The Chinese Earth goddess Hou Tu is similar to Gaia, the Greek goddess personifying the Earth. In other words, mother is simultaneously the symbol of our entire existence, and the everyday woman we all must relate to whether we like her, or not. She can be a he, she, them or they, biological, cultural, or spiritual. Absent, present, good, and bad. We dream of her unconditional love just as much as we find it hard to resist the desire to control her. Honored and blamed, the multitude of ambivalence in her relations holds no limits. She can destroy us and nurture us, all at the same time.

In her writings, philosopher of science Isabelle Stengers calls Gaia/Earth a devastating power that shifts our categories of thought. Mother Nature is not the constant giver promising us nourishment, or, in a paradoxical fashion, the land of resources our capitalist societies continue to exploit. The title of the exhibition references both Mother Nature beyond her romanticized personification, as well as the relations and non-relations that we have with our mothers and other maternal figures and constructs. Within a society that is still prejudist towards gender, race and sexuality, in which certain stories and histories are or remain silenced, ecologies of care appear. How do we negotiate the relationship between care and emancipation? How do we grow with the other? From queer and feminist perspectives, the artworks and performances of Norwegian and Romanian artists Cristina David, Jasmina Al-Qaisi, Kiyoshi Yamamoto, Monica Winther and Ștefania Crișan trace existential affection, power, anxiety and love while calling upon Mother.>> - excerpt from the curatorial text.

The exhibition program includes three performances throughout the month of July:

• July 13, Monica Winther - „Paction drawing"

• July 22, Kiyoshi Yamamoto - „It Takes No Compromise to Give People Their Rights"

• July 28, Ștefania Crișan - „Reverse the Entropy”

The project is financed with the support of EEA Grants 2014 – 2021 within the RO-CULTURE Program, having VISP – Produksjonsenhet for visuell kunst as project partner.

The EEA Grants represent the contribution of Iceland, Liechtenstein and Norway towards a green, competitive and inclusive Europe. There are two overall objectives: reduction of economic and social disparities in Europe, and to strengthen bilateral relations between the donor countries and 15 EU countries in Central and Southern Europe and the Baltics.

RO-CULTURE is implemented in Romania by the Ministry of Culture through the Project Management Unit. The Programme aims at strengthening social and economic development through cultural cooperation, cultural entrepreneurship and cultural heritage management. (www.ro-cultura.ro)

"¿Cómo sentir? Diarios íntimos para el presente" (How to feel? Intimate diaries for the present) is an exhibition of visceral contemporary art by Argentine artists that invite to go through different states of mind taking as a starting point the mental health during -then- the pandemic. The exhibition, curated by Nicolás Cuello, takes place at the Casa Nacional del Bicentenario, a cultural space for contemporary artistic production.