Installation (screen saver on display, sound, 3D printed objects) variable dimensions, 2019
Tag: installation
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Gyújts világot, fiam!
ready made + (old theatre light, IR light bulb, black wire, red tape, print) 2026
Throughout history, resources have often been a reason of conflict between countries and nations. Whoever controls resource-rich territories holds the power and control. Today, the global economy is more interconnected than ever, and resources are part of a complex global network.
Like any other object, the theatre light is also part of the cycle of the global economy. It was produced to put a light on something, as the power puting the light on the convenient.
The open reflector, through its shape, alludes to the cross-section and internal structure of the globe. The lightbulb, in turn, consumes energy.
The electrical wire is the conduit for this energy, but also a symbolic cord between us and the planet – a cord of morality and responsibility, long and tangled.
The phrase written in the thread Gyújts világot, fiam! (spoken by the film director Béla Tarr at the end of an interview) is an exhortation addressed to the next generation, with a dual and contradictory meaning: on the one hand, to kindle the light of change toward a more conscious, responsible, and equitable world; and on the other, to set the world on fire.
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The Stairway’s Ecosystem
Assemblage (print on paper, plant cell images on digital photo frame, optical fiber lamp, metal grid) 100x60x20 cm, 2016
Photo series, 2006
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The Missing Poem
mixed media installation (table, wood burning pen, video, sound) variable dimensions, 2015
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The Changing (not thinking (anymore))
neon sign, variable dimensions, 2015
Sometimes I think, sometimes I am.
— Paul Valéry on Descartes’ famous statement I think, therefore I am, as human existence is not defined only by thinking. Sometimes we think, and sometimes we simply are.
kinema ikon - serial, Art Museum, Arad
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Pe vremea noastră era altfel… (In our time, it was different…)
neon sign, 460×50 cm, 2013
The phrase belongs to no one and belongs to everyone; it has been spoken at tables, on train stations and in marketplaces, uttered with an unmistakable blend of gentle reproach and resignation.
Placed on the façade of a building steeped in history, it ceases to be a private sigh and becomes a public declaration, almost involuntary.
Neon letters reclaimed from the visual vocabulary of the ‘80s, from the advertisements that lit up cities where everything else was dark. That neon didn’t merely decorate, but announced. Now it announces once more – not a product, not a service, but a collective feeling without an author or a date.
What makes this phrase irrefutable in conversation also makes it on the wall. It doesn’t claim that things were better. It simply says that they were different.
It’s a retreat from any debate. Impossible to refute, impossible to fully confirm.
Nostalgia acts as a shield, not as an argument, and that is precisely why it cuts deeper than any argument.
The building is not a neutral medium, it is a co-author of the work. The building and the current advertisement on it simultaneously contradict and confirm the illuminated phrase above.
The passerby who stops sees two overlapping moments: the one from which the light comes and the one in which he now stands, looking.
The work does not take a stance; it merely places a phrase where it already existed, unwritten.Made in the frame of the Waiting Spaces project, manufactured by Mr Bebe.
Hosted voluntarily by a friend’s parents on their balcony for two weeks in Piața Mărăști, Timișoara.
The piece was displayed three more times in Timișoara: on the balcony of a public institution (as part of the Annual architecture event, 2014), in front of a former industrial building transformed into a cultural venue (Ambasada, 2016), and on the façade of the Memorial of the Revolution of 1989 (as part of the exhibition Mad(e) in Romania), from where it disappeared…
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Attempt to Immortality (after Paik)
mixed media installation (surveillance camera, tv monitor, taxidermized marmot, pedestal) 100x40x50 cm, 2018
Commissioned by kinema ikon for MAFA5 – De Rerum Natura
