Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Water, Food, Shelter
MNAC, Bucharest, 2018-2019, curated by Călin Dan, assistant curator: Sandra Demetrescu
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Solo show in the Marble Room at the National Museum of Contemporary Art.
The exhibition reveals the artist's interest in animal husbandry, zootechnics, food production and storage, household designs and feeding systems - from the agricultural revolution in Neolithic until now.
The Harvester, All Animals are Welcome and most of the works on paper were shown for the first time here.
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
Balancing between The Particular and The Universal
Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
The Harvester
The Harvester
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
Grigore Antipa diorama
2019
Wood, plexiglass, wheels, brenches, romanian birds ( jay, robin, titmouse), jars, glass, ink, lamps, metal hinges, carpentry vices, sawdust, cables.
230 x 114 x 220 cm
Grigore Antipa was a Romanian Darwinist biologist who studied the fauna of the Danube Delta and the Black Sea. Between 1892 and 1944 he was the director of the Bucharest Natural History Museum, which now bears his name. He is also considered to be the first person to modernize the diorama by emphasizing the three-dimensional aspect and first to use dioramas in a museum setting. Additionally, Antipa was a specialist in zoology, ichthyology, ecology and oceanography, and was a university professor. He founded a school of hydrobiology and ichthyology in Romania.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
Nicolae Georgescu-Roegen diorama.
2019
Wood, bookshelf, wheels, parquet, blackboard, books, storage boxes, polyester, chair, chalk, library lamp, metal hinges, cables.
230 x 116 x 220 cm
Nicolae Georgescu-Roegen was a Romanian mathematician, statistician and economist. He is best known today for his 1971 magnum opus The Entropy Law and the Economic Process, in which he argued that all natural resources are irreversibly degraded when put to use in economic activity. Georgescu-Roegen argues that economic scarcity is rooted in physical reality, that all natural resources are irreversibly degraded when put to use in economic activity, that the carrying capacity of earth – that is, earth's capacity to sustain human populations and consumption levels – is bound to decrease some time in the future as earth's finite stock of mineral resources is being extracted and put to use; and consequently, that the world economy as a whole is heading towards an inevitable future collapse, ultimately bringing about human extinction. In addition, the degrowth movement that formed in France and Italy in the early 2000s recognises Georgescu-Roegen as the main intellectual figure influencing the movement.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
The Visions of Brâncuși, Georgescu-Roegen and Antipa
In the frame of Building on a Sustainable World, Bozar, Brussels, 2019. Curated by Alina Șerban and Teodor Frolu.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Constantin Brâncuși's diorama.
2019
Wood, traditional romanian carpentry tools, plexiglass, metal hinges, wheels.
216 x 120 x 220 cm
A diorama of Brâncuși's studio from Rue Impasse Ronsin 11, Paris.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Feed Me / No Gravity
Site specific installation, Sandwich, Bucharest, 2016.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
Wood, mirrors, corrugated bitumen roof, neons, motion sensor, gravel, metal hinges, ropes
130 x 400 x 300 cm
The installation is a reconstruction a farming hall for chickens at / sandwich /, while using one material that would be legally forbidden in such constructions: the mirror. Chicken ladders are multiplied in a kaleidoscope that recalls of Escher's stairs, while white and red neon lights alternate in order to efficiently control the yield of the creatures that have the courage to live here.
De ce ne rabdă Pămantul ?
Grigore Antipa National History Museum, Bucharest, 2020, curated by Teodor Frolu
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pământul ?
Muzeul Național de Istorie Naturală Grigore Antipa, Bucharest, 2020
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
De ce ne rabdă Pămantul ?
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Coop no.5
Interactive chicken coop, in the frame of Collage, C5 Art Center, Beijing, 2018
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Recycled wood, corrugated metal roof, red neons, chicken wire, wheels, metal hinges, ropes.
250 x 130 x 270 cm
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Cannibal Disco
With Alexandru Niculescu, in the frame of Dispositions in Time and Space, MNAC Bucharest, 2014-2015.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
Plastic mannequin, mirrors, C-stands, rotating device, video projector, monitors, wooden boxes, textiles, chains, lights, neons, prints.
Variable dimensions
The history of cannibalism is projected trough the mirror-man, questioning the relation between the hunted and the hunter.
Silhouettes of possible victims or executioners are rotating inside small dioramas, colored bowels are hanging from the disco's ceiling, showing us magnified details of the horror.
Videos of a matrioska theater and Hensel und Gretel slideshow story show us the cannibalism theme found in traditional toys or popular folklore.
© 2019 Dan Vezentan