Sense of Autonomy (In Search of) – a retrospective exhibition by Oberliht Association
The exhibition opening will take place on Saturday, May 3, from 2 pm to 5 pm, at the Middle Art Space in Taipei, and will feature several Moldovan wines for degustation.
The exhibition will be on view between May 6 – July 5th, 2025
Schedule of the exhibition: Tue-Sat 11:30-20:00 (GMT+8)
address: The Middle Art Space, 103台北市大同區太原路156巷13號1樓

The present program aims to familiarize the Taiwanese audiences with the early activities of Oberliht Association and with Moldovan contemporary art. Curated by Vladimir Us this retrospective exhibition presents the activity timeline of Oberliht Association complemented by a limited number of videos, art works, photographs, objects, technical drawings and publications that document the work of Angela Candu, Ghenadie Popescu, Ștefan Rusu, Jaroslav Sedlak and of other artists and cultural workers, with whom Oberliht has been collaborating along the years.

Both the exhibition and the accompanying program of public events touch upon the topic of Moldovan cultural identity and the way it has been evolving during the last few decades after the dissolution of the Soviet Union and in relation to the local context of rural and urban transformations. Organized around several elements like food, clothing, transportation, housing and public spaces, the presented works offer a distinctive perspective on their meaning as a part of the daily lives of Moldovan citizens, while approaching the topic of identity through its rural (associated with traditional culture) and urban (associated with an emerging civic culture) origins and influences.

Throughout our entire lives we can adopt multiple identities so even if we look and dress the same and speak similar languages, the societal model that we adopt could differ from region to region and from country to country (in this context the term post-Soviet, when referencing to Moldova, is too general and can be rather confusing). This is to say that our contemporary identity is formed both from what we used to be and believe in in the past and what we consider to be representative for us today, including the set of values that we adhere to as a community of people and that are constantly being shaped by an evolving political system that we are part of.

As a young country, Republic of Moldova is still in the process of defining its own identity in a new global order, having to deal with a complex past, rethinking its cultural traditions and embracing new values. Relying mostly on farming activities while lacking its own natural resources, having weak public institutions and an underdeveloped civic sector, facing a demographic crisis and other important issues, Moldovans have still to identify their sense of autonomy and to negotiate their independence from much stronger actors in the region and while avoiding leaning too much towards older or newer centers of power, to find the necessary means for creation of a democratic society.

In many ways, this influenced the situation in which the independent cultural actors from Moldova (Oberliht Association as one of them) were acting during the last few decades, while facing structurally precarious conditions (lack of spaces, funding and educational opportunities) they would stay focused on the need for achieving artistic autonomy and a more just and peaceful society.

May 9, 2025, 7 pm (GMT+8)
Interventions 3 (2008) – art interventions in public spaces of Chișinău, film screening
35 min., Romanian with English / Mandarin subtitles

The exhibition opening will be complemented by a public talk with participation of the curator Vladimir Us, which will take place on Friday, May 9, 2025 at 7 pm at the Middle Art Space in Taipei and that will be followed by the screening of Interventions 3 film.

The Interventions 3 (curators: Natasa Bodrozic, Vladimir Us), artistic project dealing with the topic of public space took place in the city of Chisinau and its surroundings throughout August 2008, thus anticipating the Kiosk project. It gathered more than thirty participants from Moldova, Romania, Croatia, Germany and France who stayed in the city for a short term residency creating art works and reflecting over the processes producing Chisinau’s public space, the city’s visual structure, the hidden histories and experience of its inhabitants’ everyday life.

Their stay and the results of the project was documented in a catalogue, in two different issues of State of Emergency magazine / Oberliht Supplement and in this film.

The project consisted of several phases: city walks, artists’ projects, public presentations and discussions, Ghidighici Graffiti session and opening to the public of ArtHotel – a space for artistic production and exchange.
https://archive.oberliht.org/interventii3.html

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About Oberliht Association

Founded in 2000 and based on a rather long working experience as an independent cultural actor, “Oberliht” Young Artists Association aims to interconnect dispersed artistic scenes and build an artistic community making use of public spaces. The Association aims to provide support to emerging artists and contribute to their professional development. It develops and maintains interdisciplinary platforms and projects aiming to connect the local and international contemporary art and culture initiatives, and advocates for a strong and independent cultural sector in the Republic of Moldova and in the region.
https://oberliht.org/

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La 5 noiembrie, 2016, IZOLYATSIA (Kiev, Ucraina) prezintă expoziția ‘’Five pieces on a Background’’. Rezumând proiectul de colaborare Blue Box, Common Places and Contemporary Artistic Practices,  între cinci instituții internaționale de artă, expoziția cu lucrări specifice apartinind artistilor din Polonia și Olanda. Piesele au fost produse în 2016, în Kiev, Chișinău, Minsk, Tbilisi, și Varșovia, în conformitate cu metodologia elaborată pentru proiectul Blue Box. Organizațiile partenere au fost reprezentate de către curatori, care au identificat probleme relevante la nivel local.  Apoi, artistii au fost invitați să răspundă la intrebari. Lucrările de artă  produse devenind parte a programelor gazde.

Capacitatea de a face arta, la fel ca orice altă practică, se bazează pe cunostinte. Acest fapt, rămânind de necontestat și greu de controversat. Diverse contexte de producție și recepție sunt rareori juxtapuse. Această expoziție face exact asta. Spațiul comun al expoziției ne permite să revizuim răspunsurile artistice la cinci arhive diferite de cunostinte. În Europa de Est, printre aceste arhive se numără arhitectura, proprietatea comună, patrimoniul de avangardă si comunitatea locală. Caracteristic, acestea sunt adesea folosite de mass-media care transpune interesul artei contemporane în mediul social . Artiști, astfel  care participă la expoziție poseda cunoștințe posibile, subiectivitati, generând atât idei individuale, cât și organizaționale. Noi intrăm într-o relație cu ei prin artă, dacă suntem de acord cu această mediere.

Turul Cavaleristic de Iza Tarasewicz – a carui practica sculpturală se bazează pe cercetarea transformărilor  sistemelor, mișcărilor si conturilor ce provine din cadrul Palatului Șah din Tbilisi. Prin limbajul sculpturii și coregrafiei, Tarasewicz descrie un exercițiu de șah în care un cavaler trebuie să viziteze fiecare pătrat de pe bord. Algoritmul abstract codificat permite lui Tarasewicz să transforme o clădire într-o mașină de narațiune care generează noi evenimente si un nou concept de spațiu.

QAI / BY de Karol Radziszewski este rezultatul interogărilor efectuate la Minsk, în căutarea mărturiilo  culturii gay din Belarus. Ea reprezintă încă o incarnare a instituției sale fictive, Institutul Queer Arhivele. De data aceasta, Radziszewski a adunat nu numai un număr considerabil de documente, dar, si  a creat multe dintre acestea. El a ales opere ale unor artiști din Belarus, a făcut interviuri, a creat portrete ale comunității, și a invitat artiștii să participe la expoziție. Invizibil (belarusă Queer Istorie), o travesti consensuală  opera a lui Igor Savchenko, Invizibil (1992-1994), este un semn excelent al seriei.

Alicja Rogalska a  efectuat Tăcerea izvoarelor o performanța privind surselor de apa din Chișinău, ca parte a festivalului Zilele spațiului public, organizat de Asociația Oberliht. Practica lui  Rogalska este condusa de o căutare constantă pentru colaboratori, ale căror abilități, împreună cu munca ei, poate expune o conotație politică din viața de zi cu zi. În timp ce în capitala Moldovei, ea a decis (împreună cu gazdele ei), abordarea problemei apei ca o resursă limitată, vizualizind modul în care se articulează problema bunurilor comune.

Budapeszt grupa, un colectiv artistic-curatorial format din: Igor Krenz, Michał Liberă, și Daniel Muzyczuk, a lucrat la un remake al filmului Entuziasm Dziga Vertov: Simfonia Donbass (1931) într-o prezentare PowerPoint. Această piesă izvorăște din ironie față de opere de artă, ancorată într-o cercetare sociologică. Experiment de avangardă a lui Vertov și teoria lui de editare sunt supuse unui deconstrucție jucause. Sau, mai degrabă la o distrugere. Aceasta este o lucrare de traducere care se transformă calității  imaginilor în date statistice.

Colaborarea cu Maja Bekan un grup de activiști din Varșovia se învârtea în jurul valorii de Boy Nud (Kazik), o sculptură 1928 de Alfons Karny. Între 1969 și 1992, sculptura a fost expusa la partea din spate a unei clădiri aparținând realismului socialist Marszałkowska Residential District. O amintire a acestui fapt si  dorința comunității locale de a “obține băiatul înapoi” (sculptura a fost revendicat de Muzeul Național din 1992) a devenit punctul de sprijin al unei serii de acțiuni situate între intersele vieții de zi cu zi și spectacole artistice.

Prezentarea acestor lucrări în Kiev, desprinse din mediul pe care le-a inspirat, expoziția de cinci piese pe un fundal ridică o întrebare, care este la fel de productiva ca si problematică pentru arta contemporană și practica “situs-specifică”. Există o tensiune între logica de efect artistic bazata pe context și contextul instituțional în care funcționează arta. Primul este tangibil inevitabil, în timp ce acesta din urmă urmărește să universalizeze arta separând-l din mediul său original, pentru a comunica unui public secundar.

In acest spatiu imaginar, artistul devine un super-erou sensibil, care descoperă potențialul de schimbare inerenta în realitate. Arta salvează bunurile comune din ignoranță, obiceiuri proaste, și lovește forțe externe. Pace, empatie, deschidere, și dorința de a coopera ar trebui să domnească aici. Instituțiile artistice se transformă în enclave de comunicare gratuită și educație informală pentru toată lumea. Expozițiile devin experimente care oferă viziuni sigure și inspirate ale viitorului. În același timp, realitatea nu dovedește că o astfel de noțiunea de artă contemporană este împărtășită. Dezvoltarea unui spațiu imaginar comun al artei relevante pentru publicul local, este mult mai usoar în teorie decât în  practică, politica de zi cu zi și incertitudinea existențială de a rula instituțiilor de artă non-statale devine invizibila cutia albastră a artei contemporane.

curatori: Valentina Kiselyova (Belarus), Nini Palavandishvili (Georgia), Daniel Muzyczuk (Polonia), Lena Prents (Belarus / Germania), Anna Ptak (Polonia), Vladimir Us (Moldova)

artiști: Grupa Budapeszt – Igor Krenz, Michał Libera, Daniel Muzyczuk (Polonia), Karol Radziszewski (Polonia), Alicja Rogalska (Polonia), Iza Tarasewicz (Polonia), Maja Bekan (Olanda)

curator de proiect: Anna Ptak (Polonia)

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On November 5, 2016, IZOLYATSIA (Kyiv, Ukraine) presents the exhibition Five Pieces on a Background. Summarising the collaborative project Blue Box. Common Places and Contemporary Artistic Practices between five international art institutions, the exhibition features site-specific works by artists from Poland and the Netherlands. The pieces were produced in 2016 in Kyiv, Chișinău, Minsk, Tbilisi, and Warsaw in accordance with the methodology devised for the Blue Box project. Partner organisations were represented by curators, who identified locally relevant issues on their behalf. Then, artists were invited to respond. The artworks thus produced became part of hosts’ programmes.

The ability to do art, as with any other practice, is based on situated knowledge. This fact, however, remains uncontested and hardly controversial. Different contexts of production and reception are rarely juxtaposed. This exhibition does exactly that. The common space of the exhibition allows us to revisit artistic responses to five different repositories of collective and contested knowledge. In Eastern Europe, these repositories include architecture, archives, common property, avant-garde heritage, and local community. Characteristically, these are often employed as the media in which art’s contemporary interest in re-imagining social environment is expressed. Artists participating in the exhibition articulated such knowledges by engendering possible subjectivities, both individual and organisational. We enter into a relationship with them through art—if we agree to this mediation.

Knight’s Tour by Iza Tarasewicz — whose sculptural practice is based on researching transformations of systems, movements, and balances—originates from the context of the Chess Palace in Tbilisi. Through the language of sculpture and choreography, Tarasewicz portrays a chess exercise in which a knight has to visit every single square on the board. The hard-coded abstract algorithm allows Tarasewicz to turn a building into a narrative machine that generates new events, new concept of space.

QAI/BY by Karol Radziszewski is the outcome of queries conducted in Minsk in search of testimonies of gay culture in Belarus. It represents yet another incarnation of his fictional institution, the Queer Archives Institute. This time, Radziszewski has not only gathered an (in)considerable number of documents, but has also actually created many of them. He queered works of Belarusian artists, made interviews and took portraits of the community, and invited artists to participate in the exhibition. Invisible (Belarusian Queer History), a consensual travesty of the work of Igor Savchenko, Invisible (1992-1994), is an excellent token of the series.

Alicja Rogalska carried out her performance Silence of Sources in Chișinău as part of the Public Space Days festival, organised by the Oberliht Association. Rogalska’s practice is driven by a constant search for collaborators, whose skills, along with her own work, can expose the political overtones of everyday life. While in the capital of Moldova, she decided (together with her hosts) to tackle the issue of water as a limited resource and visualise the way it articulates the problem of the commons.

Grupa Budapeszt, an artistic-curatorial collective comprising Igor Krenz, Michał Libera, and Daniel Muzyczuk, has worked on a remake of Dziga Vertov’s film Enthusiasm: Symphony of the Donbass (1931) into a PowerPoint presentation. This piece springs from irony towards works of art anchored in sociological research. Vertov’s avant-garde experiment and his editing theory are subjected to a playful deconstruction. Or rather—to a destruction. This is a work of translation which turns qualities of the image into statistical data.

Maja Bekan’s collaboration with a group of Warsaw activists revolved around Nude Boy (Kazik), a 1928 sculpture by Alfons Karny. Between 1969 and 1992, the sculpture was exhibited at the back of a building belonging to the socialist realist Marszałkowska Residential District. A recollection of this very fact and the local community’s desire to “get the boy back” (the sculpture was claimed by the National Museum in 1992) became the fulcrum of a series of actions perched somewhere in the interstices of everyday life and artistic performances.

Presenting these works in Kyiv, detached from the milieu that inspired them, the exhibition Five Pieces on a Background raises a question that is as productive as it is problematic for contemporary art and “site-specific” practice. There is a tension between the logic of context-based artistic effect and the institutional context in which art operates. The former is inescapably tangible, whereas the latter seeks to universalise art by divorcing it from its original environment in order to communicate to a secondary audience.

In this imaginary space, artist becomes a sensitive superhero, who discovers potential for change inherent in reality. Art rescues common goods from ignorance, bad habits, and impinging external forces. Peace, empathy, openness, and willingness to cooperate are supposed to reign here. Artistic institutions turn into enclaves of gratuitous communication and informal education for everyone. Exhibitions become experiments offering safe and inspiring visions of the future. Meanwhile, reality does not prove that such notion of contemporary art is shared. Developing a common imaginary space of art relevant for the local audience is much easier in theory than in actual practice. Everyday politics and the existential uncertainty of running non-state art institutions become the invisible blue box of contemporary art.

Curators: Valentina Kiselyova (Belarus), Nini Palavandishvili (Georgia), Daniel Muzyczuk (Poland), Lena Prents (Belarus/Germany), Anna Ptak (Poland), Vladimir Us (Moldova)

Artists: Grupa Budapeszt – Igor Krenz, Michał Libera, Daniel Muzyczuk (Poland), Karol Radziszewski (Poland), Alicja Rogalska (Poland), Iza Tarasewicz (Poland), Maja Bekan (Netherlands)

Project curator: Anna Ptak (Poland)

Project Partners:
Art and Its Time Foundation, Centre for Contemporary Art Ujazdowski Castle, Ў Contemporary Art Gallery, GeoAIR, IZOLYATSIA. Platform for Cultural Initiatives, Oberliht Young Artists Association, Polish Institute in Kyiv.

Organised by:
Art and Present Time Foundation.

Accompanying Programme and Implementation of the Exhibition: Mykhailo Glubokyi, Tetyana Filevska, Oksana Sarzhevska.
Exhibition Architecture: Oleksandr Burlaka
“Blue Box” Graphic: Moonmadness (Dagny Nowak and Daniel Szwed)
Production and Coordination of the “Blue Box” Project: Aleksandra Biedka
Media Communication, PR: Oleksandr Vynogradov

The exhibition is being organised under the project Blue Box, co-financed by the Ministry of Culture and National Heritage of the Republic of Poland.

The project has been initiated by the Re-Directing: East Curatorial Residency of the A-I-R Laboratory/CCA Ujazdowski Castle in 2015.

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Revendicarea spațiului public prin practici artistice
26 noiembrie 2014, ora 19:00
Salonul de proiecte
Calea Mosilor 62-68, Cladirea MNAC Anexa, etajul al 2-lea, Bucuresti

Salonul de proiecte vă invită miercuri, 26 noiembrie, ora 19.00 la prezentarea intitulată “Revendicarea spațiului public prin practici artistice” susținută de Vladimir Us. Evenimentul face parte din seria de conferințe, screening-uri, prezentări, discuții, intitulată “La seral” și organizată de Salonul de proiecte, MNAC Anexa, în lunile octombrie și noiembrie 2014.

În cadrul acestei prezentări Vladimir Us va vorbi despre proiectele Asociației Oberliht realizate în ultimii șapte ani, cu un accent pus pe acțiuni artistice desfășurate în afara unor instituții tradiționale de cultură (proiectele: INTERVENȚII, CHIOȘC, Centrul Civic al Chișinăului). Alături de artiști, la aceste proiecte au luat parte arhitecți, sociologi, activiști și alți actori interesați de transformările prin care trece spațiul urban din Chișinău, scopul fiind acela de a crea, în urma acțiunii culturale, un spațiu cu adevărat public. Acest lucru a fost posibil datorită unor procese de auto-organizare și auto-educare, dar și în urma dezvoltării unei noi infrastructuri informative și culturale ce răspunde mai bine nevoilor actorilor culturali independenți din Moldova, oferind astfel o alternativă mediului instituționalizat și propunînd noi moduri de întâlnire cu publicul.

Vladimir Us (1980) este un artist și curator stabilit în Chișinău, Moldova, membru fondator al Asociației Tinerilor Artiști Oberliht. A studiat artă, curatoriat, management cultural și politici culturale la Chișinău, Grenoble și Belgrad. Prin lucrările și proiectele sale recente, Vladimir explorează procesele de transformare a spațiului public în orașele post-sovietice, fiind totodată interesat de nevoia de conceptualizare a rețelei spațiilor publice alternative din Chișinău.

La finalul programului “La seral” echipa Salonului de proiecte îi mulțumește Gabrielei Popp pentru sprijinul organizatoric oferit pe toată durata desfășurării acestui program.

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Reclaiming Public Space through Artistic Practices
November 26, 2014, 7 pm
Salonul de proiecte
Calea Mosilor 62-68, Cladirea MNAC Anexa, etajul al 2-lea, Bucharest

Salonul de proiecte invites you on Wednesday, 26 November, 19.00, at Vladimir Us’ lecture entitled “Reclaiming Public Space through Artistic Practices”. The event is part of a series of conferences, screenings, presentations, discussions called “Evening classes”, organized by Salonul de proiecte, MNAC Anexa, throughout October and November.

In his presentation Vladimir Us will speak about the projects organized by the Oberliht Association in the past seven years, highlighting a number of artistic interventions which took place outside of traditional cultural institutions (the projects INTERVENTIONS, CHIOȘC, the Civic Centre of Chisinau). These projects drew together artists, architects, sociologists, activists and other participants expressing interest in the transformations undergone by the public space in Chisinau, the goal being that of creating, through such cultural interventions, a truly public space. This effort became possible via self-education and self-organization as well as through the development of a new cultural and digital infrastructure which is better suited to the needs of independent cultural entities in Moldavia, offering an alternative to the institutional environment and proposing new ways of engaging with the public.

Vladimir Us (1980) is an artist and curator based in Chisinau, Moldova, founding member of Oberliht Young Artists Association. He studied art, curating, cultural management and cultural policy in Chisinau, Grenoble and Belgrade. Through his recent works and projects he examines the processes of transformation of the public space in post-Soviet cities along with the need for conceptualizing an alternative network of public spaces in Chisinau.

At the end of the series of events entitled “Evening Classes”, the team of Salonul de proiecte would like to thank Gabriela Popp for kindly supporting us in organizing this program.

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творення публічного простору через мистецькі акції
лектор Владімір Ус
SweetAPT Gallery
14 грудня 2013, 18:00
23, Штейнбарга вул., Chernivtsi, Ukraine

Лекція відбудеться в рамках Вуличного Університету за підтримки центру Gedankendach.
23, Штейнбарга вул., Chernivtsi, Ukraine

У суботу, 14 грудня 2013, відбудеться лекція молдавського митця Владіміра Уса про творення публічного простору за допомогою мистецьких акцій на прикладі Кишинева.

Владімір Ус – митець та куратор, засновник Oberliht Young Artists Association. У своїх проектах він досліджує процес утворення та трансформації публічного простору у пост-радянських містах та на інших територіях з перехідною економікою.

На зустрічі Владімір також презентує фільм “INTERVENTIONS3″ – звіт про художній проект, локалізований у Кишиневі та його околицях, який працював з публічним простором.

http://vk.com/streetuniver_cv_10

RE-DIRECTING: EAST. Conversations # 2, Vladimir Us
Wednesday, June 12, 2013, 6 pm
Center for Contemporary Art Ujazdowski Castle
CCA’s Laboratory Building
ul. Jazdów 2, Warsaw
link

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In his presentation Vladimir Us will talk about the post-soviet urban space of Chisinau and the processes that led to its transformation after 1991. In the course of the last two decades many areas of public use have been demolished, abandoned, some of them privatized or converted to commercial areas. Having these dominating processes as a background, new initiatives that claim the right to use the city in a different way make themselves more and more visible. They open the possibility of creating a new public space responding to the needs of the local community. This process is equally led by artists, architects and researchers, who make use of the city as a studio and space where they meet and interact with the audience.

Taking the KIOSK project (http://chiosc.oberliht.org) as an example Us will present and explain different artistic actions and strategies developed by local and international artists who travelled to Chisinau for residency, and who through their works managed to change the perception of the space around us, and sometimes bring new uses to existing available areas in the city.

CHIOȘC/KIOSK exhibition
Galéria HIT, Bratislava
April 17 – May 10, 2013
April 17, 2013, 6pm – opening

Eternal Play 2012, a film by Paula DURINOVA – screening
April 17, 2013, 8pm

http://www.galeriahit.com
http://chiosc.oberliht.org

participants: AREA Chicago, Aliona BALAN and Alexandru LOZINSCHI, Nataša BODROŽIĆ, Maxim CUZMENCO, Paula DURINOVA, Michal HOLY, Tonka MALEKOVIĆ and Ion FISTICANU, Ștefan RUSU, Jarek SEDLAK, Spălătorie Theatre, Gruppo Tökmag, Vadim ȚÎGANAȘ, Vladimir US.

curator: Vladimir US

Diana AROSIO, Ivy. Plastic Garden, installation, 2010

CHIOȘC/KIOSK project articulates and expresses the need for alternative cultural infrastructure to be created in Chisinau – a city where the cultural life is still dominated by institutions established during the Soviet period – as a model for sharing, education, production and presentation of socially engaged artistic practices.

Jarek SEDLAK, Power to Flowers, installation, 2011

The exhibition presented in HIT takes form of a furnished flat, thus making reference to the FLAT SPACE – a functional replica of a socialist apartment designed by Stefan Rusu and commissioned to represent the identity of KIOSK/CHIOȘC project. In its turn, the FLAT SPACE was conceived as a response to the existing self-sufficient and closed system of cultural institutions that is continuously supported by the Moldovan state within an outdated cultural policy framework.

The other important reference that FLAT SPACE has is the phenomenon of the apartment exhibitions that took place in the mid of 70s, in bigger cities in USSR like Leningrad, Moscow or Odessa, organized by artists whose works got censored or banned from being exhibited in the official exhibition halls.

Today, many years later, FLAT SPACE can still be read as an apartment exhibition space due to the lack of support that contemporary art and culture receive from the authorities of the recently-born independent Moldovan state, thus being marginalized and reduced to an invisible phenomenon.

In the course of 2009-2012 KIOSK/CHIOȘC project supported artists, architects, curators and activists to project new functions and sometimes add a different significance to the inherited social (in the past controlled by the Soviet state) space, by extending the limits of what could become later a public space and by inviting new actors to step in, thus opening the process of city planning and space distribution to other previously excluded social groups.

The current exhibition presents the works created by local and invited in the frame of KIOSK/CHIOȘC artist in residency program participants. By making use of abandoned, underused or mono-functional public spaces the artists along with Chișinău inhabitants, open new spaces of dialogue and critical reflection, and observation of the recent public space transformations, questioning in the same time the established order and the existing regulations along with the authority that maintains them.

The outcomes of these interventions and the reactions to them should encourage us to rethink the role that art could play and the artist could have when working in and with the public domain, regaining and opening new space of interaction in a landscape dominated by private political and economic interests.

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November 26, Monday, 7pm
Művelődési Szint, Blaha Lujza tér, Corvin Áruház (Somogyi Béla utca), 3rd floor
Entrance fee: 500 HUF. In English.

Vladimir Us: Forming pubic space through cultural action

In his Budapest lecture, Vladimir Us will talk about the post-soviet urban space of Chisinau and its transformation processes after 1991. In the course of the last two decades many spaces of public use have been demolished, abandoned, some of them privatized or converted to commercial spaces. Having as background these dominating processes, new initiatives that claim the right to use the city in a different way make themselves more and more visible. They open the possibility of creating a new public space responding to the needs of the local community. This process is equally led by artists, architects and researchers, making use of the city as a studio and space where to meet and interact with the publics. Taking as example the KIOSK project (http://chiosc.oberliht.org), Vladimir will present artistic actions and strategies to initiate new uses of available spaces in the city.

Vladimir Us is an artist and curator based in Chisinau, Moldova, founder member of Oberliht Young Artists Association (http://oberliht.com). He studied art, curating and cultural policy in Chisinau, Belgrade and Grenoble. Through his recent works and projects he examines the processes of formation and transformation of the public space in post-soviet cities and other territories in transition.

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Catalogul CHIOȘC – lansare
Holul Direcției Cultură a Municipiului Chișinău (în spatele Teatrului Licurici)
str. București 68, Chișinău
Joi, 26 aprilie 2012, ora 17:00

Vă invităm la lansarea catalogului CHIOȘC, care cuprinde acțiunile organizate între anii 2007-2010 în cadrul proiectului CHIOȘC – punct de informare cultural / platformă publică de participare. În calitate de învitați îi vom avea pe Ștefan Rusu, artist și curator, autorul “APARTAMENT-ului DESCHIS”, Ovidiu Țichindeleanu, filosof şi teoretician al culturii, co-fondator al platformei CRITICATAC, Ina Borozan și Andrei Vatamaniuc, arhitecți.

În discuție vom prelua drept punct de plecare activitățile întreprinse în cadrul proeictului CHIOȘC ca ulterior să ne axăm asupra proceselor de transformare urbană din Chișinău înregistrate pe parcursul ultimelor două decenii, efectelor produse de aceste transformări asupra vieții publice, și conotațiilor lor ideologice.

Catalogul CHIOȘC cuprinde texte publicate de paticipanți la proiect, printre care artiști, curatori, teoreticieni, poeți, voluntari, care prin lucrările și textele lor abordează recentele transformări prin care trece spațiul public Chișinăuian: Aliona Balan și Alexandru Lozinschi [MD] / Nataša Bodrožić [HR] / Maxim Cuzmenco [MD] / Elena Hall [UA] / Tonka Maleković [HR] / Szilvia Nagy [HU] / Roman Petruniak [US] / Maud Revol [FR] / Ștefan Rusu [MD] / Tokmag (Tamás Kovács și András Tábori) / Daniel Tucker [US] / Vadim Ţîganaș  [MD] / Răzvan Ţupa  [RO]/ Vladimir Us [MD] / Raluca Voinea [RO] / Tamara Zlobina [UA]

Catalogul are 136 pagini / limbile română-engleză / design de Georg Waldman [DE] http://chiosc.oberliht.org/2012/03/31/catalogul-chiosc

Lansarea catalogului CHIOȘC încheie oficial ciclul de activități sprijinite de Fundația Culturală Europeană. Totodată, pe această cale dorim să mulțumim tuturor celor care au sprijinit realizarea acestui proiect, partenerilor și participanților.

Ochiul care veghează Praga – proiecție
APARTAMENT DESCHIS
str. București 68/1, Chișinău
Joi, 26 aprilie 2012, ora 20:00

Lansarea catalogului CHIOȘC va fi urmată de proiecția filmului OCHIUL CARE VEGHEAZĂ PRAGA (OKO NAD PRAHOU), dir. Olga Špátová, 2009 / Cehia / 78 min.

O poveste extraordinară despre Jan Kaplicky – un arhitect elegant și foarte pasionat, cu o viziune clară asupra viitorului, care are de înfruntat o luptă crîncenă în Praga. Filmat timp de 3 ani în Marea Britanie, Cehia și Italia filmul ne transmite o istorie impunătoare despre una dintre cele mai emoționante personalități din lumea arhitecturii. Cel mai mare proiect al său nerealizat, noua Bibliotecă Națională din Praga înseamnă totul pentru el.

Ochiul care veghează Praga este un proiect radical, pasionant și cu mult înaintea timpului său pentru a provoca reacții contraversate. El prezintă reîntoarcerea în propria țară a unui emigrant de origine cehă, vindicarea filosofiei sale directe și de necompromis, și un final tragico-poetic al carierei sale remarcabile.

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Proiectul CHIOȘC: http://chiosc.oberliht.org

În urma seriei de proiecte cu titlul INTERVENȚII (2006-2008) Asociația Oberliht a lansat, în 2009, proiectul CHIOȘC, întruchipat în APARTAMENTUL DESCHIS – un punct de informare cultural şi o platformă publică pentru participare, care oferă continuitate acțiunilor realizate anterior și se prezintă drept alternativă instituțiilor de cultură moștenite din perioada comunistă. Instalat pe un mic segment al teritoriului municipal, strecurat printre maşinile care ocupă în mod agresiv trotuarele, APARTAMENTUL DESCHIS joacă rolul unui agent activ caracterizat prin implicare civică conform unui model »de jos în sus«, interpretând angajamentul cultural ca acţiune socială şi generând, astfel, cultură critică. Activităţile desfăşurate în cadrul acestuia ţin de cele mai importante aspecte ale relaţiei cu spaţiul care îl înconjoară, una dintre preocupările majore fiind problema spaţiului public. Într-un sens mai larg, proiectul oferă premisele pentru o analiză a realităţilor culturale, sociale şi politice ale uneia dintre suburbiile Europei.

EN
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KIOSK catalogue – launch
The entrance hall of Cultural Department of Chisinau (behind Licurici Theatre)
68 str. Bucuresti, Chisinau
Thursday, April 26, 2012, 5 pm

You are invited to the lauch of the KIOSK catalogue that comprises the actions organized between 2007-2010 in the frame of KIOSC project – cultural information point / public platform for participation. The invited guests are Stefan Rusu, artist and curator, the author of FLAT SPACE, Ovidiu Tichindeleanu, philosopher and cultural theoretician, co-founder of CRITICATAC platform, Ina Borozan and Andrei Vatamaniuc, architects.

The discussion will have as reference the activities undertaken in the frame of KIOSK project after which the emphasis will be put on the urban transformations taking place in Chisinau during the last two decades, its outcomes and ideological connotations.

KIOSK catalogue includes contributions offered by artists, curators, theoreticians, poets, volunteers who took part in the project and whose works and texts reflect the recent transformations that Chisinau public space was going through: Aliona Balan și Alexandru Lozinschi [MD] / Nataša Bodrožić [HR] / Maxim Cuzmenco [MD] / Elena Hall [UA] / Tonka Maleković [HR] / Szilvia Nagy [HU] / Roman Petruniak [US] / Maud Revol [FR] / Ștefan Rusu [MD] / Tokmag (Tamás Kovács și András Tábori) / Daniel Tucker [US] / Vadim Ţîganaș  [MD] / Răzvan Ţupa  [RO]/ Vladimir Us [MD] / Raluca Voinea [RO] / Tamara Zlobina [UA]

The catalogue has 136 pages / in Romanian-English languages / design by Georg Waldman [DE] http://chiosc.oberliht.org/2012/03/31/catalogul-chiosc

The launch of KIOSK catalogue brings officially to end the cycle of activities supported by the European Cultural Foundation. We would also like to express our gratefulness to everybody who contributed to this project, partners and participants.

EYE OVER PRAGUE – screening
FLAT SPACE
68/1 str. Bucuresti, Chisinau
Thursday, April 26, 2012, 8 pm

The launch of KIOSK catalogue will be followed by a screening of the film EYE OVER PRAGUE (OKO NAD PRAHOU), dir. Olga Spatova, 2009 / Czech Republic / 78 min.

An extraordinary tale about strongly passionate and elegant architect Jan Kaplicky with a clear vision of the future who has the biggest fight on his hands in Prague again. Shot over three years in the UK, Czech and Italy tells the powerful story of Jan Kaplicky, one of the most emotional figures in the world of architecture. His greatest unrealized architectural achievement, the new National library in Prague means the world to him.

The project called the Eye over Prague is radical, exciting and far enough ahead of its time to provoke a fair degree of controversy. It represents a triumphant return to his homeland for the Czech-born émigré, a vindication of his uncompromisingly forward-looking philosophy and a tragically poetic ending to his remarkable career.

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KIOSK project: http://chiosc.oberliht.org

Following the series of projects titled INTERVENTIONS (2006-2008) Oberliht association launched the KIOSK project in 2009. Embodied in FLAT SPACE – a cultural information point and a platform for public participation, it aims to provide continuity to the previously organized activities and offer an alternative within a cultural sector dominated by institutions inherited from the Communist period. Installed on a tiny segment of municipal ground, squeezed in between cars aggressively taking over the sidewalks, FLAT SPACE plays the role of an active agent of bottom-up civic involvement, understanding cultural engagement as social action capable of producing a critical culture. The activities built around it address, in its immediate surroundings, the urgent question of public space. In a broader way the project offers the basis for the analysis of the cultural, social and political realities of one of Europe’s suburbs.

Imagini de la eveniment

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RO
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Catalogul CHIOȘC

În urma seriei de proiecte cu titlul INTERVENȚII (2006-2008) Asociația Oberliht a lansat, în 2009, proiectul CHIOȘC, întruchipat în APARTAMENTUL DESCHIS – un punct de informare cultural şi o platformă publică pentru participare, care oferă continuitate acțiunilor realizate anterior și se prezintă drept alternativă instituțiilor de cultură moștenite din perioada comunistă. Instalat pe un mic segment al teritoriului municipal, strecurat printre maşinile care ocupă în mod agresiv trotuarele, APARTAMENTUL DESCHIS joacă rolul unui agent activ caracterizat prin implicare civică conform unui model »de jos în sus«, interpretând angajamentul cultural ca acţiune socială şi generând, astfel, cultură critică. Activităţile desfăşurate în cadrul acestuia ţin de cele mai importante aspecte ale relaţiei cu spaţiul care îl înconjoară, una dintre preocupările majore fiind problema spaţiului public. Într-un sens mai larg, proiectul oferă premisele pentru o analiză a realităţilor culturale, sociale şi politice ale uneia dintre suburbiile Europei.

EN
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KIOSK catalogue

Following the series of projects titled INTERVENTIONS (2006-2008) Oberliht association launched the KIOSK project in 2009. Embodied in FLAT SPACE – a cultural information point and a platform for public participation, it aims to provide continuity to the previously organized activities and offer an alternative within a cultural sector dominated by institutions inherited from the Communist period. Installed on a tiny segment of municipal ground, squeezed in between cars aggressively taking over the sidewalks, FLAT SPACE plays the role of an active agent of bottom-up civic involvement, understanding cultural engagement as social action capable of producing a critical culture. The activities built around it address, in its immediate surroundings, the urgent question of public space. In a broader way the project offers the basis for the analysis of the cultural, social and political realities of one of Europe’s suburbs.

CHIOȘC / KIOSK

exhibition with participating artists:
Tonka Maleković [HR] & Ion Fisticanu [MD], Pawel Mendrek [PL] and Ewa Zasada [PL], Krystyna Nikiel [PL], Łukasz Obałek [PL], Jarek Sedlak [CZ], Bartek Skrzyczek [PL], Lesław Tetla [PL], Vladimir Us [MD], Kasia Wolny [PL], Joanna Zdzienicka [PL]

curators: Leslaw Tetla [PL], Vladimir Us [MD]

Rondo Sztuki Galeria +
opening: December 15, 2011, 18:00
address: Rondo im. Gen. Jerzego Ziętka 1, Katowice, Poland
http://rondosztuki.pl
program: 15/12/2011 – 05/01/2012
Tue-Fri: 11:00 – 19:00
Sat-Sun: 10:00 – 18:00
contact: + 48 32 720 11 32

free entrance

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PL
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Wystawa Chiosc / Kiosk to rezultat współpracy Pracowni Działań Interdyscyplinarnych Akademii Sztuk Pięknych w Katowicach z kuratorem i dyrektorem Stowarzyszenia Artystycznego Oberliht z Kiszyniowa, Vladimirem Us. Tytułowy kiosk to struktura architektoniczna, obiekt inspirowany standardowym mieszkaniem Mołdawskiej SRR. Wobec niemożności oficjalnego, publicznego prezentowania sztuki tzw. podziemia, w latach 70. i 80. popularne stało się “wystawianie” w prywatnych mieszkaniach. Dzisiaj, moduł ten wyjęty z kontekstu osiedla, bloku przez artystę Stefana Rusu i umieszczony na jednym z placów w Kiszynowie- stolicy Republiki Mołdawii w sposób symboliczny przenosi dyskusję z mieszkania w przestrzeń publiczną. Jako otwarta galeria jest miejscem animowania i prezentowania projektów artystycznych, punktem dystrybucji informacji kulturalnej, platformą do spotkania i rozmowy. Na wystawie zaprezentowanych będzie kilka projektów powstałych dla i wokół Chiosku.

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CHIOSC / KIOSK exhibition is the result of collaboration between Interdisciplinary Actions Studio at the Academy of Fine Arts in Katowice with the curator and president of Young Artists Association Oberliht from Chisinau, Vladimir Us. The eponymous “FLAT SPACE” is an architectural structure inspired by the standard flat in Moldavian SSR. Given the impossibility of open, public exhibition of the artistic underground, in the 1970s and 80s it became popular to host art exhibitions in private homes. Today, this module is removed from the context of block of flats and housing estate by the artist Stefan Rusu and placed on one of the squares in the Moldovan capital Chisinau, thus symbolically taking the discussion from the flat into public space. As an open gallery, it is a place for animating and presenting artistic projects, cultural information point and a platform for meetings and talks. The exhibition will present several projects created for and around FLAT SPACE.

http://www.rondosztuki.pl/wydarzenie.php?id=429
http://asp.katowice.pl/news/post/497/chiosc-kiosk

INTERVENTIONS
http://www.oberliht.org.md/interventii2.html
http://www.oberliht.org.md/interventii3.html

At a time when FLAT SPACE existed only as a file in the drawers of the city administration, the activities anticipating the KIOSK project were already taking place. INTERVENTIONS2 (2007) – consisting of a series of exploratory walks through the city as a means of documenting, with the help of photography, places of power and control, processes of gentrification, the invisible and left over spaces or non-places – was followed, in 2008, by INTERVENTIONS3, a new edition which involved more than thirty participants from several European countries who were invited to reflect on the processes that have been shaping Chisinau’s public space. This particular activity, organized as an artist-in-residency program and consisting of walking tours, public presentations, screenings and other events, resulted in a series of ephemeral interventions throughout Chisinau and its suburbs, transforming the city into a plateau for research, a space for production and exhibition, where the artists could meet and interact with the public.
The general concern with the public space issue enhancing both projects’ objectives and the need to influence the existing public policies and local authorities to extend the access to public space and allow its less restricted usage have prepared the ground for a more permanent structure to be installed in the city (excerpt from KIOSK catalogue, Chisinau 2011).

KIOSK PROJECT
cultural information point / public platform for participation
http://chiosc.oberliht.org/chiosc

When several years ago artists and theorists began to deal with the influence of the quickly spreading capitalism that was paving the way for holders of private property, and analyze its consequences within the urban (post-socialist) space, in some cases the kiosk was seen as the man in the street’s answer to the radical economic changes taking place in Eastern Europe. Small-scale private enterprise markets taking various forms (kiosks, vendor tables, stools, fridges, cars etc.) invaded the streets and public spaces, becoming the arena for a new citizen-driven economic model within the regulated capitalist environment.

In 2009 another type of kiosk was launched in Chisinau, aiming to provide an alternative within a cultural sector dominated by institutions inherited from the Communist period: the KIOSK project, embodied in FLAT SPACE, a cultural information point and a platform for public participation initiated by the Oberliht association. Installed on a tiny segment of municipal ground, squeezed in between cars aggressively taking over the sidewalks, FLAT SPACE plays the role of an active agent of bottom-up civic involvement, understanding cultural engagement as social action capable of producing a critical culture. The activities built around it address, in its immediate surroundings, the urgent question of public space. In a broader way the project offers the basis for the analysis of the cultural, social and political realities of one of Europe’s suburbs (excerpt from KIOSK catalogue, Chisinau 2011).

WORKS

Tonka Maleković [HR] and Ion Fisticanu [MD]
POSSIBILITY OF THE CITY / FOUNTAIN CITY
Between 4 and 12 of July 2009, Croatian artist Tonka Maleković took part as artist in residency in the frame of KIOSK project, in Chisinau, initiated by Oberliht, young artists association. For this occasion she developed a project POSSIBILITY OF THE CITY in collaboration with Moldovan artist Ion Fisticanu.
http://chiosc.oberliht.org/air/

Influenced by the artwork of Ion Fisticanu (“Cities on the roof of my house / INTERVENTIONS3, 2008”), Tonka Maleković connected his idea with her own preoccupations about how to develop relationship with the public space through the play, imagination and improvisation, in direct participation. Therefore, she proposed Ion collaboration, expanding the frame of the original work by positioning it within the wider concept and inviting more people to join in. The idea was simple: to walk, to observe, to play, to construct improvised constellations representing cities using the materials found on the spot, on various locations all over the city of Chisinau.
Rethinking the public space and one’s relation towards it, very often makes the basis of the work of Tonka Maleković. Possibility of the City project continues along this line. On metaphorical level it speaks about the city as a possibility, and its citizens as creators of the new urban realities. (excerpt from Oberliht Supplement | SoE, July 2009).

Pawel Mendrek [PL] and Ewa Zasada [PL]
FOUNTAIN. RECONSTRUCTION FROM THE PROJECT FROM NOW TILL TODAY

“Reconstruction of a construction. Critical reconstruction. (Re)construction for now.”

The project by Ewa and Paweł reconstructs a fragment of a dilapidated fountain in Chisinau (the location is not without significance), which will dissolve with time and again reveal a certain lack. The form made of soap reconstructs the missing part not so much provisionally as temporarily. It fills a gap in the form – not just an aesthetic object, but on the symbolic level – in the system it represents.
Persistence of systems, all of which have a touch of utopia “eroded” with time by the rapid current of life, proves momentary. In the words of Zygmunt Bauman, u-via replaces u-topia, and the temporality of the proposed reconstruction is “the collapse of long-term thinking”, by Małgorzata Szandała

Krystyna Nikiel [PL]
MOLDOVA?
More than the object itself, what interested me was the place where it is located. I began an intense “exploration” of Moldova, recording this process in photography and pencil. These activities lead me to the home of Ms Nona who comes from Moldova. However, I had a long and surprising journey before I got there.

Łukasz Obałek [PL]
MIRROR SPACE
I am showing the FLAT SPACE model fully covered in mirrors – it is my response to being asked for a comment on the reality of Moldova. I am aware that any artistic expression of the living conditions in an unfamiliar place can be easily interpreted as empty demagogy. Snatches of information from many different sources are hardly sufficient to form an opinion of the situation in a foreign country. What information reaches us, creates an image of a country in the period of political and mental transformation, with typical accompanying problems. Currently, mostly due to the development of the Internet, the changes are becoming faster and generate new expectations. For me this is the source of the manual interface of these ambitions that FLAT SPACE is.
The mirrored object in one of the squares in Chisinau will by itself comment on the surroundings.

Jarek Sedlak [CZ]
POWER TO FLOWERS
… 500 flowers in a real fight against 20 cars at least
… searching for bits of sensitivity for public space in drivers’ mentality
… bring your own flowers and plant them at Bucuresti 68 str. in Chisinau
During his residency in Chisinau, in collaboration with Oberliht Association, Jarek Sedlak has produced a work composed of 500 flowers that were planted on the square from Bucuresti str. 68, restricting this way the transport circulation on the square and keeping it free of cars during one day. This allowed the ordinary users of the square to project their own ideas for the suddenly free place, making space for imagination and play.
http://chiosc.oberliht.org/2011/05/09/putere-florilor-power-to-flowers/

Bartek Skrzyczek [PL]
My project on the socio-political situation in Moldova takes the form of game simulation. Black background with military symbols (tanks, grenades, guns) sized 440 × 280 cm has been divided by dotted lines into 40 × 40 cm squares. There is interaction on the board: each wallpaper square corresponds to one Moldovan ornament.
As an individual I have no way of changing world politics. Actually, I have little influence even on my immediate surroundings. The possibility of change is just a wish. I would like any person to be able to decide their fate, shape and creatively criticize reality. The awareness of potential change is in itself a change.

Lesław Tetla [PL]
…
The project “…” is connected with resident lists/intercoms located at the entrances to blocks of flats. Due to personal data protection regulations, residents choose if they want to make their names public or not. As a result of their decision to remain anonymous, many lists are composed mostly of empty spaces with flat numbers. While documenting intercoms at housing estates in many cities I came across a meaningful example. On a long list with just flat numbers there was only one name – J. Nowak. As it is the most common name in Poland, it means just as much as another number. For my project I consulted the statistics of most common last names in Poland and Moldova.

Vladimir Us [MD]
STEFAN CEL MARE BOULEVARD
Stefan cel Mare si Sfint Boulevard, which stands today for the main boulevard in Chisinau, is a research project through which I would like to reveal the names that this particular street had in the past, thus unveiling the past and present mechanisms that stay behind the process of writing the history. The name of Stefan cel Mare si Sfînt was attributed to this street in 1990, when Republic of Moldova became an independent state after the fall of the Soviet Union. In the process of research I found out that this particular street has changed its name at least seven times, changes that were operated under different regimes in the past.

Kasia Wolny [PL]
LARGE PANEL
The idea behind „Large Panel” is to draw attention to details in blocks of flats built of prefabricated concrete panels, which usually go unseen by the residents accustomed to their presence and character. The interiors photographed were constructed in a way that defies craftsmanship and common sense. They create a dream-like and surreal atmosphere. Photographs arranged into imperfect collages filled with detail express the absurd nature of the spaces portrayed.

Joanna Zdzienicka [PL]
KIOSK / PLASTIC GARDEN
I am familiar with the activities of Oberliht Association and FLAT SPACE as public platform for participation from Chisinau mostly from stories. Moldova seems quite an exotic country to me. My works are directly inspired by the images that form my source of information about this place. One of them is the photograph of FLAT SPACE model, which functions as the unofficial logo of this space. Another is a newspaper photograph documenting the “Plastic Garden” action. Turning these images into paintings allows me to come in touch with the subject and familiarize the form in my own artistic language.

WIND PROTEST
http://chiosc.oberliht.org/protest/

Wind Protest is initially an artistic intervention connected to the April 2009 events that took place in Chisinau. It was realized by Diana Arosio, Helen Brandt, Felix Reisbeck and Vladimir Us and was presented in the FLAT SPACE. The work itself makes reference to the freedom of expression and access to information. The public was invited to write their statements, opinions and feelings related to 7th of April events down on a piece of cloth that were presented later publicly in the balcony of the FLAT SPACE. The intention of this work is to communicate differently, more effectively and without violence.
In 2011 inside the balcony at FLAT SPACE the works of 8 of March Public Action [MD], Campaign for supporting the GHOST Pavilion of Republic of Moldova [MD], Art Workers Coalition, 1969 [US], artistic groups focAR [RO] (Alina TUDOR and Razvan NEAGOE) and Monotremu [RO], artists Dan Perjovschi [RO], Janos Sugar [HU] were presented.

CULTURAL INFORMATION POINT AT FLAT SPACE
In connection to the [oberlist] mailing list, which covers the arts field with different regional focuses, the Cultural Information Point offers news and announcements from various European countries. Open calls for artistic projects, artist in residency programs, art news, and announcements for local cultural events are regularly displayed there.
[oberlist] is an electronic free of charge service that is offered to artists, curators, cultural workers, managers and activists, policy makers, art lovers etc. from both Eastern and Western Europe but also Black Sea and other regions in the world thus establishing premises for future cooperation in Europe. It started as a community of students from Art Institute in Chisinau and evolved to a platform representative for many contemporary art and culture initiatives: http://www.oberliht.com/oberlist

The visitors will also be able to consult various publications edited by Oberliht Association.

- POSTBOX magazine – literature, art, attitude: http://plic.oberliht.com
– Oberliht Supplement: http://www.oberliht.com/supliment
– Notes for a People’s Atlas of Public Space in Chisinau: http://atlasofchisinau.wordpress.com
– catalogues and other publications

partners:
Young Artists Association Oberliht: http://oberliht.com
Kalmar Konstmuseum: http://www.kalmarkonstmuseum.se
4AM Fórum pro architekturu a média, Brno: http://www.forum4am.cz
Slobodne veze/ Loose Associations, Zagreb: http://slobodneveze.wordpress.com

imagini de la expoziție / images from the exhibition: