Foc Ar Group Portfolio


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Foc Ar Group Portfolio

  1. 1. focAR group (Alina Tudor and Razvan Neagoe)Contact:E-mail: ar_foc@yahoo.comWebsite: Tudor was born in 1980 in Constanta, Romania. Razvan Neagoe was born in 1974 inBucharest, Romania. Both live and work in London UK and Bucharest Romania. They graduatedfrom the National University of Arts Bucharest. They founded focAR group in 2006 and they areMembers of Professional Artist Union from Romania, as well. Since 2006 they have been activemembers in the public and community art program called “I Love Bucharest”.Until now they have developed a rich exhibition activity in performance, photography, video art,installation art, land art, public art as focAR group a good reason for winning an important youth prizeoffered by Professional Artists Union of Romania (2007).“The idea of starting a group arisen from our strong will to express and share around an artisticgesture in the Urban and Rural space. Our projects are designed and structured around the identityof the individual chased by the consumerism and society, bringing in the spotlight the principles thatkeep this society going.”
  2. 2. focAR groupAlina Tudor and Razvan Neagoe -Portfolio-
  3. 3. Steps to identity (September 2010, Illumini Biennial)London is well known for the busy life going underneath it whether its the underground, tunnels,passages or any other place located under the city itself. The Tube is the transportation optionchosen by most of the inhabitants of this city, due to the well-known agglomeration aboveground, so we can in fact talk about an entire underground development of the city due to this.Difficult to build from a technical perspective, underground London is actually just as accessibleas above ground London. Due to this development, underground London has developed its ownidentify, due to a whole series of elements that define it, the key word here being “diversity”.The Greenwich passage is a link part of this chain of underground development, an actual touristspot while also being an access path used very often yet maintaining a spectacular architecture.A large number of pedestrians use this pass daily, from different social categories, age groupsand ethnic groups.Thus, the Greenwich passage reveals itself as a corridor animated by the human crowds, ahallway loaded with different silhouettes, some in a hurry, some relaxed, but all and each one ofthem adding to the identity imprint of this place with every step laid here.The installation has been displaying a projection of lights through cut out silhouettes. A linearmovement of the device which projected the light from left to right was seen by the visitors as amovement of the cut-out characters.The installation contained an engine which allowed for the light source to be moved from left toright in a straight line on a track. The panel with the cut out silhouettes was placed in betweenthe light source and the wall. The panel was made out of carton, and as mentioned before thesilhouettes were cut out. The light projected therefore these silhouettes on the wall, as a movingseries of attitudes and poses, presented sequentially.There was also a sound installation which played pre-recorded sounds and noises of the tunnelitself in full traffic hours, including the echoes and background noise, which amplified the idea ofmovement.More details here:
  4. 4. Political Decision project (started in April 2010) “Politics is a process by which groups of people make collective decisions. The term is generallyapplied to behavior within civil governments, but politics has been observed in other group interactions,including corporate, academic, and religious institutions. It consists of "social relations involving authorityor power" and refers to the regulation of a political unit, and to the methods and tactics used to formulateand apply policy.”(Wikipedia) The main idea of the project is “Identity” the artists identity, the individuals identity, the nationsidentity! Identity not national, not ethnical, not sexual or religious, not communitary or zonal or any otherkind but an urban identity, an identity created by the urban society which defines us, given by thecoloured monochrome of every day and every night of the cities where we are born, grow live and work,a borrowed identity, non-personal impersonal. An identity, unidentified, imprinted with every detail of theurban life starting with block district, shop, super-market mall and ending with the politics and culture ofthe city, its specific means of behavior and communication. Political Decision is a signal-project, a social one meaning to draw the citizens attention on hisidentity. This concept was developed in a form of work-in-progress activities each activity in it makingeach time the project even more complex and complete. Therefore it is under a continuous changegathering “traces” with each presentation.Using for presentation short movies and printed stickers we tried to ask questions about actual burningissues like global worming, integration, globalization, localization minorities and the way they areperceived by the citizens. These movies aim to present the destructive image of the real world. Political decisions taken ona large scale affect us, the ordinary people on the economic, cultural and social level as well. We areannihilating ourselves, destroying the laws of nature, the substance, the identity and human relationships. We are interested in what defines us nowadays in a world of simulacra more real than reality, inwhich political decision assaults us everywhere, options are ready made for us and identity is thedefinition of a service provided by politics. Coming to an end we would like to point out the identity of our century is what we call “work inprogress” meaning continuous possibilities of work association, exchanges, and social dynamics. The right result is represented by diversity as a mixture of the urban and rural development,cultural gestures individual and collective ones.
  5. 5. (,(Http://,(Http:// These movies aim to present the destructive image of the real world. Political decisions taken ona large scale affect us, the ordinary people on the economic, cultural and social level as well. We areannihilating ourselves, destroying the laws of nature, the substance, the identity and human relationships. We are interested in what defines us nowadays in a world of simulacra more real than reality, inwhich political decision assaults us everywhere, options are ready made for us and identity is thedefinition of a service provided by politics. Coming to an end we would like to point out the identity of our century is what we call “work inprogress” meaning continuous possibilities of work association, exchanges, and social dynamics. The right result is represented by diversity as a mixture of the urban and rural development,cultural gestures individual and collective ones.
  6. 6. MOnuMENTS (installation-June 2010)-UNA gallery Bucharest RomaniaMOnuMENTS project starts from the necessity of a reflexion on the deficitary relationship we have with history andrecent memory, following a representative piece for the relationship between the political discourse and urbanweaving. Developing like a long-term project, MOnuMENTS maps the country following zones: Dobrudja, Banat,Wallachia, Oltenia, Moldavia, Transylvania, Maramures gathering documentary evidence and archiving monumentsof all types on all country territory.MOnuMENTS represent an indication of the way in which we see our own history and ourselves as people. Anindication of ideological values belonging to a certain historic period to which we have referred. An indication of artand politics. Avatars they have undergone throughout the time are a good barometer of political and social changesthat have occurred in the space they populate.Documentation started in 2007, the first event occurred in 2009 on Constantza Bucharest route and consisted inflowers laid in each monument and marking their regret by standing silently for a minute. The immediate purposewas to draw attention to those monuments forgotten or being in visible degradation.The type of the artistic research proposed neither arrogate to itself exhaustition nor objectivity nor the type ofscientific analysis but proposes a meditation on relationship among the individual, community and history, a liveencounter between “yesterday” and “today”, between mentalities and different values, between us of today andtaciturn witnesses of the past. It remarks the differences between the urban development and the rural one,between political/cultural gestures. Tangentially it touches as well themes like art in public space, urbanism, ways ofcommunication, types of communication, totalitarianism, manipulation violence.In the relation MONUMENT MOMENT the time factor is also important: for every monument there are at least threesignificant moments, which we want to bring them into attention:the moment of construction and the monument inauguration (date, location, author, technique, ordering authority,etc)the moment of evocation (theme, representation, title, history, etc)The moment taking the photograph (actual state, eventual changes, restoration, reconditioning, its actualsignificance).We want to oppose objective memory wiping to live memory, following in time the avatars physical dislocations orsense dislocations, reconstructions etc undergone by these national symbols.The selection of images presented in this exhibition is focused on heroes figures from different historical periods.Most of them evoke the first or Second World War The oldest ones from King Ferdinand time or King Carol timehave underwent different remarking-up-communism system did not demolish all the previous monuments, but itmade changes-adding names taking out plagues, replacing some or vandalizing other.
  7. 7. Memory of the Golden Age (started in 2009, ongoing) (Lambda print on aluminum 30x55 cm)It is a project having a documentary, history, artistic, cultural and social structure, touching on theeconomics, as well.
  8. 8. 216 project (March – November 2008)216 is a personal project of a documentary, artistic, cultural and social structure. 216 representthe number of pregnancy days from the moment one finds out the great news until the actualbirth; and 2008 is obviously the year these days have been spent in.216 is a photo and video project, which allows us to rediscover ourselves as individuals, throughthe art of drawing. We have attempted to change the relationship with the everyday, thecommonplace, and the usual. The belly has become a social place where we question the urbanand rural identity through the lens of a new experience, the experience of preparing for a newlife, which in turn triggers a new attitude. We express our thoughts, confusions and feelingsencountered during this period regarding the society, the politics, the natural disasters, the globalwarming, the start of the financial meltdown worldwide, the current situation of art in todayssociety, the supermarket, the shopping mall, with the tarmac, the concrete, the grass, the tree,the park, the boulevard, the streets and so on. This way we have auto-invited ourselves togetting involved, to make a stand, to have an attitude, to make a social and cultural gesture inthe same time.The project is meant to be a calendar of the inner personal feelings, presented sequentially butalso a history of the external events during this period it is an interior versus exterior calendar.The photos were chosen more like a document, without any speculations to the artistic load theymight carry.The project started on 10-03-2008.Were going through a rather bleak period in our lives. We had no home … due to unfortunatecircumstances we were left without the house we used to live in. Both of us lived in ourworkshop of about 25 square meters; both of us thinking how can we make it through this crisis.And thats when this project started. It was a starting point towards normality, towards giving ourlives a new meaning and towards enjoying it and fighting for it.We didnt think at the time that the drawings that Mom would do on her belly which Dad wascapturing on the camera would grown into a project. They were simply our thoughts, thoughtsthat were going through our minds at the time, or simple events during the day. The politicalsituation or social events, which we thought to be important, were all noted on the belly. Theproject “happened” throughout 4 places during those 218 (places where we lived, literally, at thetime).All the feelings from finding out that were going to be parents, then first scan, finding out itsgoing to be a girl, then it was a boy and finally at birth to find out that it is girl after all…all ofthese went through a drawing. In fact all the events in our lives during the 216 days have beentransposed on the belly. We have considered that the drawing is the best tool to communicationfor this project. It is sincere and it is every expressive after all.Each photo drawing will be accompanied by a short text, explaining what happened that day andMoms explanation behind choosing that drawing.The 216 aspects highlight all the changes that took place from the depressing beginning to thefinal point filled with enthusiasm and joy. “START” is the message of photo no. 216 and it is thebeginning of a new life for us.We have conceived a chapter about us and our child a chapter about the history of a new lifeinside the mothers womb. We used the belly to draw the symbols and the shortcomings oftodays society. The days have gone by and these shortcomings have become history … ahistory of the current society. In a few years time they will be demolished and replaced byothers… On this support you can find contrasts, disillusions, joys… Each individual has a life, anidentity. The dot in the first picture has become a being who lives with us from now on, whosuffers next to us when we are upset and is happy with us when we succeed.
  9. 9. MOnuMENTS project (started in 2007, ongoing)“MOnuMENTS” is an artistic project, which proposes a cultural and social reflection; aiming at adialogue between rural and urban spaces, between different mentalities, between past andpresent. “MOnuMENTS” is a natural, organic response from the artists to all these mutations andreconfiguration of the present time. The immediate result is the documentation of the diversity asa mixture between the urban and rural development, between cultural gestures and collectiveand individual gestures. The mission of the project is a gwork in progress nature, which meansongoing working possibilities, means associations, changes and social dynamics. We aredealing with cultural gestures as well as individual or collective gestures, in between differentrepresentations but using similar techniques. ”MOnuMENTS” presents the reality through theenticement of gesture, cultural and imagistic quotes which get filter and interpreted, and thebalance in between metaphorical and abstract. Monuments have always had a dual character:on one hand they commemorated history, and on the other hand they have been contested bymany social groups which opposed certain ideological tendencies. The studying of monumentsis a necessary study everywhere, as they offer many dates that are carved in stone regardingvarious ideologies and historical moments. Our research started in 2007, but the project officiallyopened in 2009, when we made a performance aiming to attract the attention of forgottenmonuments or the ones in a state of visible decay. This happened on the route from Constantzato Bucharest when we had the opportunity to notice the differences between urban and ruralexhibited monuments.( For more detailsHttp://,(Http://
  10. 10. Bacau, Romania London, UK
  11. 11. Red Spot (2007-2008)RED SPOT is a finger pointing to several problems in the city: buildings, streets, neighborhoods,in a Bucharest that was little Paris sometimes, now is a city buried under cars, dust, resentments(is it a young European city?), a cultural capital in the future or a chaotic commercial,consumerism city?Project RED SPOT has proposed to point out to those places which are abandoned. The citycenter is such area, and it is forgotten for too long. There are lots of streets fading away in frontour eyes meanwhile with listed buildings even, which are very numerous and enhance scruffyand gray atmosphere of Bucharest.In 2008, the Red Spot project was part of the Program of public art I love Bucharest, part of theEuropean Year for Intercultural Dialogue, which was supported by ProHelvetia through UnitedExperts. It is an art gesture constructed as a signal project, a project meant to warn the peopleofBucharest .inhabitants and authorities, individuals and private companies . and it had asobjectives: abuilding, a street or a monument.stART Dambovita (2007) more detail here:
  12. 12. Red Spot (2008) More details here:
  13. 13. Phone Box (2008) - Amzei SquareThe call box continues the series of non-conventional spaces of Urban Traces, the phonebecoming anexponent of the urban society. It is a part of our life helping us to make connections and keep intouchwith everyone. In every apartment there is a stable phone every individual has one or two mobilephones, in every boulevard or street there is a call box.The phone means movement and expresses the identity of individual who talks on it. The stablephone used to be a communication means more rapid and it means the identity of the oldergeneration.The offers of the mobile phones companies are at competition and for the new generations thephone represents more than a means of communication. For them the mobile phone is a way ofliving. Its brand, colour the gesture with which one answers the mobile, the call bell shows theidentity of the individual who possesses it. On the other hand the call box is assaulted. It hasbecome a social place. It is physically assaulted by the urban society. The windows of the callbox are usually broken. And yet there are extreme situations when individuals need this call boxand make phone calls. People pass indifferently by it. No one sees it no one asks any questionsabout it. It is sometimes used as a shelter against rain. We bring into discussion the urban andrural identity through the call box. We will express our thoughts confusion and feelings in relationwith the society with the concrete, the grass, the tree, the park, the boulevard, the street. In thisway the individual is invited to participate, to look for a position, an attitude so that he maylaunch a social gesture.
  14. 14. Urban Traces (2007-2008)UT is a signal-project, a social one, meaning to draw the citizen’s attention on his identity.This concept was developed in a form of work-in-progress activities each activity in it makingeach time the project even more complex and complete. Therefore it is under a continuouschange and modification gathering “traces” with each presentation.The main idea of the project is “Identity” – the artist’s identity, the individual’s identity, thenation’s identity! Identity – not national, not ethnical, not sexual or religious, not communitarianor zonal or any other kind but an urban identity, an identity created by the urban society whichdefines us, given by the coloured monochrome of every day and every night of the cities wherewe are born, grow live and work, a borrowed identity, non-personal impersonal. An identity,unidentified, imprinted with every detail of the urban life starting with block district, shop, super-market mall and ending with the politics and culture of the city, its specific means of behaviorand communication.Urban Traces is a project mainly in black-and-white decomposing the dirty grey of the cityand painting the traces we do not perceive as they are proper to us for the very simple reasonthat they penetrate us and mould us.The exhibition spaces for the project were both from conventional and non-conventional fieldtrying to cover as many representative elements of the city as possible. Each exhibition had itssubject subordinate to the main idea of the project with a view to gather more and moreinformation about what a city means, art in the city, or perception of the urban space.(Http:// Mora gallery (Bucharest, Romania) 2008
  15. 15. Mora gallery (Bucharest, Romania) 2008
  16. 16. Galateea gallery (Bucharest, Romania) 2007
  17. 17. Cupola gallery (Iasi, Romania) 2007
  18. 18. High up there, there’s a house (2007)True Story: “In this project a house, a block, a street, a district and city along with two boysand two girls were involved. We had a chapter, a part about vacuum, a part about the history ofa house in a block. In this street demolition came first and then the famous blocks-of-flats wereraised.The years have passed and these blocks have become history, a history of today’s society. Overthe coming years they will be demolished and replaced by new residences. In this very block offlats contrasts, disillusionment, joy have lived and the concrete walls make part of them. Thecold concrete has become a part of the people who live inside.Every individual has its life, its identity. The hosts who put at our disposal their apartment cameto the conclusion that the cold concrete may become warm every time they get home, late atnight. The concrete is for them like a human being suffering every time they are away for toolong and is happy when they smoke inside. We experienced this sensation too: that of a guestwelcome by the human concrete and we were impressed by its quality – becoming warm whenthe inside is populated. The same way we got to meet the human-concrete – the apartment. Sowe let everyone know that the hosts will be involved in the project called Urban Traces. Thehuman-concrete thrills with joy. It has meant to become a star. So we started the job. Brushes,canvas, a camera and much black and white.“She” wanted to be involved in decoration but the hosts objected to it. “She” is the star and weare going to show it the way it is. Empty like vacuum. Without its masters. As they work all theday to bring her gifts in those six hours of staying together at night. Some days passed and thebig day arrived. Guests, discussion and conveniences. But our heroine stayed alone. Theaccess to it was permitted for a single person. With invitation. Stupor! First person to enter said“Only this?”. The human-concrete herd and got angry because it was only it itself as it is everyday-empty. A film was on TV for the human-concrete not to forget about its masters… ihappenedthat the masters were written with some sound words of the urban space. After a few minutespeople became accustomed with the human-concrete and the human-concrete with them. Shewas more welcoming, but as empty as it was before and the discussion in the corridor grewstronger. It suffered with every leaving of a visitor. So at night there remained only the twoguests involved in this project and the hosts. It become again that human accustomed with themonotony of every day. The moment to enjoy together came but it was too late. Everybody hadto go to bed. “
  19. 19. ASEZareaTRECereaCERCul (2006)The goal of the project – to transfer scientific research to the level of folk culture so that a rebirthof the Romanian cultural identity may be achieved. Since the first model of the Romanianidentity lies under the sign of THE GOOD and the second model makes out of THE TRUTH theessential value, the model of the Romanian peculiarity stands in THE FATE with a doublemeaning: on the one hand Fate means assumption of our location (Romania), of a settledpeople “on the edge that separates three different civilizations: the Slave one, the Asian one theWestern one (Eminescu)”; of that people capable of preserving its identity through faith and folkculture. One the other hand FATE means assertion of the Roman world through creation andculture.Resorting to “Cucuteni Culture” as a part of the Romanian identity through personalexperiment (but identifying some general cultural rules, as well) choosing this ethnologicalculture, evoking and interpreting the project is meant to become a work of an author, a reflectionon an author on the past, a mental construction with a shape and image as any other artisticproduction.The Cucuteni Culture is one of the most splendid social and cultural development inthe Romanian Neolithic. Bearing a great complexity and variety on a huge territory theCucuteni Culture got to pre-urban shapes but it was not able to cross the threshold of the urbanrevolution because its development was interrupted by the Indo-European groups migrationaround 2000 BC. In Romania, a lot of ceramics objects had been discovered having a greatfineness. Big number of the objects discovered guided the archaeologists to think of someritually purposes. Pots and figurines constitute the treasure of this Culture. Theanthropomorphous figurines impressed, thinking of the fact that they could give someinformation about anthropology, and even more: about the social life of that time.Prerequisites ofour project are here, too. We shall use the representation of two figurines – man and woman –that will be submitted to our interpretation and to the artistic laws. The more feminine ones arevery smooth, some being decorated through incision or being painted and decorated withgeometrical elements. The masculine figurines are stylised but without marking its sex.Sometimes the triangular thorax is covered with a diagonal strip. As a symbol, it’s easy to seethe man like an exponent of the power and manhood. The woman defines through beauty,voluptuousness, and fertility.More details here:
  20. 20. -Performance (selected) -
  21. 21. The Travellers Box Project, in addition to MOnuMENTS project (March-April 2010)London UK In between 14 March – 25 April 2010 focAR group will set off together with “The Travelers Box” Project. focAR group’s action is part of The Travelers Box Project. The event will take place in the very heart of London.The project of gathering evidence and researching MOnuMENTS it also continued in Londonhaving the curators Lars Vilhelmsen and Karen Ay. During the period March-April 2010 theystarted up along with The Travellers Box project a series of three performances adding a newdimension to the project. Noticing comparatively the monuments of the two capitals London andBucharest allowed reaching some interesting conclusions concerning different ways of reportingto own history practiced in the two spaces/respect / lack of concern towards the national insigniaof the past showing a sign of the relation appreciation commercialization conflictual/indifferencetowards the past the differences are found not in the part of the representation but in the one ofpresentation the London ones similar in subject and creation being comparatively perfectlyturned to good account.For more details: On 15th of April focAR group set off together with Travellers Box for the second time. Theevent took place in the very heart of London and consisted in a performance•]journey. Theaction documented monuments located on the National Gallery . House of Parliament route.These monuments commemorate the heroes from wars or representative personalities forBritish space. The two members of the group placed a flower bouquet at each monument andheld a silent moment in the heroes’ memory. Performance here:
  22. 22. 2. On 10th of April performance in West Ham – “We are the champions” statue (sculptor PhilipJackson - At the junction of Barking Road and Central Park Road Showing Bobby Moore,holding the Cup, with Geoff Hurst, Martin Peters and Ray Wilson. This shows the fourcelebrating after England won the World Cup in 1966. The artist has depicted these soccerheroes as being larger than life). The action consisted in the placement of a flower bouquet atthe monument and in holding a meditation moment about “heroes” condition.3. We keep a “diary” of The Box using photos. As long as we host the Box, we are going to takea photo of The Box daily, trying to notice the evolution of the project. Every day will addsomething new inside or around The Box.
  23. 23. The Park (inspired by Jose Millas-Martin’s poem) – February 2010More details here:
  24. 24. Agenda (started in 2009, ongoing)Together with Alexandru Bounegru (Association Vector Iasi)This is a social project that raises awareness on the individual chased by the consumeristsociety,while questioning its functioning principles.
  25. 25. MOnuMENTS project (Romania 2009) more here:“MOnuMENTS” is a natural, organic response from the artists to all these mutations andreconfigurations of the present time. The immediate result is the documentation of the diversityas a mixture between the urban and rural development, between cultural gestures and collectiveand individual gestures.The mission of the project is a “work in progress” nature, which means ongoing workingpossibilities, means associations, changes and social dynamics. We are dealing with culturalgestures as well as individual or collective gestures, in between different representations butusing similar techniques. “MOnuMENTS” presents the reality through the enticement of gesture,cultural and imagistic quotes which get filter and interpreted, and the balance in betweenmetaphorical and abstract.
  26. 26. Phone Box (2008)Red Spot (2008)
  27. 27. RED SPOT (NAG#2 event)Curierul (2007 - Street Delivery event)
  28. 28. Urban traces (2007)The real statements, the shirts, which the artists put on them are neither black nor green but areinscribed with all shortcomings of todays society which they assume and show us.The expression is synthetic, in white and black inviting to trenchant options.ASEZareaTRECereaCERCul (2006 - Cucuteni village - International Symposium HUMAn)
  29. 29. -Project proposals-
  30. 30. Romanian migration map before and after 1989 (2010) map before 89 map after 89Red History (2008)Our proposal is to illuminate targets with built during the communist red spots.We aim to illuminate/highlight some communist buildings and monuments witch are veryrepresentative for that period.
  31. 31. Volume Control (2007)
  32. 32. -I Love Bucharest programme -
  33. 33. I love Bucharest programme was initiated in the autumn of 2005 and has developed as aninnovative and proactive programme that focuses on the regeneration of public space inBucharest. It also aims to engage civic responsibility and public participation through artinterventions.The statement name is inspired by the public art produced in projects like I love Berlin, I loveParis, I love New York. It’s a declaration of a projected future determined by present actions ofartists, different groups of people and institutions, creating art interventions, public art projectsand educational projects in an engaging, participative and open approach.The new field that the I love Bucharest programme proposes suits both the needs of young andemerging artists and the aesthetic needs of the city and also puts together the arts and the civicdialogue.Up until now, I love Bucharest has organized a series of public art projects, animations andartistic interventions, either independently or as part of much broader events.The I love Bucharest programme develops and organizes art projects aiming to rehabilitate theaesthetic and cultural aspects of the Romanian public space and to bring several advantages:1. Laying the opportunities for artists to create and show their work to a large and diversepublic.2. Engaging civic solidarity, involvement in public actions and civic responsibility through anopportunity to experiment artistic techniques and alternative communication methods that areoffered to people of all ages, gender, educational or social status.3. Drawing the attention of the public to the local heritage, cultural values and their renewingpossibilities by means of artistic discourse and participatory activities.The programme has brought together around 30 artists, architects, students, a few communities,a few tourists and lots of the inhabitants of Bucharest, of different ages, education or socialpositions.Asociatia din Pod (the Association in the Attic), aiming through its activity for the development ofpublic and community art in Romania, and MORA Foundation (More Opportunities for RomanianArtists), focusing on supporting Romanian contemporary arts and artists, are full partners of the Ilove Bucharest programme.The programme owes its resistance to the permanent support of Avrig 35 as well, a privatecompany in Bucharest that holds a strong policy of helping Romanian artists and promoting art.
  34. 34. Bucharest metroART Piata Victoriei 1 (2008 - Carturesti galleryThe artistic intervention in the Piata Victoriei 1 subwaystation has begun in June 2008 with anumber of creative workshops delivered atthe three museums in the area.- rehabilitates the esthetic and cultural aspects of the Bucharest metro space;- establishes a visual link between metro stations and overground historical, cultural and touristicsights;- is a new art creation that can be added to the national and local heritage;- pins down the metro on the cultural and touristic map of Bucharest;Using artistic interventions, the project aims to change the perception of these spaces, from amerely traffic areas to a rich public space enabling complex cultural exchanges.The artists presented 23 ideas of artistic interventions for the intended space (Piata Victoriei 1subway station), concepts based also on the works developed together with the children. Theconcepts were presented in a public exhibition in the sub_Carturesti gallery in Bucharest in theOctober 21st-November 11th 2008 period, where a jury and the audience voted for the mostpreferred ones.MetroCarpet - proposed by artist Alina TudorThis artistic intervention is a replica mosaic of rustic carpets in an oversized version, that willindicate the direction towards the Romanian Peasant Museum nearby Piata Victoriei 1 subwaystation. (project proposal)
  35. 35. Bucharest metroART - Gara de Nord (2008 - Bucharest Romania)I love Bucharest team of artists already changed the atmosphere of Gara de Nord metro station.Bucharest metroArt is a pilot project and an invitation for public institutions, private an civilinitiatives to come up with and develop new artistic and cultural projects in and for the publicspace in the capital city of Romania.Every night between July 21 and August 2, starting with the departure of the last train until thearrival of the very first one in the morning, 20 artists painted 9 areas in the metro station,covering over 120 sqm.The project aimed for a change in the rather austere atmosphere of the station using an eclectictheme, combining elements of the interwar period of Bucharest and contemporary visualelements. Also, it wanted to create a specific visual identity for the station and to offer thepassengers and tourists a particular sight in their daily circuit or during their visit in Bucharest.The theme was chosen by the I love Bucharest team together with SC METROREX SA, basedon a public survey carried on in April.The team worked every night for a fortnight, using sprays and paints and depicted the themepreviously chosen by the metro passengers and approved by Metrorex: the old and newBucharest.Gara de Nord 1 is the first subway station where an artistic intervention took place.BucharestmetroArt. Art matters!” project, with its two components - Gara de Nord 1 and Piata Victoriei 1, isa pilot project and intended to constitute a starting point for future individual, collective, private,public or civil artistic initiatives.
  36. 36. Projects.B (2006 - Carturesti gallery, Bucharest Romania)
  37. 37. -Curriculum vitae-
  38. 38. Alina Tudor:Born in 1980 Constanta (Romania), lives and works in London UKEducation:2002-2004: Visual Arts Master Degree National University of Bucharest1998 2002: National University of Bucharest, Faculty of Applying Arts and DesignFoundings focAR groupMembers of Professional Artists Union from RomaniaInvolved in “I love Bucharest” Public Art Program ( Artist-in-residence and Symposium, Zlakusa, Serbia2006 Workshop Riga, Latvia2006 Book Ilustration “Razele Initiatice ale Arhanghelilor“ writers Elena Cocis and Nicolae Oprica Editura For You 20062002 Second prize - Art Salon Bucharest tem "Alternative", Section "Concrete Connation"2001 Artist-in-residence and Exposition "University of Bournemouth", London, UK2001 Artist-in-residence Academia di Romania din Roma Italia2000 Fellowship Exposition "Vadastra 2000", Lisbon, PortugalExhibitions/ experiment/symposium (selected):2007 "Kolonija Umetnicke Keramike Zlakusa 2006", Art Gallery Pozega, Pozega Serbia2007 Contemporary Art Salon, Palate Parliament, Bucharest, Romania2007 “Street Delivery” Urban Culture with projects “The portrait Gallery” and “The Messenger” Arthur Verona Street, BucharestRomania2005 “Colony“, Apollo gallery, Bucharest, Romania2004 Biennial “Fire Art”, Apollo gallery, Bucharest, Romania2004 Exposition Visual Arts Master Degree National University of Bucharest - MNAC, Sale Rond, Artexpo, Bucharest, Romania2003 INTERNACIONALNI UMETNIÈKI JEZIK, Gradska galerija Užice Uzice-Serbia2002 "Alternative", ceramics, "Conexion concrete", Sale Dalles, Bucharest, Romania2002 "Recipient", "Orizont" gallery, Bucharest, Romania2002 Exposition National University of Bucharest, Faculty of Applying Arts and Design, MANC Galeria "Etaj 3/4" TNB, Bucharest, Romania2002 "Vadastra “Revitalize Romanians Tradition Ceramic", National History Museum, Bucharest,2000 ceramics exposition, History Museum, Slatina, RomaniaRazvan Neagoe:Born in 1974 Bucharest (Romania), lives and works in London UKEducation:2002-2003 Visual Arts Master Degree _ National University of Bucharest1997-2002 National University of Bucharest painting licenseFoundings focAR groupMembers of Professional Artists Union from RomaniaInvolved in “I love Bucharest” Public Art Program ( /Artist in residence:2003 Artist-in-Resident “Art conquers the street” together with Fusion group (Karll Knapp, Pierre-Alain Hubert, Doze Green, etc)project Marseille, France1998 First Prize, “Surdesti” Creation Camp, RomaniaExhibition (selected):2009 Contemporary National Art Magazine, Ota gallery, Bucharest, Romania2008 Colony, Frunzetti gallery, Bacau, Romania2007 MACSB open Comparator Museum of Art SingeorzBai, Bistrita, Romania2005 “On Difference#1” Württembergischer Kunstverein, Stuttgart Germany2004 “Iridescent E((O” Marriott Hotel Bucharest2003 “Docufiction” video project Bucharest and Belgrade, curator Alina Serban2003 "Beyond photography, painting “ Galeria Noua, Bucharest, curator Aurora Kiraly2003 Shake well - Okuparte Video festival Spania2003 Lart prend la rue, with the French group “Fusion”, National Museum of Contemporary Art, Bucharest, Romania2003 “14 years in the wrong direction” Curator Alina Serban, Atelier 35 Gallery, Bucharest Romania2002 "Graduation exhibition” National Theatre “Floor 3/4, Bucharest Romania2001”Cosmogonflabil “Galla Gallery, Bucharest Romania2000”Unpack yourself” apartment art, Bucharest Romania2000 D@V 33 gallery, curator Simona Tanasescu, Romanian Culture Minister, Bucharest2000 "Tolerant", Museum of Art and History, Bucharest, Romania
  39. 39. focAR EXHIBITIONS / PROJECTSPersonal projects/exhibitions:2010 MOnuMENTS project UNAgaleria, Bucharest, Romania2010 The Travellers Box Project, in conjunction with MOnuMENTS project, Curators Lars Vilhelmsen, Karen Ay, London2009 Personal Project: 218-studio no.5, Bucharest, Romania2008 RED SPOT- Museum of Romanian Peasant, Bucharest, Romania2008 RED SPOT urban intervention, seminal projects (with I Love Bucharest), Bucharest, Romania2008 mObile gallery/TELEPHONE The bank of images - PUBLIC TELEPHONE - a side event to the INTERVENTIONS3*project, Oberliht, Moldavia Republic2008 “U.T.Global Warming”, MORA gallery, Bucharest, Romania2007 “U.T.44,26” - Urban Pollution Galateea gallery, Bucharest, Romania2007 “Red Spot” warming project unconventional space, Dambovita River, Bucharest, Romania2007 “Urban Traces - Cluj Urban Pollution “OLD Gallery, Cluj-Napoca, Romania2007 “Urban Traces - Iasi”, “Cupola” gallery, Iasi, Romania2007 “Urban Traces -There is a HOUSE upstairs in the block”, unconventional space, Bucharest, Romania2007 “Urban Traces”, MORA Gallery, curator Cristiana Radu, Bucharest, RomaniaPerformance(selected):Winter 2010 FRAGILE - global performance chain journey, curators Verena Stenke & Andrea Pagnes2010 3 Performances during The Travellers Box Project in conjunction with MOnuMENTS project, National Gallery House ofParliament route; “We are the Champions” statue, West Ham; East Ham Central Park, London UK2009 “Agenda” program “Tomorrow is another day”, Corvin forest, Constantza, Romania2009 “Agenda” program “The blue route…”, Vadu commune, Constantza, Romania2009”MOnuMENTS”, start project, performance, Constantza Bucharest route, Romania2009 “Agenda” program - “You cant live a life from memories” project, Bucharest, Romania2008 Red Spot, Lutherana, Budisteanu, Grivitei, Aman streets, Bucharest, Romania2008 “EXIST”, Phone Box-EXIST/Urban Traces project, Bucharest, Romania2008 Red Spot, White night galleries#2 programs, Studio Transition, Bucharest, Romania2007 “PROTEST” in cadrul “U.T.44, 26”, galeria Galateea, Bucuresti Romania2007 dambovitAPArty in cadrul “stART Dambovita “, Bucuresti, Romania2007”The Courier”, in cadrul Street Delivery, Bucharest, Romania2006 “Tourist II”, Zlakusa Symposium, Zlakusa Serbia2006 “TRECerea”, “HUMAn”program, Cucuteni, Iasi, Romania2005 “Tourist”, London, UK2003”Form Genes”, Performance-Open studio Assemblage gallery, Grand Marriott Hotel, Bucharest, RomaniaGroup exhibition/screening (selected):2010 EROSION Biennial LA (O) ST IMAGE curator Lithuanian Photographers Union Klaipeda department, Lituania2010 23rd Festival Les Instants Vidéo, Friche de la Belle de Mai gallery Marseille France2010 Illumini biennial curator Jane Webb, London UK2010 VideoChannel - [self]~imaging, VideoChannel Cologne, Germany2010 2nd Annual Terminal Short Video Festival, Austin Peay University, Clarksville, TN, SUA curator Barry Jones2009 “Once upon a time” Kurye International Video Archive, IMC5533 space, curators Kurye Video Organization and MarcusGraf, Istanbul, Turkey2009 The 5th International Festival for video art and experimental film ATTITUDE, Bitola, Macedonia2009 F.I.F.E. CÃRBUNARI 2009, the 6th Edition of the International Experimental Film Festival Cãrbunari 2009, FloreanMuseum, Baia Mare, Romania2009 Urban-Jealousy - the 1st International Roaming Biennial of Tehran, 1st station Istanbul,Turcia; 2nd station Berlin, Germany,3rd station Belgrade,Serbia curators Amirali Ghasemi and Serhat Koksal2009 “Contemporaneous Attitudinizes” itinerant exposition: art gallery Art Museum -Constanta; Down Danube Museum-Calarasi;Museum Piatra Neamt , Romania2008 Bucharest metro Art-Art is watching you!” projects for decoration of the Underground station”Victory Square” CarturestiLibrary, Bucharest, Romania2008 Phone Box/EXIST, Amzei Square, Bucharest, Romania2008 White night galleries#2(NAG#2), Bucharest, Romania2008 PROJECTOTHEQUE « LABORATOIRES ARTISTIQUES URBAINS »(Action dans le cadre du projet « Archives urbainesactives/créatives » initié par Banlieues dEuropest) coordinator Silvia Cazacu, Faculté des Arts et de Design, Timisoara2008 “CRUCES”, unconventional space Galata Monastery, Iasi, Romania2008 ART within: The Artist in the Workspace, screening Geborgen Kamers, Holland2007 “stART Dambovita” ( Halelor zone, Bucharest, Romania2007 Street Delivery Urban Culture, Arthur Verona Street, Bucharest, Romania2007 U.A.P.R 2006 awards Apollo gallery, Bucharest, Romania2007 "Kolonija Umetnicke Keramike Zlakusa 2006", Art Gallery Pozega, Pozega Serbia2007 “Projects B” “I love Bucharest” program Carturesti library, Bucharest, Romania2006 “Art Delivery” an official debut of the programme “I love Bucharest” Arthur Verona Street Bucharest, Romania2006”HUMAn”, “ASEZareaTRECereaCERCul” project, Cupola Gallery, Iasi, Romania;"Ad-Hoc" Gallery, Chisinau, MoldovaRepublic2006 Roll Up ART National Theatre facade, Bucharest Romania2006 “I love Bucharest” Mora Gallery, Bucharest, Romania
  40. 40. Videography:2010 3 animation movies “Political Decision” /pal dvd2010 “The Park", 405"/ pal dvd2009 “Flag", 321”, / pal dvd2009 “MOnuMENTS ", 1014” / pal dvd2009 “You cant live a life from memories", 1050” / pal dvd2009 “On the blue paths... ", 1152” / pal dvd2008 "urban-rural", 935", / pal dvd2007 “urban traces II ", 948" / pal dvd2007 “urban traces I ", 948" / pal dvd2006 “ASEZareaTRECereaCERCul", 930" / aviOther:2008 Banlieues dEurope Urban Traces projects with Emil Burbea architect and Silvia Cazacu Banlieues dEuropest workshop,Lyon, France2008 Bucharest metro “Art is watching you!” non conventional space, decorating the underground station Northern Rail WayStation Bucharest, Romania (I Love Bucharest program)2007 Decorating ST. Macrina Foundation a communitary art project in cooperation with FREEFORM Arts TRUST in LONDON,Bucharest Romania (I Love Bucharest program)2005 “Ioana House 1” a communitary art project in cooperation with FREEFORM ARTS TRUST from London, a shelter to stay over the night for the homeless, Brancoveanu zone, Bucharest RomaniafocAR group biography (after 2007):Catalog 23es INSTANTS VIDÉO Numériques et poétiques , pag. 35 2010MARIN Ifrim” 2 romanian artists in London”, Jurnalul de Vrancea newspaper, 26/09/2010Catalog Illumini biennial”Secret subterranean London” pag 2 and page 8 2010ADINA Tofan, “Intre Original si Originar. Ansamblul de Land Art”, Revista de Arta Contemporana “Puncte Punct Puncte”, nr. 162009 pag. 3BILJANA Petrovska Isijanin, “STAV” Catalog 5th International Video and Experimental Film Festival, pag.7ONISEI Ana-Maria, “Personal Project: Ilinca (218)”, Tabu magazine (photo Cosmin Bumbut), may 2009KERSTIN Niemann, “focAR group-MOnuMENTS”, Saatchi Online, march 2009Catalog “I Love Bucharest”, Mora gallery, Bucharest, Romania, November 2008NADOLEANU Stela, “Red for building” Timeout Bucharest magazine, nr.97/5-11 December 2008, pag.54APOSTOL Mariana, “Instantaneous”, Compact newspaperLAVRIC Tudor, “Red Spot”, Cronica Romana newspaper, nr.4769, 10 december 2008MARINESCU Veronica, "I love Bucharest" and Red Spot", “Curierul National” newspaper, Anul 13, nr. 5315.SOARE Simona, "Red Spot", "Adevarul” newspaper, 28 November 2008ROSCA Carola “Art for urban identity”, Timeout Bucharest magazine, nr.53, 25-31 ianuarie 2008Catalog, International Symposium “HUMAn”, Iasi, Romania 2008 page. 5-6BALOIU Raluca, “Kalokagathia”, financial newspaper Sunday newspaper, 11-01-2008PULPA Oana, “Art in street”, Money Express nr68 (35), 8-09-2008CRISTIANA Radu, “Art Telephone and Communication”, Timeout Bucharest magazine nr.84, 5-11 sept.2008Catalog “Dambovita where to? The city and its river” organized at Romanian Cultural Institute, Bucharest RomaniaLUCACI Cristina “Stars of HUMAns”, Iasi newspaper 22-08-2008CRISTIANA Radu, “U.T.” Financial newspaper Sunday newspaper, 8-02-2008CRISTIANA Radu, “Identities, trance and urban traces”, Altitudini newspaper, nr.17 (iulie 2007) and financial newspaper Sundaynewspaper, NR.2069 09.02.2007Catalog “I Love Bucharest” - Red Spot project Mora gallery, Bucharest, RomaniaCRISTIANA Radu, “Intervention in public space”, Timeout Bucharest, nr.38,21 September. - 4 October. 2007BAZAVAN Cristina “Our Exposition versus family”, “TABU” magazine photo Cosmin Bumbut - nr.58 may 2007BALAN Robert, “stART Dambovita”, Gandul newspaper, 20-07-2007LASCU Dana, "stART Dambovita", project for our river”, Compact newspaper 20-07-2007Catalog International Symposium HUMAn, Iasi, RomaniaIANCU Stefan, ”Dambovita river, water for life”, Romania Libera newspaper, Joi, 19 Iulie 2007SCARLAT Anca, “Virus Urban”, Jurnalul National newspaper, 11.04.2007LASCU Dana, “Urban Traces” Mora gallery, Compact newspaper, nr.187, 1-02-2007,pag.14