3

www.experimentalproject.ro
 Organizatori / Organizers:

Proiect finan]at de / financed by: Parteneri / Partners: Cu sprijinul / With the support of:

Embassy of the
Republic of Croatia

Parteneri media / Media partners:

Echipa de proiect / Biennial Board:
Ciprian Ciuclea – Directorul Bienalei / Chairman of the Biennial [email protected]
Olivia Ni]i[ – curatoare / curator [email protected]
Mihai Zgondoiu – curator [email protected]
Andreea Micu – Asistent\ Proiect / Project Assistant [email protected]
C\t\lin Zamfir - voluntar / volunteer

Membrii Juriului Interna]ional / International Jury Members

1. Alexandru Jakabhazi - grafician, Timi[oara, România / graphic artist, Timisoara, Romania
2. Leszek Czajka - artist, directorul artistic al WizyTUjaca GALERIA, Var[ovia, Polonia /
vizual artist, Director of WizyTUjaca GALERIA, Warshaw, Poland
3. Ciprian Chirileanu - grafician, directorul Bienalei Interna]ionale de Gravura Mic\ - Graphium, Timi[oara, România /
graphic artist, Mini Print International Biennial - Graphium chairman,Timisoara, Romania
4. Ignas Kazakevicius - critic de art\, curator, directorul Klaipeda Cultural Communications Center, Lituania /
art critic,curator, Director of Klaipeda Cultural Communications Center, Lithuania
5. Liviana Dan - critic de art\, curatoare, Muzeul Brukenthal, Sibiu, România (pre[edinta juriului) /
art critic, curator, Brukenthal Museum, Sibiu, Romania (president of the jury)

4.

1.
3.
2.

5.
 dilemele experimentului
în gravur\
Bienala Interna]ional\ de Gravur\ De la instala]ie la gravura-obiect de la video per-
Experimental\ [i-a propus `nc\ de la `nceput s\ formance la prelucr\ri multimedia a imaginii impri-
pun\ `n discu]ie muta]iile [i noile tendin]e ale tehni- mate, arti[tii provoca]i de acest proiect s-au “lup-
cilor de multiplicare a imaginii. Deseori exist\ o re- tat” permanent cu `ntreb\rile:
ticen]\ din partea arti[tilor contemporani cu privire “ce este experimentul `n gravur\, [i cât putem
direct\ la constrângerile de ordin tehnic, gravura experimenta?” Sunt `ntreb\ri cu r\spunsuri nelimi-
fiind considerat\ [i depa[it\ din acest punct de tate [i diverse, deseori contradictorii [i nea[tep-
vedere, iar modalit\]ile de exprimare `ngreunate de tate. Cât po]i experimenta `n gravur\ f\r\ s\ o
`ntregul mecanism de ob]inere a imaginii finale, ce pierzi `n derizoriu sau ce po]i experimenta f\r\ ca
necesit\ timp, st\pânire de sine [i materiale finalul s\ devin\ orice altceva mai pu]in gravur\?
costisitoare. Proiectul gândit de mine de mult\ Cred ca aceste `ntreb\ri las\ deschis\ problemati-
vreme, `ncearc\ s\ demonstreze contrariul. zarea conceptului de gravur\ experimental\ [i
Ciprian Ciuclea – artist vizual, Gravura nu mai trebuie s\ r\mân\ `nchis\ `n aces- reu[esc s\ dea o singur\ defini]ie: aceea ca expe-
directorul bienalei / visual artist, te limite [i nu mai impune arti[tilor doar o abordare rimentul `n gravur\ nu poate fi pe deplin definit.
chairman of the Biennial tehnic\ ce are ca unic scop ob]inerea unei imagini Este evident c\ aceste dileme nu au descurajat
imprimate “perfect”. Ie[irea din aceste limite arti[tii, ci dimpotriv\. Flexibilitatea unui proiect,
impune experimentul. Iar experimentul poate acolo unde el pare c\ este prea bine definit,
aduce rezultate inovatoare, dar [i e[ecuri pe reprezint\ un atu al artei contemporane. Iar gravu-
m\sur\. ra cu siguran]\ apar]ine contemporanului, cu noile
Nu este destul s\ experimentezi, este sale tendin]e [i muta]ii, cu libertatea sa `n expri-
necesar\ o regândire a `ntregului laborator ]inând mare [i nu `n ultimul rând cu rediscutarea sa din
cont de dinamismul artei contemporane, de noile punctul de vedere al noilor tehnologii. Artistul con-
abord\ri [i probleme, de noile tehnologii [i sinteze temporan `[i alege tehnica dup\ propriile libert\]i [i
conceptuale. Dar `n acela[i timp experimentul ar trebuie s\ con[tientizeze faptul c\ exprimarea prin
trebui s\ nu mai ]in\ cont de aceste atribute, pen- gravur\ este valabil\ [i important\ doar dac\
tru a se dezvolta spre inova]ie. Am lansat aceste nivelul ei artistic r\mâne ridicat.
dileme `n rândul arti[tilor interesa]i s\-[i Cred c\ Bienala Interna]ional\ de
dep\[easc\ temerile, s\ fie liberi, inteligen]i dar [i Gravur\ Experimental\ la a 3-a edi]ie deschide un
plini de umor [i inventivi. ~n mare parte a[tept\rile orizont necesar pentru arti[tii care simt nevoia s\
noastre au fost satisf\cute de numeroase proiecte foloseasc\ limbajul gravurii `n secolul XXI f\r\ s\
cu adev\rat incisive [i neconven]ionale. se simt\ anacronici `ntr-o lume contemporan\
aflat\ `ntr-o permanent\ dinamic\.

4
the dilemmas of the
experimental engraving
The International Experimental stantly “fought” with these questions: “what does it
Engraving Biennial held forth from the very begin- mean engraving experiment and how much can
ning to place under discussion the shifts and new we experiment?” These are questions with unlimi-
tendencies of the image multiplication techniques. ted and diverse answers often contradictory and
Contemporary artists are often reticent to technical unexpected. How much can one experiment in
restraints, due to the fact that engraving is consid- engraving without loosing it in futility or what can
ered overcome and the means of expression bur- one experiment without having the end become
dened by the whole mechanism of obtaining the anything else but engraving?
final image, which takes time, self-control and I believe that these questions leave open the the
expensive materials. The project I have initiated, issue of experimental engraving and successfully
for some time now, tries to demonstrate the oppo- render a definition: experimental engraving can not
site. The engraving must not remain closed up be completely defined. It is obvious that these
between these boundaries and does not impose to dilemmas did not discourage the artists but on the
artists only a technical approach that has as a contrary. The flexibility of a project, exactly where it
unique purpose reaching the “perfect” printed seems to be too well defined, represents an advan-
image. Coming out of these limits dictates the tage for contemporary art. And printing surely
experiment. And the experiment can bring innova- belongs to contemporary times with its tendencies
tive results, but also significant failure. and shifts, with its freedom of expression and last
It is not enough to experiment. It is ne- but not least with its approach from the new media
cessary to rethink the whole laboratory in regards perspective. The contemporary artist chooses
to the dynamics of contemporary art, to the new technique through his own freedom and must
approach and issues, to the new technologies and become aware of the fact that expressing through
conceptual synthesis. But at the same time the engraving is valid and important only if its artistic
experiment should function regardless to these level remains high.
attributes in order to develop towards innovation. I believe that the 3rd edition of the
I have launched these dilemmas among artists International Experimental Engraving Biennial
interested in overcoming their fears, in being free, opens a nece-ssary horizon for artists who feel the
intelligent but also full of humor and imagination. need to use printing language in the 21st Century
Generally our expectances were satisfied by without fee-ling anachronic in a contemporary
numerous incisive and unconventional projects. world in a constant dynamic.
From installation to engraving object,
from video performance to multimedia intervention
on prints, the artists challenged by this project con-

5
 nu e[ti niciodat\ singur în
fa]a unei gravuri
Gravura a operat mereu într-un sens biective. Obiectivitatea este optic\. Aser]iunea
social. Sensibilitatea personal\ era adus\ în spa]iul reac]ionar\ este f\cut\ pentru practicile concep-
public ca instan]\ [i nu ca paradigm\ postmo- tuale. Imaginile bombastice dispar ori se dilueaz\
dern\. „Thinking print“, în spatele sensibilit\]ii, în într-un num\r de imagini prietenoase.
spatele ideologiei accentueaz\ puterea sociolo- Proiectele gravurii pot cuprinde orice mediu, orice
gic\ a gravurii. Gravura reprezint\ singurul enun] material, orice posibilitate. Se recunosc pluralismul
repetabil, un mijloc exemplar pentru un fenomen [i experimentul. Avem teribil de mare nevoie de
de difuzare f\r\ precedent. pluralism [i de experiment. Metoda modernit\]ii
Gravura introduce puterea metodelor de intim obosit\ nu se mai intereseaz\ de trecut, ci
control vizual. Gravura a introdus teorii de activare numai de viitor.
de tipul model, melancolie, subversiune. Gravura Caracterul ambivalent al gravurii con-
introduce o atrac]ie minimal\. comitent pe plan formal [i pe planul emo]iei devine
Gravura p\r\se[te „pozi]iile clasice, acumuleaz\ caiet de schi]e [i atitudine critic\. Iar discu]ia
experien]a noilor medii, o anume agresivitate, o despre semnifica]ia social\/vizual\ [i
anume suferin]\“. Chiar dac\ nu-[i pierde integral artistic\/tehnic\, o subversiune bine temperat\.
poten]ialul reproducerii, gravura devine personal\. În gravura experimental\, func]ia
Între tehnic\ [i receptarea ei, dialogul pare esen]ial\ se reduce la filosofia gestului: feti]a cu o
înghe]at. coard\ de neon, halatele transparente marca
Sub presiunea realit\]ii, rezervorul de Beuys, cutia muzical\ predispus\ la portrete, sem-
imagine se schimb\. Unde intimitatea este imposi- nul grafic l\sat de o minge, felul în care te aperi
bil\, apar întreb\ri de tipul ce teme trebuie studi- folosind palete colorate [i senine, cutiile supra-
ate, care sunt metodele eficiente, care sunt carac- puse care fac s\ dispar\ tehnica clasic\ a gravurii
teristicile, care este contextul, care este trans- negre. Interactivitatea este un cap de pod anticipa-
paren]a. Disponibilitatea gravurii de a angaja alte tor.
medii negociaz\ distan]a critic\ [i experimentul. Exist\ o sintagm\ „human rights of the
Modalit\]ile de reprezentare [i modelele alternative eye“ care schimb\ receptarea [i recunoa[te noul
devin zon\ de contact între atunci [i acum. context. Mitul naturii [i mitul tehnologiei, practica
Relevan]a social\ este prezen]\ în propriul s\u teoriei, receptarea produc [i reproduc imagini.
timp. Nu factorul con]inut este important, cât Între realitate [i fic]iune, linia r\mâne fragil\. Între
inten]ia vizual\. Identitatea devine interpretare. informa]ie vizual\ [i comunicare vizual\, linia este
O reduc]ie radical\ merge spre teritorii necunos- determinat\ structural.
cute. Strategia este aproape semiotic\. St\ri noi care accentueaz\ ideea c\ nu e[ti nicio-
Diagrama pentru ceea ce urmeaz\ privirea este dat\ singur cu gravura…
f\r\ pasiune. Nu exist\ decât pu]ine fantezii su-

6
 you can never stand alone
in front of an engraving
The engraving has always operated in a without passion. There are only a few subjective
social meaning. Personal sensibility was brought fantasies. Objectivity is optical. The reactionary
into the public space as an instance and not as a assertion is made for conceptual practices.
postmodern paradigm. Behind sensibility, behind Bombastic images vanish or they dilute in a num-
ideology, the ‘thinking print’ underlines the socio- ber of friendly images.
logical power of engraving. Engraving represents Engraving projects can include any kind
the only repeatable phrase an exemplary instru- of media, material or possibility. Pluralism and
ment for an unprecedented phenomenon of experiment are recognizable. We are in a great
diffusion. need for pluralism and experiment. The method of
Engraving introduces the power of visual the intimately fatigue modernity is no longer inter-
control methods. Engraving has introduced activa- ested in the past but only in the future.
tion theories of the type: model, melancholy, sub- The ambivalent character of engraving
version. Engraving introduces a minimal attraction. formally and emotionally simultaneous, becomes
Engraving abandons classical positions, accumu- sketch and critic attitude book. Also the discussion Liviana Dan – critic de art\,
lates the experience of new-media, a certain kind about social/visual and artistic/ technique signifi- Pre[edinta Juriului celei de-a treia edi]ii
of aggressiveness, a certain kind of suffering. cance becomes a well tempered subversion. a Bienalei Interna]ionale de Gravur\
Engraving becomes personal although it doesn’t In experimental engraving the essential Experimental\ / art critic, President of
completely loose its reproductive potential. function reduces to the philosophy of gesture: the the Jury of the 3rd International
Between technique and interception, the dialogue girl with a neon skipping rope, the transparent sur- Experimental Engraving Biennial
seems frozen. gical coats Beuys marked, the music box inclined
Under the pressure of reality, the image to portraits, the graphic print left by a bowling ball,
reservoir changes. Questions like what kind of the way you defend using colored and serene fly
themes one must study, which are the efficient swatters, overlapped boxes that make the classic
methods, which are the characteristics, the con- techniques of dark engraving disappear.
text, the transparency, come up where intimacy is Interactivity is an anticipating bridge head.
impossible. The availability of engraving to engage There is the collocation ’human rights of
other media negotiates the critical distance and the the eye’ which changes interception and recog-
experiment. The means of representation and nizes the new context. The myth of nature and
alternative models become a contact area technology, theory practice and interception pro-
between then and now. Social relevance is pre- duce and reproduce images. Between reality and
sence in its own time. The containing factor is not fiction the line remains fragile. Between visual infor-
as important as the visual intention. Identity mation and visual communication the line is struc-
becomes interpretation.A radical reduction shifts turally determinate.
towards unknown territories. Strategy is almost New conditions which underline the idea that you
semiotic. The diagram for what follows the gaze is can never stand alone in front of an engraving…
7
 un punct de vedere curatorial
Bucure[tiul, cu rare excep]ii, este un mediu complex, privit, `n general, cu prejudecata
ora[ rupt de arta contemporan\ din celelalte unor limite ce ]in de criteriul apartenen]ei la sfera
ora[e ale României, accentuând prejudecata c\ unei abordari tradi]ionale. Experimentul `n gravur\
centrul este locul `n care au loc activit\]ile cele mai impune gravura ca resurs\ de limbaj `n sondarea
importante. Am aflat de existen]a Bienalei discursului artistic contemporan. O instala]ie de
Interna]ionale de Gravur\ Experimental\ `n mod ochelari opaciza]i de gravur\ experimental\, un
conjunctural, `n anul 2005, când aceasta se afla la performance cu o bil\ de bowling constrâns de
a doua edi]ie. Pe lâng\ firavul interes mediatic de regula gravurii experimentale, un joc interactiv cu
a r\spândi informa]ii despre un eveniment cultu- un teatru de p\pu[i imprimate experimental, o
ral cu larg\ participare interna]ional\, in plus, serie de obiecte decorative gravate gastronomic
Bienala avea, s\ spunem, "dezavantajul" abord\rii experimental care genereaz\ mesaje de gen,
unui domeniu uitat de c\tre arti[tii români - imprimarea continuu\ a asfaltului unei buc\ti de
gravura - [i propunea o abordare neconven]ional\ strad\, c\r]i-obiect, print-uri digitale, rafinate prop-
sub marca experimentului. uneri de gravur\ pe firave suporturi experimentale
~n prezent, aflat\ la cea de-a treia edi]ie, sau abord\ri tran[ante [i greoaie pe dimensiuni
Bienala Interna]ional\ de Gravur\ Experimental\ a generoase [i suporturi dure culmineaz\ cu vi-
crescut la nivelul interesului `n rândul arti[tilor. ziunea ludic-non[alant serial\ a pliciurilor de
Olivia Ni]i[ – critic de art\ [i curatoare / Calitatea lucr\rilor trimise de peste 170 de arti[ti mu[te. Arta experimental\ este supus\
art critic & curator din toat\ lumea demonstreaz\ c\ gravura nu este clasiciz\rii, dar nu `[i epuizeaz\ niciodat\ posibili-
un domeniu apatizat [i c\ exerci]iul experimental tatea intrinsec\ de a fi experimental\.
`]i dezvolt\ constant aria de dialog cultural `ntre Experimentul presupune libertate, dar [i compro-
arti[ti [i mediile prin care ace[tia aleg s\ se miterea ei prin fatalismul destinului s\u. Cel care
exprime. experimenteaz\ `[i asum\ e[ecul. E[ecul experi-
Tr\im `ntr-o societate `n care cultura conteaz\ mental face dovada c\ut\rii. Lipsesc din acest\
din ce `n ce mai pu]in. Refuzul de a sprijini un Bienal\ rateurile experimentale `n sensul unor
proiect cultural de aceast\ anvergur\ apare con- `ncerc\ri de a atinge un rezultat valabil semantic,
stant [i adesea te `ndeamn\ s\ abdici. Este nevoie dar compromis tehnic.
de mult\ pasiune, `nc\p\]ânare [i dedica]ie pen- Bienala Interna]ional\ de Gravur\
tru a continua. Marile companii multina]ionale se Experimental\ `ndeamn\ arti[tii s\ caute, s\
implic\ cu greu `n sus]inerea financiar\ a repereze solu]ii de limbaj contemporan. Pentru
proiectelor de acest gen, fiind interesate de profit unii, experimentul este ludic sau se afl\ la grani]a
imediat, de un target la nivelul stadioanelor. dintre ludic [i gravitatea seriozit\]ii formale, pentru
Divertismentul nu mai las\ loc actului cultural. altii experimentul `nseamn\ libertatea de a fi con-
Centrul Cultural Palatele Brâncovene[ti strân[i mediului gravurii, tehnicilor de imprimare
Mogo[oaia `[i deschide por]ile pentru o Bienal\ pe care nu le pot p\r\si.
de Gravur\ Experimental\, `n care arta contempo- Experimentul `n gravur\ este o provocare. O
ran\ `[i define[te caracterul imperativ experimen- provocare deschis\ `n arta contemporan\
tal. Arta este un câmp deschis. Experimentul este interna]ional\ [i imperativ\ `n arta contemporan\
o m\sura, un barometru cultural. Experimentul româneasc\, pentru arti[ti, critici, curatori, cercet\tori,
8 este terenul alunecos, plin de riscuri, pe care un institu]ii [i, nu `n ultimul rând, pentru public.
artist `[i caut\ identitatea vizual\. Gravura este un
a curatorial point of view
Bucharest, with rare exceptions, is a city of limitation due to its belonging to a traditional
cut off from the contemporary art from the other area. The engraving experiment is imposing
Romanian cities, underlining the prejudice that the engraving as a language resource in inquiring the
center is the place where all important activities contemporary artistic discourse. An installation
take place. I became familiar with the International made of glasses blinded by experimental engra-
Experimental Engraving Biennial by chance, in ving, a performance with a bowling ball con-
2005 at its second edition. Beside the reduced strained by the experimental engraving rule, an
mediatic interest to spread the word about an interactive game with a theatre of experimental
international cultural event, the Biennial had, let's printed puppets, an experimental series of deco-
say, the "disadvantage" of approaching a forgot- rative gastronomic objects that generate gender
ten area by the Romanian artists - engraving - and messages, the continuous printing of an asphalt
suggested an unconventional manner using road segment, book-objects, digital prints, refined
experimental techniques. engravings on frail experimental medium or large
Today, at the 3rd edition, the International scale, trenchant and heavy approaches on hard
Experimental Engraving Biennial became more medium, climaxing with the playful nonchalant
popular among artists. The quality of artworks vision of the fly-swatter series. Experimental art is
sent by more than 170 artists from around the submitted to becoming classical, but it never
world proves that engraving is not a lethargic area waists the intrinsic possibility of being experimen-
and the experimental attempt is constantly wide- tal. The experiment implies freedom but also its
ning the cultural dialogue between artists and the disparagement through the fatality of its destiny.
manners they choose to express themselves The one who experiments takes upon himself the
through. possibility of failure. The experimental failure
We live in a society in which culture is less proves the search. This Biennial doesn't include
important every day. The refuse to support a cul- experimental failures, meaning the attempts to
tural project is constantly appearing and thus you reach a valid semantic result yet technically com-
are tempted to give up. It takes a lot of passion, promised.
stubbornness and devotion to go on. The large The International Experimental Engraving
multinational companies are hardly involved in the Biennial urges the artists to search, to come
financial support of this kind of projects, being across contemporary language solutions. For
interested only in immediate profit, aiming only for some people the experiment is playful or in
a stadium target level. Entertainment leaves no between playfulness and formal seriousness, for
room for the cultural act. others the experiment means the freedom of
Mogosoaia "Brancovan Palaces" Cultural being compelled to the engraving medium, to the
Center is hosting an Experimental Engraving printing techniques which cannot be abandoned.
Biennial in which the contemporary art defines its The engraving experiment is a challenge. It is
experimental imperative character. Art is an open an open challenge in the international contempo-
field. The experiment is a measure, a cultural rary art and an imperative one in the Romanian
barometer. The experiment is the slippery ground contemporary art, for artists, critics, curators,
full of risks, on which the artist is searching for researchers, institutions and last but not least, for
his/her visual identity. The engraving is a complex the public. 9
medium, generally looked upon with the prejudice
 noi expresii artistice în
“societatea cunoa[terii”

Experimentul în gravur\, tehnicile de The engraving experiment, printing

imprimare, dialogul cu tridimensionalul, instala]ia, techniques, the dialogue with the three-dimensio-
video-art-ul sunt câteva dintre lucrurile pe care ni nal, installation, video-art are some of the few
le-am dorit de la Bienala Interna]ional\ de Gravur\ things we expected from the International
Experimental\ în anul 2008. Experimental Engraving Biennial in 2008.
Atât juriul, cât [i echipa curatorial\, au The international jury as well as the cura-
pledat pentru o Bienal\ de profesioni[ti cu stan- torial team pleaded for a professional Biennial with
darde subtile [i substan]iale la nivelul limbajului subtle and substantial standards in visual terms
vizual [i la nivelul definirii unor noi matri]e stilistice and those which can define new stylistic matrix
[i expresii artistice în “societatea cunoa[terii”. and artistic expressions in “the society of
Mihai Zgondoiu A III-a edi]ie a Bienalei Interna]ionale de Gravur\ knowledge”.
artist vizual [i curator / Experimental\ 2008 ce are loc la Centrul Cultural The third edition of the International Experimental
visual artist & curator Palatele Brâncovene[ti demonstreaz\ c\ limbajul Engraving Biennial 2008 which takes place at the
gravurii este actual [i multicultural în arta vizual\ Brancovan Palaces Cultural Center proves that the
contemporan\ interna]ional\. engraving language is up to date and multicultural
within the international contemporary visual art.

new artistic expression in

“the society of knowledge”

10
matri]e cu raz\ european\
de ac]iune!
matrices with
european action area!
Într-o lume marcat\ de consumism, de In a world marked by consumerism, by
dictatura noilor tehnologii ale informa]iei [i ale new communication and information technologies
comunic\rii, de dictatura cotei de audien]\ [i de dictatorship, by viewer’s rate and the tabloids of
dictatura tabloidiz\rii aspectelor intime ale vie]ii, private life aspects dictatorships, we can be a dif-
putem fi o altfel de m\sur\ propunând matri]e de ferent measure offering conceptual and spiritual
idei [i spirit. Aceast\ idee a matri]ei care na[te matrixes. This matrix idea from which develops the
nevoia de comunicare cu Cel\lalt [i nevoia de a need for communication with The Other and the
sonda interioritatea ne-au dat motiva]ia de a spriji- need to question interiority gave us the motivation
ni o Bienal\ de matri]e stilistice din 32 de ]\ri ale to support a Biennial of stylistic matrixes from 32
lumii. EURO CULTURART [i-a pus, astfel, în oper\ countries of the world. Euro CulturArt Association Dan Mircea CIPARIU - scriitor,
menirea de a multiplica un proiect artistic de sub- acted upon its purpose of multiplying an artistic pre[edintele Asocia]iei Euro CulturArt /
stan]a [i calitatea Bienalei Interna]ionale de project with such qualities and substantiality as the writer, president of Euro CulturArt
Gravur\ Experimental\ de la Palatul Mogo[oaia. International Experimental Engraving Biennial from Association
În acela[i an, 2008, în care EURO CULTURART Mogosoaia Palace. This happens in 2008 the
propune un standard de civiliza]ie: biblioteci pub- same year in which Euro CulturArt recommends a
lice cu autori contemporani în s\lile de a[teptare standard of civilization: public libraries with con-
din g\rile române[ti [i europene printr-un proiect temporary authors in waiting rooms from
intitulat „Scriitori pe Calea Regal\”. Iat\ cum scri- Romanian and European train stations through a
itorii [i arti[tii lucreaz\ la noi c\ut\ri de sine în project called “Writers on the Royal Way”. This is
matri]e cu raz\ european\ de ac]iune. how writers and artists work for new ways of self-
definition in matrixes with European action area.

11
MEXIC / MEXICO

MIGUEL ANGEL PADILLA GÓMEZ

{apte dintr-o lovitur\ / Siete de un golpe, 2006
7 ready-made print pe pânz\ / 7 ready-made print on canvas, 60x20 cm fiecare / each
[email protected]

PREMIUL BIENALEI / THE PRIZE OF THE BIENNIAL

12
 CROA}IA / CROATIA
INES MATIJEVIC

/
Cutii muzicale / Musical boxes, 2005
video performance, instala]ie, print digital / video performance, installation, digital print
[email protected]

PREMIUL SPECIAL AL JURIULUI

THE SPECIAL PRIZE OF THE JURY
13
POLONIA / POLAND

/
AGNIESZKA CHOLEWINSKA
F\r\ titlu / No title, 2007
linogravur\ cu interven]ie de lumin\ / linocut with light intervention, 100x180 cm
[email protected]

PREMIUL PENTRU TÂN~R ARTIST

THE PRIZE FOR A YOUNG ARTIST

14
 POLONIA / POLAND
MAGDALENA UCHMAN
Cadoul / The gift, 2007
tehnic\ mixt\, 3 cutii de carton / mix technique, 3 cardboard boxes, 30x40x30 cm, 18x33x18 cm, 14x19x14 cm
[email protected]

MEN}IUNE / MENTION

15
UCRAINA / UKRAINE

ANATOLY FEDIRKO
Copiii Profesorului Joseph Beuys / The children of Prof. Joseph Beuys, 2007
tehnica mixt\, instala]ie, dimensiuni variable / mixed technique, installation, variable size
[email protected]

MEN}IUNE / MENTION

16
 MEXIC / MEXICO
JOSÉ ENRIQUE PORRAS GÓMEZ
Stup [i Gândire mexican\ / Beehive and Mexican mind, 2007
gravur\ pe mingi de bowling, gravur\ pe minge de fotbal, video performance /
carving on bowling ball, carving on football ball, video performance
[email protected]

MEN}IUNE / MENTION

17
ARTI{TI SELECTA}I / SELECTED ARTISTS
 AUSTRALIA
LIAM GARSTANG
Autoportret f\r\ titlu postpsihoz\,“Mama mi-a spus c\ sunt din praf de stele“ /
Untitled self portrait Post psychosis, “My mother told me I was from stardust”,
ac rece / dry point, 120x160 cm, 2007

[email protected]

19
AUSTRIA

ELLI SCHNITZER
Luminile libert\]ii / Lights of freedom, 2007
4 c-printuri, instala]ie / 4 c-prints, installation, 200x39.5 cm
[email protected]

20
 BELGIA / BELGIUM
KAROLIEN VANSANT
F\r\ titlu A / Untitled A, 2006
litografie / lithography, 53x53 cm
[email protected]

21
BELGIA / BELGIUM

BOUCHEÏ MARINA
Suvenir / Souvenir, 2007 Semn de carte / Signet-livre, 2007
fotopolimer / photopolimer10,5x7,5x1 cm fotopolimer / photopolymer, 5x20x0,7 cm
[email protected]

22
 BRAZILIA / BRAZIL
VILELLA TERRA
Ceva speran]\ / Some hope, 2007
xilogravur\ pe tricou / woodcut on t-shirt, 68x96 cm
[email protected]

23
BRAZILIA / BRAZIL

ADRIANO CASTRO
Gravur\ vestimentar\ / Gravura para vestir, 2007
mix media print pe jeans / mixed media print on jeans, 116x70 cm
[email protected]

24
 BULGARIA
PLAMENA DOYCHEVA
C\rare `n p\dure / Path in the wood, 2007
hârtie manual\, plante din ierbar, aquaforte, linogravura [i [tampil\ /
handmade paper, herbarium plants, etching, linocut on roll, rubber stamp, 30x65 cm
[email protected]

25
BULGARIA

KALOYAN ILIEV
Om st\lucitor `n umbr\ / Bright man in shade, 2007
ac rece, mezzotinta, colaj / dry point, mezzotint, collage, 70x50 cm
[email protected]

26
 BULGARIA
STANISLAV BOJANKOV-STANKO
Sui Generis II, 2007
linogravur\, intaglio, colaj, perfora]ii / linocut, intaglio, collage, perforations, 110x100 cm
[email protected]

27
CANADA

LUCIE LAFRENIÈRE
Mi-a dat doi ochi / Me a dado dos ojos, 2004
cologravur\ pe hârtie manual\, `nvelit\ `n plas\ de sârm\, `nmuiat\ `n bumbac colorat /
collography on handmade paper, enveloped by chicken wire, soaked in cotton pulp teinted, 23x16x7 cm
[email protected]

28
 CANADA
DENISE PELLETIER
Omagiu lui Kawabata / Homage to Kawabata, 2007
tehnic\ mixt\, dimensiune variabil\ / mixed media, variable size
[email protected]

29
CANADA

DEREK MICHAEL BESANT

Camera de motel nr.13 / Motel Room nr.13, 2007
transfer de cerneal\ UV pe panz\ sintetic\ / thermal UV ink transfer on crumpled veil scrim, 90x47 cm
[email protected]

30
 CANADA
LISA DRIVER
Ce a adus pisica II / What the cat brought back II, 2007
serigrafie pe lemn de cedru / silkscreen on cedar wood, 49x71 cm
[email protected]

31
CANADA

MARIA CHRONOPOULOS
Batiste plutind pe cer / Handkerchiefs floating in the sky, 2007
grund moale, aquaforte pe hârtie japonez\, instala]ie / softground etching on japanese paper, installation
[email protected]

32
 CROATIA
ANA VIVODA
Urme II / Traces II, 2007
carte obiect, monoprint, amprente / book-object, monoprints, handprints, 18,5x14x0,7 cm
[email protected]

33
ANGLIA / ENGLAND

STEPHEN MUMBERSON
{oapte chineze[ti / Chinese Whispers, 2007
tehnic\ mixt\ / mixed media, 426x26 cm
[email protected]

34
 FINLANDA / FINLAND
MINNA SORA
Ad astra, 2005
4 obiecte, xilogravur\, tehnic\ mixt\, dimensiune variabil\ / 4 objects, woodcut, mixed media, variable size
[email protected]

35
FINLANDA / FINLAND

LEENA GOLNIK
Colier / Necklace, 2007
roller print pe carton, dimensiune variabil\ / roller print on cardboard, variable size
[email protected]

36
 FINLANDA / FINLAND
ANNELI HILLI
Animal, 2007
tehnic\ mixt\, frunze de plop, hârtie / mixed media, aspen leafs, tissue paper, 30x40 cm
[email protected]

37
FINLANDA / FINLAND

HELENA POKKINEN
Str\lucire I - II / Radiance I - II, 2007
cutii de lemn, hârtie, tu[ [i xilogravur\ / wooden box, paper, ink, woodcut, 45x30x3/4 cm
[email protected]

38
 FRAN}A / FRANCE
LOUISE GROSE
Femeile lumii / Women of the world, 2007
linogravur\ cu interven]ie digital\ / linocut with digital intervention, 29x156 cm
[email protected]

39
GERMANIA / GERMANY

ALBERT KRÜGER
Imaginile din spatele imaginilor I-II / The pictures behind the pictures I-II, 2007
pl\ci de xilogravur\, 2 cuburi / wooden relief print plates, 2 cubes, 25,5x25,5x25,5; 25x25x25 cm
[email protected]

40
 GERMANIA / GERMANY
MANFRED P.O. WÖLK
F\r\ titlu / Without title, 2007
print digital / digital print, 18,5x18,5 cm
[email protected]

41
GRECIA / GREECE

EYTIHIA PETALA
Sfoara cu piliforme romantice / The rope with romantic piliforms, 2007
3 perne, linogravur\ / 3 pillows, linocut, 70x60x8 cm fiecare / each
[email protected]

42
 GRECIA / GREECE
CHRISTIANA ILIOPOULOU
Valuri negre, gânduri roz / Black waves, Pink thoughts, 2007
monoprint-aquaforte, linogravur\ / monoprint-etching, linoleum, 25x25x4,5 cm
[email protected]

43
INDIA

RAKESH BANI
Imagini apuse ale min]ii / Past away images on mind, 2007
xilogravur\ / woodcut, 100x96 cm
[email protected]

44
 ISRAEL
BASIL COLIN FRANK
Ziduri [i cuvinte / Walls and Words, 2007
print digital / digital print, 70x150 cm
[email protected]

45
ISRAEL

ISRAELA ANGEL
Femeia izolat\, Femeia de[teapt\, Femeia ascuns\, Femeia pântec, Dincolo de v\l, Partea absorbit\ /
The isolated woman, The brigt woman, The hidden woman, The belly woman, Behind the scarf, The side absorber
6 obiecte, tehnic\ personal\ / 6 objects, personal technique, 2007
[email protected]

46
 ISRAEL
AYELET AMIT
Comunitate / Community, 2007
tehnic\ mixt\ / mixed media, 45x35 cm
[email protected]

47
ITALIA / ITALY

SANDRO BRACCHITTA
Contenitori cillici, 2007
ac rece [i aquaforte pe 9 conserve, dimensiune variabil\ / drypoint, etching on 9 tins, variable size
[email protected]

48
 JAPONIA / JAPAN
HARUKO CHO
B-pern\ # 25 / B-cushion # 25, 2004
neco, 130x170 cm
[email protected]

49
JAPONIA / JAPAN

MASATO NAGAI
Vise spulberate A – B / Broken dreams A – B, 2007
aquaforte color pe hârtie japonez\ / color etching on Japanese paper, 130x193 cm
[email protected]

50
 JAPONIA / JAPAN
HIROYUKI MIYAZAKI
Lucrare 0120071106 / Work 0120071106, 2007
print digital, tehnic\ mixt\ / digital print, mixed media, 51x110 cm
[email protected]

51
JAPONIA / JAPAN

TOSHIO YOSHIZUMI
{irul Samsara I-II / Samsara line I-II, 2007
print cu sumi (cerneal\ japonez\) pe asfalt / print on asphalt by sumi (Japanese ink), 62,5x291 cm
[email protected]

52
 COREEA / KOREA
LEE SEOUNG-KU
Din natur\ – imagini mentale / From nature – mental images, 2005
[tampil\ / stamp print, 163x91 cm
[email protected]

53
LITUANIA / LITHUANIA

^
- .
ELVYRA KATALINA KRIAUCIUNAITE
Un pic de lini[te galben\ / A little bit of yellow silence, 2007
aquaforte, aquatinta, linogravur\, colaj [i acrilic pe hârtie manual\, dimensiune variabil\ /
etching, aquatint, linocut, handmade paper, collage, acrylic, variable size
[email protected]

54
 LITUANIA / LITHUANIA
SIGITA DACKEVICIUTE
Lumea `n mine / The world in me, 2007
print digital, obiect / digital print, object, 36x20x22 cm
[email protected]

55
LITUANIA / LITHUANIA

KARINA MATIUKIENE
Mu[tei in memoriam I-II / In memoriam to fly I-II, 2007
aquaforte, serigrafie, papier mashe / etching, silkscreen, papier mashe, 35x24x13 cm; 36x25x5 cm
[email protected]

56
 MEXIC / MEXICO
MARISA BOULLOSA
Hazard, 2007
transfer foto pe hârtie japonez\ [i lemn, cus\tur\ cu a]\ ro[ie /
photo transfer on Japanese paper and wood, sewing with red thread, 90x72 cm; 31x23 cm
[email protected]

57
MAROC / MOROCO

NOUREDDINE FATHY
~n afara legii / Out the law, 2007
litografie, xilogravur\, serigrafie, tehnic\ mixt\ / lithography, woodcut, silkscreen, mixed media, 125x125 cm
[email protected]

58
 POLONIA / POLAND
TOMASZ PIETREK
Chip secret I-II / Secret face I-II, 2007
tehnic\ personal\ / personal technique, 200x140 cm
[email protected]

59
POLONIA / POLAND

SYBILLA SKALUBA
/

Vino la mine, cel care vezi, / Come to me, what you see, 2005
print digital / digital print, 75x130 cm
[email protected]

60
 POLONIA / POLAND
ALICJA SNOCH-PAWLOWSKA
Tranzi]ie 5 / Transition 5, 2007
print digital / digital print, 335x210 cm
[email protected]

61
POLONIA / POLAND

MAGDALENA DUDA-PATRASZEWSKA
Curs\ `n reluare / Relay-Race, 2007
printuri digitale, proiec]ie / digital prints, projection
[email protected]

62
 POLONIA / POLAND
MALGORZATA SZANDALA

/
Ruptur\ `n orizont. Morfologie. Positiv / Crack in the horizon. Morphology. Positive, 2007
print digital / digital print, 60x380 cm
[email protected]

63
POLONIA / POLAND

ANTONI KOWALSKI
Rug\ciuni alese / Collected Prayers, 2006
tehnic\ mixt\, triptic / mixed media, triptych, 26x58 cm
[email protected]

64
 POLONIA / POLAND
MARCIN SURZYCKI
Nocturn, 2004
intaglio, tehnic\ personal\ / intaglio, personal technique, 48x130 cm
[email protected]

65
POLONIA / POLAND

.
ELZBIETA KARDAMASZ-CIESZYNSKA
/

Penetrare / Penetration, 2007

[ablon / pattern, 84x103 cm
[email protected]

66
 POLONIA / POLAND
MARIUSZ A. DANSKI

/
Materiale binare – Tulburare (Rela]ie) / Binary fabrics – Disturbance (Relation), 2005
print digital / digital print, 60x60 cm
[email protected]

67
POLONIA / POLAND

MAGDALENA KOWALCZYK
Un vis V / A dream V, 2006
mixed media, fotografie [i print digital / mixed media, photography and template print, 60x60 cm
[email protected]

68
 POLONIA / POLAND
AGNIESZKA SITKO
Despre femeie 4x4 A – B / About woman 4x4 A – B, 2007
tehnic\ mixt\ / mixed media, 53,5x53,5 cm
(lucr\ri finan]ate de c\tre Ministerul Culturii [i Patrimoniului Na]ional din Polonia /
works supported by the Polish Ministry of Culture and National Heritage)
[email protected]

69
POLONIA / POLAND

DOROTA NOWAK
Sunt cine sunt / I am who I am, 2007
tehnic\ mixt\ / mixed media, 120x100 cm
[email protected]

70
 POLONIA / POLAND
DARIA WAWRZKIEWICZ
Durere / Pain, 2006
aquaforte, obiect / intaglio, object 113 cm

[email protected]

71
PORTUGALIA / PORTUGAL

ANTÓNIO CANAU
Cravat\!? / Tie!?, 2006
print digital / digital print, 100x70 cm
[email protected]

72
 PUERTO RICO
HAYDEÉ LANDING
Construc]ie – Deconstruc]ie I / Construction – Deconstruction I, 2007
print digital, instala]ie / digital print, installation, 132x61 cm
[email protected]

73
PUERTO RICO

ELSA MELENDEZ
Scufi]a Ro[ie [i lupul Goldilocks / The red riding hood and the Goldilocks wolf, 2006
tehnic\ mixt\ (intaglio, hârtie, broderie, p\r sintetic) / mixed media (intaglio, paper, embroidery, synthetic hair), 40x60x15 cm
[email protected]

74
 ROMANIA
DAN HORA}IU PANAIT
Auto Amprent\ / Auto Print, 2007
obiect (linogravur\, pânz\, metal, colaj) / obiect (linocut, canvas, metal, colage), 155x40x6 cm

75
ROMANIA

BOGDAN PELMU{
Mecanism R.O.G.V.A.I.V. pentru arta contemporan\ / Mechanism R.O.G.V.A.I.V. for contemporary art, 2007
linogravur\, cear\ colorat\, cret\, acrylic, tabl\, obiect / linocut, colored wax, chalk, acrylic, metal board, object
[email protected]

76
 ROMANIA
SUZANA FÂNTÂNARIU
~ntuneric (Replica II) / Dark (Replica II), 2006
instala]ie, xilogravur\ / installation, woodcut, 130x57x94 cm
[email protected]

77
ROMANIA

ATENA ELENA SIMIONESCU

Coffeetintta, 2007
tehnic\ mixt\, object, colaj / mixed media, object, collage, 100x70x5 cm
[email protected]

78
 ROMANIA
MARIA SURDUCAN
Rela]ie-Social\ KITTV!!! / Social-Relation KITTV!!!, 2007
linogravur\ / linocut, 13x13x4 cm
[email protected]

79
SPANIA / SPAIN

CARMEN GONZALES MARTIN

Micros, 2007
tehnic\ mixt\ pe hârtie [i acetat / mixed media on paper and acetate, 75,5x60,5 cm
[email protected]

80
 TAILANDA / THAILAND
KRIANGKRAI KONGKHANUN
~ntuneric / Darkness, 2007
xilogravur\ cusut\ pe nylon / woodcut on nylon, 130x220 cm
[email protected]

81
UCRAINA / UKRAINE

IRYNA KALENYK
Amintiri din copil\rie / Remembrance about my childhood, 2007 Sunt. Var\. Marea Neagr\ / I am. Summer. Black Sea, 2007
print pe pânz\ / print on cloth, 53,5x34x0,5 cm print pe pânz\ / print on cloth, 53,5x34,5x0,5 cm
[email protected]

82
 SUA / USA
ANA GOLICI
Muta]ii I / Mutations I, 2007
instala]ie din printuri digitale, CD-uri gravate, dimensiune variabil\
installation of digital prints, engraved CDs, variable size
[email protected]

83
SUA / USA

DEBORA ODEN
Din `ntuneric / Went from the dark, 2007
intaglio, 58x63 cm
[email protected]

84
 EXPOZI}IE PERSONAL| / SOLO EXHIBITION
LISANDRU NEAM}U / ROMANIA
[email protected]

Semnale / Signals, 2008

instala]ie, dimensiune variabil\ / print installation, variable size
 Dervi[i / Dervishes, 2008
print pe carton, instala]ie, dimensiune variabil\ / print on cardboard, installation, variable size

Urmele c\l\torului / Traveller’s steps, 2008 Volum IX / Volume IX, 2008

print pe piatr\, instala]ie, dimensiune variabil\ / print pe lemn, obiect, dimensiune variabil\ /
print on stone, installation, variable size print on wood, object, variable size
87
EXPOZI}IE PERSONAL| / SOLO EXHIBITION
KOHSEI / JAPONIA / JAPAN
 Aer din abis / Air from Bottomlessness, 2005
print pe bambus, fire de bumbac, sunet / print on bamboo, cotton strings, sound
[email protected]

89
ROMANIA

ION TI}OIU
Ac]iune, performance, instala]ie, (1 lun\ workshop de gravur\), 2008
Action, performance,installation, (1 month printmaking workshop), 2008
[email protected]

ARTIST INVITAT / INVITED ARTIST

90
EXPOZI}IE DE GRAVUR| EXPERIMENTAL|
ROMÂNEASC| CONTEMPORAN|
ROMANIAN CONTEMPORARY
EXPERIMENTAL PRINTMAKING EXHIBITION
 CIPRIAN CHIRILEANU
Lini[te / Silence, 2008
linogravur\, papier manche, obiect / linocut, papier manche, object, 200x150 cm
[email protected]

92
 CIPRIAN CIUCLEA
Gravur\ intermitent\ / Intermitent print, 2008
linogravur\ pe tuburi de neon, instala]ie de lumin\ [i sunet / linocut on neon tubes, installation, light and sound
[email protected]

93
 SUZANA FÂNTÂNARIU
Lumin\-~ntuneric. Discurs xilografic obiectual, Light- Dark. Xilographic objectual discourse, 1997-2007
instala]ie-obiect, xilogravur\ colat\ pe carton [i lemn, dimensiune variabil\, concept deschis /
installation, woodcut on cardboard and wood, variable size, open concept

[email protected]

94
 OVIDIU FENE{
Tabel grafic / Graphic table, 2008
instala]ie, obiecte imprimate / installation, printed objects
[email protected]

95
 -

PETER MADARAS
Copacul vie]ii / The tree of life, 2008
lemn, hârtie, timbru sec / wood, paper, embossing, 20x25x20 cm
[email protected]

96
 OVIDIU PETCA
Fantoma lui Ray Johnson III / The ghost of Ray Johnson III, 2001
print digital / digital print, 100x70 cm

[email protected]

97
 BOGDAN RA}|
Metrosexual, 2007
r\[in\ poliuretanic\,metal,print / polyurethane resin, metal, print, 50x85x24 cm
[email protected]

98
 SANDU ADRIAN
FX 101, 2007
tehnic\ mixt\, dimensiune variabil\ / mix media, variable size
[email protected]

99
 RADU BURIAC
Cutie neagr\ / Black box, 2008
obiect, serigrafie / object, silkscreen, 30x30x20 cm
[email protected]

100
 MARIAN ZIDARU
Orizont / Horizon, 2007
lemn, print pe hârtie, obiect / wood, paper print, object, 91x3x3 cm

101
 MIHAI ZGONDOIU
Mecanismul matri]\ / Matrix mechanism, 2008
video [i imprimare, performance / video & print, performance, 160x200 cm
[email protected]

102
 ZOI}A
Dialog nonverbal / Nonverbal dialogue, 2008
proiec]ie pe corp uman, video performance / projection on human body, video performance
[email protected]

103
Bienala Interna]ional\ de Gravur\ Experimental\, edi]ia a 3-a
3rd INTERNATIONAL EXPERIMENTAL ENGRAVING BIENNIAL
Centrul Cultural Palatele Brâncovene[ti
Palatul Brâncovenesc de la Mogo[oaia
29 martie - 27 aprilie 2008

The Brancovan Palaces Cultural Center

The Brancovan Palace at Mogo[oaia
March 29th - April 27th 2008

Directorul Bienalei / Biennial Chairman: Ciprian Ciuclea

Curatori / Curators: Olivia Ni]i[, Mihai Zgondoiu
Texte / Texts: Liviana Dan, Ciprian Ciuclea, Olivia Ni]i[, Mihai Zgondoiu, Dan Mircea Cipariu
Design catalog / Catalog design: Ciprian Ciuclea
Fotografii / Photos: Mihai Zgondoiu, Ciprian Ciuclea, Simona Dumitriu, Alex Calcatinge

Traducere / Translation: Olivia Ni]i[, Monica Manu

web site: www.experimentalproject.ro
web site design: Ciprian Ciuclea

Mul]umiri / Thanks to: Doina Mândru, Delia Cojocaru, Simona Cucu, Dan Mircea Cipariu,
Tomislav Vlahutin, Oskaras Vecenas, Jaroslav Godun.

Descrierea CIP a Bibliotecii Na]ionale a României

Bienala Interna]ional\ de Gravur\ Experimental\, edi]ia a 3-a,

Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia
Editura Centrului Cultural Palatele Brâncovene[ti, 2008
ISBN 978-973-88221-3-9

Centrul Cultural Palatele Brâncovene[ti

The Brancovan Palaces Cultural Center

Institu]ie finan]at\ de Consiliul General al Municipiului Bucure[ti

Institution supported by The City Council of Bucharest Municipality
 3

www.experimentalproject.ro