10/5/2020
Network of knowledge, experience and spirituality
No items found.

Please, introduce yourself and your artistic practice. Where and when do you work/create?

Here are some examples of my work:

Epic Fountain/Mircea Cantor   
Photo by Raluca Țurcanașuon Zenit 11, 50mm, Ilford 400)

An account of an exhibition in a larger
social context.
Writing from a space of not knowing (embracing the impostor syndrome) :

What risks did we take in our dreams?

Some thoughts keep bugging me. Deconstructing a curatorial gesture at Kanal Pompidou, 2019



Today I’m a river - eco video poem developed within On the yellow line project I did during my 2020 residency at Zalău Museum of History and Art.

What mode of education was the one that made an impact on you the most? (within or outside official institutions)

I believe that the sustained yet fragmented but coherent educational experiences I’ve put myself through have impacted me mostly as they’ve sewn a network of knowledge + experience + spirituality that work both to secure and ground me as well as to lift me and help unpack each context.

My initial background in economics & marketing come handy in understanding the market and institutional forces that shape – or take their toll – on the art worlds. More recently, the Master of Research offered by the Centre of Excellence in Image Studies has helped me redirect my professional  - lifepath and strengthen my theoretical bones 💪

And, as you train, endorphins and other hormones light up your brain and you end up wanting more. That’s what triggered me to go to Telciu Summer School, a decolonial, rural approach on academia that probably was the one educational experience that reconfigured a lot of my culturally & socially embedded “knowledge” 🤷  “How many skins of embedded ideology can one shed in 8 days?” I asked myself as I unpacked this experience.

At Telciu Summer School, a decolonial learning experiment in a village in Northern Romania

Aside  formal ones, I’ve immersed myself in all sorts of volunteering experiences, from advertising & design festivals in London to the Lisbon Websummit, Art Encounters Biennial, or smaller, local initiatives. I have gleaned greatly from them: what are the challenges of producing a large scale event or one for a selected audience? What’s vital for an ad-hoc team to work?

And all I have gathered relentlessly, inefficiently (without a proper smart career ladder type of approach and objective) fuels the way I understand, review and practice art, curatorship, education.

So, if you’re reading this, take a moment to ponder on the purposeless education, on the curious idleness. Would you engage in that just for the sheer sake of the process, for the curiosity of the future paths that might unwind?

How do you feel about collaborations and collectivity in the changed circumstances of limited possibilities of getting together?

I feel they are definitely affected across all types of activities. But maybe that’s a good thing. Maybe that will teach us to do things slower, ponder more and appreciate more the rare opportunities of sitting one next to another, in flesh.

But maybe it’s a bad thing. Maybe the heinous processes of othering will develop on this sanitary inquietude and will atomize communities even more. Or maybe it will bring them closer against a new enemy.

Most probably, all of these will happen in parallel and the only legit conclusion will be: it depends, we can’t generalize.

How do you see the issue of artistic productivity in times of the pandemic?

The same as I saw it before: productivity sounds awfully mechanistic: we are not building train parts here (but, mind you, that can also be an art gesture).

Which art work(s) do you come back to or keep in mind?

The works of Forensic Architecture during this time, works that place severe social issues and injustices within the art paradigm, taking them out of the “urgent”, “breaking news” paradigm of mass media and recentering them for less but more intense viewers.

Here’s an example: Killing in Umm al Hiran.

What would you wish for the post pandemic art world?

I simply wish we’d all be kinder. In the art world and the world.

Kindness as an artistic practice.

Kindness as a life practice.

Kindness as resistance.

Kindness against alt-right.

Kindness against pro-life.

Kindness against LGBT-free.

Kindness against speciesism.

Kindness against censorship.

Genuine kindness, not preached.

Fearless kindness, not naïve.

Defiant, ballsy, brave, outspoken. Kindness.

No items found.
Network of knowledge, experience and spirituality
No items found.

Please, introduce yourself and your artistic practice. Where and when do you work/create?

Here are some examples of my work:

Epic Fountain/Mircea Cantor   
Photo by Raluca Țurcanașuon Zenit 11, 50mm, Ilford 400)

An account of an exhibition in a larger
social context.
Writing from a space of not knowing (embracing the impostor syndrome) :

What risks did we take in our dreams?

Some thoughts keep bugging me. Deconstructing a curatorial gesture at Kanal Pompidou, 2019



Today I’m a river - eco video poem developed within On the yellow line project I did during my 2020 residency at Zalău Museum of History and Art.

What mode of education was the one that made an impact on you the most? (within or outside official institutions)

I believe that the sustained yet fragmented but coherent educational experiences I’ve put myself through have impacted me mostly as they’ve sewn a network of knowledge + experience + spirituality that work both to secure and ground me as well as to lift me and help unpack each context.

My initial background in economics & marketing come handy in understanding the market and institutional forces that shape – or take their toll – on the art worlds. More recently, the Master of Research offered by the Centre of Excellence in Image Studies has helped me redirect my professional  - lifepath and strengthen my theoretical bones 💪

And, as you train, endorphins and other hormones light up your brain and you end up wanting more. That’s what triggered me to go to Telciu Summer School, a decolonial, rural approach on academia that probably was the one educational experience that reconfigured a lot of my culturally & socially embedded “knowledge” 🤷  “How many skins of embedded ideology can one shed in 8 days?” I asked myself as I unpacked this experience.

At Telciu Summer School, a decolonial learning experiment in a village in Northern Romania

Aside  formal ones, I’ve immersed myself in all sorts of volunteering experiences, from advertising & design festivals in London to the Lisbon Websummit, Art Encounters Biennial, or smaller, local initiatives. I have gleaned greatly from them: what are the challenges of producing a large scale event or one for a selected audience? What’s vital for an ad-hoc team to work?

And all I have gathered relentlessly, inefficiently (without a proper smart career ladder type of approach and objective) fuels the way I understand, review and practice art, curatorship, education.

So, if you’re reading this, take a moment to ponder on the purposeless education, on the curious idleness. Would you engage in that just for the sheer sake of the process, for the curiosity of the future paths that might unwind?

How do you feel about collaborations and collectivity in the changed circumstances of limited possibilities of getting together?

I feel they are definitely affected across all types of activities. But maybe that’s a good thing. Maybe that will teach us to do things slower, ponder more and appreciate more the rare opportunities of sitting one next to another, in flesh.

But maybe it’s a bad thing. Maybe the heinous processes of othering will develop on this sanitary inquietude and will atomize communities even more. Or maybe it will bring them closer against a new enemy.

Most probably, all of these will happen in parallel and the only legit conclusion will be: it depends, we can’t generalize.

How do you see the issue of artistic productivity in times of the pandemic?

The same as I saw it before: productivity sounds awfully mechanistic: we are not building train parts here (but, mind you, that can also be an art gesture).

Which art work(s) do you come back to or keep in mind?

The works of Forensic Architecture during this time, works that place severe social issues and injustices within the art paradigm, taking them out of the “urgent”, “breaking news” paradigm of mass media and recentering them for less but more intense viewers.

Here’s an example: Killing in Umm al Hiran.

What would you wish for the post pandemic art world?

I simply wish we’d all be kinder. In the art world and the world.

Kindness as an artistic practice.

Kindness as a life practice.

Kindness as resistance.

Kindness against alt-right.

Kindness against pro-life.

Kindness against LGBT-free.

Kindness against speciesism.

Kindness against censorship.

Genuine kindness, not preached.

Fearless kindness, not naïve.

Defiant, ballsy, brave, outspoken. Kindness.

No items found.
10/5/2020
Network of knowledge, experience and spirituality

Please, introduce yourself and your artistic practice. Where and when do you work/create?

Here are some examples of my work:

Epic Fountain/Mircea Cantor   
Photo by Raluca Țurcanașuon Zenit 11, 50mm, Ilford 400)

An account of an exhibition in a larger
social context.
Writing from a space of not knowing (embracing the impostor syndrome) :

What risks did we take in our dreams?

Some thoughts keep bugging me. Deconstructing a curatorial gesture at Kanal Pompidou, 2019



Today I’m a river - eco video poem developed within On the yellow line project I did during my 2020 residency at Zalău Museum of History and Art.

What mode of education was the one that made an impact on you the most? (within or outside official institutions)

I believe that the sustained yet fragmented but coherent educational experiences I’ve put myself through have impacted me mostly as they’ve sewn a network of knowledge + experience + spirituality that work both to secure and ground me as well as to lift me and help unpack each context.

My initial background in economics & marketing come handy in understanding the market and institutional forces that shape – or take their toll – on the art worlds. More recently, the Master of Research offered by the Centre of Excellence in Image Studies has helped me redirect my professional  - lifepath and strengthen my theoretical bones 💪

And, as you train, endorphins and other hormones light up your brain and you end up wanting more. That’s what triggered me to go to Telciu Summer School, a decolonial, rural approach on academia that probably was the one educational experience that reconfigured a lot of my culturally & socially embedded “knowledge” 🤷  “How many skins of embedded ideology can one shed in 8 days?” I asked myself as I unpacked this experience.

At Telciu Summer School, a decolonial learning experiment in a village in Northern Romania

Aside  formal ones, I’ve immersed myself in all sorts of volunteering experiences, from advertising & design festivals in London to the Lisbon Websummit, Art Encounters Biennial, or smaller, local initiatives. I have gleaned greatly from them: what are the challenges of producing a large scale event or one for a selected audience? What’s vital for an ad-hoc team to work?

And all I have gathered relentlessly, inefficiently (without a proper smart career ladder type of approach and objective) fuels the way I understand, review and practice art, curatorship, education.

So, if you’re reading this, take a moment to ponder on the purposeless education, on the curious idleness. Would you engage in that just for the sheer sake of the process, for the curiosity of the future paths that might unwind?

How do you feel about collaborations and collectivity in the changed circumstances of limited possibilities of getting together?

I feel they are definitely affected across all types of activities. But maybe that’s a good thing. Maybe that will teach us to do things slower, ponder more and appreciate more the rare opportunities of sitting one next to another, in flesh.

But maybe it’s a bad thing. Maybe the heinous processes of othering will develop on this sanitary inquietude and will atomize communities even more. Or maybe it will bring them closer against a new enemy.

Most probably, all of these will happen in parallel and the only legit conclusion will be: it depends, we can’t generalize.

How do you see the issue of artistic productivity in times of the pandemic?

The same as I saw it before: productivity sounds awfully mechanistic: we are not building train parts here (but, mind you, that can also be an art gesture).

Which art work(s) do you come back to or keep in mind?

The works of Forensic Architecture during this time, works that place severe social issues and injustices within the art paradigm, taking them out of the “urgent”, “breaking news” paradigm of mass media and recentering them for less but more intense viewers.

Here’s an example: Killing in Umm al Hiran.

What would you wish for the post pandemic art world?

I simply wish we’d all be kinder. In the art world and the world.

Kindness as an artistic practice.

Kindness as a life practice.

Kindness as resistance.

Kindness against alt-right.

Kindness against pro-life.

Kindness against LGBT-free.

Kindness against speciesism.

Kindness against censorship.

Genuine kindness, not preached.

Fearless kindness, not naïve.

Defiant, ballsy, brave, outspoken. Kindness.

No items found.
No items found.