nita mocanu

Când greierii dorm

2011-03-06T14:29:00.003+02:00

video de Nita Mocanu
2011

Este o poveste animata despre un greiere care locuieste impreuna cu 4 melci si despre visul greierelui povestit unui sarpe si unui paianjen.
Acest scurtmetraj este un exercitiu al conceptului de "molecular" de la G. Deleuze. Am reprezentat "zone de vecinatate" prin intermediul notiunilor si descrierilor din mitologia personala a fetitiei mele de 3 ani, Noemi.

Scurtmetrajul a fost prezentat in cadrul expozitiei „BABY ON BOARD / BEBE LA BORD” Spaţiul Expoziţional de Artă Contemporană MAGMA din Sf. Gheorghe, Romania, 05.03-30.03.2011

Când greierii dorm de Nicoleta Stoica (alias Nita Mocanu) este licenţiat printr-o Licenţă Creative Commons Atribuire-Necomercial-FărăModificări 3.0 Ne-adaptată .

BABY ON BOARD / BEBE LA BORD

2011-03-06T10:40:00.004+02:00

Spaţiul Expoziţional de Artă Contemporană MAGMA din Sf. Gheorghe, vă invită la vernisajul expoziţiei colective

BABY ON BOARD / BEBE LA BORD

care va avea loc sâmbătă, 5 martie, 2011, ora 17:00
Cuvânt de deschidere: BARTHA Zonga, estet

În timpul vernisajului, precum şi pe durata expoziţiei, în fiecare sâmbătă între orele 15–18 (5, 12, 19, 26 martie), copiii pot participa la activităţi creative în casa de joacă SPAŢIUL NOSTRU a grupului Whokiqui. „Sub deviza »spaţiu în spaţiu, adică spaţiul nostru«, invităm la un act de cucerire pe toţi copiii contemporani, pentru a asalta şi cuceri un Spaţiu de Artă Contemporană, unde dacă ne-am pus odată piciorul, vor fi văzuţi des copii.” Creaţiile copiilor vor deveni parte a expoziţiei.

Expoziţia „BABY ON BOARD / BEBE LA BORD” poate fi vizitată în perioada 5–30 martie. Artiştii, care îşi expun lucrările, sunt părinţi, dar şi creatori activi ai scenei de artă plastică: KISZELY Krisztián, Hu; MARTINI Yvette, Ro/Hu; KALLÓ Angéla, Ro; SZABÓ Péter, Ro/Hu; Nita MOCANU, Ro; CSIKI Csaba, Ro/Hu; Don Enrique de ROSARIO, Ro; PÉTER Alpár, Ro. Putem vedea lucrările lor din perioada de proaspeţi părinţi, respectiv când erau pe cale de a deveni părinţi.

Organizatori / Asociaţia Medium Contemporan MAGMA, Whokiqui Team
Parteneri / Muzeul Naţional Secuiesc, Consiliul Judeţean Covasna
Sponsori / Consiliul Local al Municipiului Sf. Gheorghe, Consiliul Local al Municipiului Târgu Secuiesc, SC DOMO Retail SA, Pensiunea Agora
Parteneri media / Háromszék, Székely Hírmondó, transindex.ro, modernism.ro, sepsiszentgyorgy.info

http://www.whokiqui.ro/
http://www.magma.maybe.ro/

kinema ikon 7010 project-works

2011-01-18T09:00:00.005+02:00

Amsterdam via Arad, foto 2007 by Nita Mocanu
print in the framework of Kinema Ikon 7010 project-2010

Tata, foto 2009 by Nita Mocanu
catalogue of Kinema Ikon 7010 project-2010

kinema ikon 7010 project

2010-12-17T08:49:00.002+02:00

kinema ikon 7010 project:

Friday, December 17 · 6:00pm - 9:00pm

Arad Art Museum - Gh. Popa 2-4
Kf - Piata Avram Iancu 11

online:
http://kinema-ikon.net/
http://kinema-ikon.posterous.com/

print:
kinema ikon: experimental films. analogic & digital (catalog)
intermedia no. 22/2010 (revista)
kinema ikon: jurnal 19702010 (DVD)

expozitie:
proiectie interactiva. instalatie foto
(53 de filme experimentale & 53 de fotografii produse de ki)

autori:
george sabau . judit angel . emil anghel . iulia anghel . bogdan achimescu . linda barkasz . sandor bartha . paul george bodea . bogdanator . romulus bucur . romulus budiu . valeriu campan . valentin constantin . roxana chereches . ioan ciorba . catalin codrean . radu cosma . calin dan . artur ditu . dslx . ioan galea . alin gherman . golem . caius grozav . florin hornoiu . peter hugel . jaaz . kf . lighioana . alexandru man . calin man . mihai mucescu . marcela muntean . gelu muresan . ioan t. morar . nita mocanu . bogdan neagu . lavinia neda . n.e.u.r.o. . codrutza onaga . adrian ostafi . cristian ostafi . mihai pacurar . alexandru pecican . boris peianov . ioan plesh . p.n.e.a. . adrian sandu . demian sandru . segiu sas . ileana selejan . andreea van schie . viorel simulov . iosif stroia . stefan tiron . liliana trandabur . emanuel tet . arina varga . rodica varganici . raluca velisar

SOCIAL COOKING ROMANIA - Sibiu 2010

2010-09-22T09:54:00.000+03:00

Cateva din documentarele video realizate de mine se pot viziona la expozitia SOCIAL COOKING ROMANIA, Galeria de Arta Contemporana a Muzeului National Brukenthal, 03.09-03.10.2010, Sibiu

Imposibil de trecut sub tacere/Impossible to keep silent about

2009-11-28T20:08:00.000+02:00

kinema ikon / exhibition
kinema-ikon.net
Start Time: Friday, January 15, 2010 at 7:00pm
End Time: Monday, February 1, 2010 at 10:00am
Location: Arad Art Museum, Gh. Popa Street 2-4, Arad, Romania
INTERMEDIA 21- poster edition
authors: george sabau . nita mocanu . bogdanator . kf . romulus bucur . nocomic.org . alexandru . reVoltaire . boris peianov . jaaz . golem . adrian sandu . wonderboy . octavian belintan . dslx . lavinia neda . sándor bartha . n.e.u.r.o.
__________________________
nita mocanu_ a representation of the poem " Impossible to keep silent about" by Gellu Naum

A Pink Room of One's Own - O camera roz numai a ei

2009-11-28T18:27:00.000+02:00

poze de la expozitie - martie 2009
photos from the exhibition - March 2009

A Pink Room of One's Own

2009-03-25T15:06:00.001+02:00

Feminisme
histories, free spaces, participative democracy, economic justice
___________________________________________________________
A Pink Room of One's Own

a project by Nita Mocanu

27.03 - 05.04.2009

Opening of the exhibition: Friday, 27.03, 6 pm
h.arta space - Str. Zugrav Nedelcu nr. 11, Timişoara (entrance from Splaiul Tudor Vladimirescu)

In 1929, Virginia Woolf published “A Room of One’s Own”, un essay where she stated that a woman having the same talent as Shakespeare – Shakespeare’s sister – would have less chances to become a writer. Her conclusion was that, in order to write fiction or to be creative in general, a woman has to have money and a room of her own. Behind the closed doors of her room, a woman would have the freedom to think for herself and would have the courage to write what she thinks. In the period when Woolf was writing this text, the big majority of women were completely absorbed by the housework, most of them were mothers of many children and without a profession that would give them financial independence. The access to education and the chance to be independent were minimal for women, as long as girls were getting married very early, women were not having any legal rights, they were not allowed to have properties of their own, etc.

Nowadays, it is said that women earned all the possible rights. Girls can have a room of their own, education is mandatory, democracy says that all citizens have the same rights. A woman can be whatever she wants, only if she has enough will.

The slogan “Just do it!” could be translated as such: “ If you don’t succeed it is only your fault” or “Women are to blame if they didn’t manage to have money and a room of their own in order to be independent”.

On such an urge to succeed are based the strategies of branding and marketing of the big corporations. “If you cannot have a successful life, we will sell you an elegant, shiny alternative to what you should be; we can sell yourself to you if you cannot figure it out by yourself who you are”, etc.

The freedom to think for yourself was slowly replaced by the freedom to think in the direction suggested by the corporations, by companies of all kinds. All know what can be sold and how can be sold. The private room where girls should learn to think for themselves, to be creative, was invaded by brands, by special objects made for them, consumerist items addressed to girls according to a narrow pattern. Huge teams of marketing advisers, television producers, authors, designers, etc. are competing with the parents over the right to educate their daughters and to define for them what it means to be a girl. The room of one’s own became a pink room with a big, pink princess drawing on the wall and with furniture with the brand “Spoiled little girls”. Most of the times, parents cannot even imagine how limited and normative is this image that is sold to them. The flat pattern of any little girl is pink and sweet. The message sent to the parents is that their girls would be much more creative, much sweeter, happier, stronger if they buy for them the thousands of products specially made for them.

If you search on Google for clothing, toys or games for girls, you can find thousands of items perfectly fitting the niche reserved for girls, the pink niche. Girls should be the princesses, the shopping addicts, the singers, the sexy, cool, superficial girls. Even Lego invented, especially for girls, a set of pink cubes from which you can build a castle. The clothes for girls are in most of the cases, cloths for the pink, glittery “fashion diva”. Even the sport cloths are not meant for sport but for creating the image of the “sporty princess”.

The models are scarce, actually there are only two possibilities: to accept or to refuse the pink, meaning to be feminine or to choose a more “masculine” way of life. To be for the boys or one of the boys. To be for the boys means to be sexy, sexually available, the girlfriend, the lover; to be one of the boys means to be the independent girl who thinks for herself and who manages to be respected by the boys but who is critical towards the girls from the first category.

The perception and the understanding of the complexity of feelings and experiences of girls are strongly diminished by the consumerist ideas destined to them. For the marketing strategies, there are only a few categories of girls and a limited number of activities that girls could have: the good little girl who plays with dolls and with toys shaped as washing machines and vacuum cleaners, who is helping mum to clean the house and who is raising up plastic babies or the girl who wants to be sexy and dreams to be wanted by boys, to be the most attractive princess, the most sexy celebrity, who plays with toy make-up and with sexualised dolls. The toys and games made for girls are rarely designed to encourage them to be creative, curious and smart. What this games and toys are inducing to girls is that is necessary to prepare their bodies to be displayed in the world of men.

For teenage girls, everything is about their dependence on boys and on boys’ attention. The princess needs a prince in order to be a real princess, this is what the marketing strategies are teaching us. In order to be beautiful, the girls have to follow the fashion trends and in order to do this they have to be shopping addicts and to be careful with their weight. The discussions about fashion, diets and boys are the ways of interaction between girls.

In the dictionary of Romanian language, the synonyms for woman are “lover” and “wife”, while the synonyms for man are “proud”, “energetic”, “courageous”, “strong”, “mature”. In the mainstream discourses, the positions of prestige in the social hierarchy are occupied by men with dignity, while the same positions are occupied by women with hysteria. The few models that girls can relate to, as they are presented by the market and by the mass media, are categorizing women in only two kinds: good women and bad women, meaning pro-pink and anti-pink women. Also the words describing attributes of women can be conceptualised in the same antonymic pair (pro-pink and anti-pink). But if you think of terms describing women, the ones which are referring to negative attributes are more numerous than the ones referring to positive ones. These words have a great subliminal power, they are much more than their immediate meaning, they are loaded with all our prejudices learned from the traditionalist culture and from the mass media. Woman means: attractive, vamp, cunning, treacherous, cold, nice, sweet, wily, week, thin, fat, impulsive, hysterical, aggressive, timid, passive, optimistic, silent, honest, neurotic, pessimistic, submissive, elegant, sexy, ugly, beautiful, smart, intelligent, stupid, painstaking, lazy, clean, dirty, seductive, frigid, materialist, romantic, passionate, decent, cheeky, sensual, attractive, nerdy, faithful, etc.

The insecurities of women are successfully used by marketing campaigns that, beyond any ethical principle, are forming consumers and identities capitalizing on the incapability of children to distinguish between phantasy and reality. The girls of our days believe that they are pink princesses, beautiful and pure, waiting for the prince who will save them. They will enter the real world with diminished possibilities to be aware of the consumerist illusion that is reducing their chances to freedom and dignity.

This is the subliminal world that we inhabit. All that women are is presented as an entangled thread of words with subliminal messages, on a background branded in pink…

Nita Mocanu

Precarious Lives (2008)

2008-09-24T13:25:00.000+03:00

The video "Precarious Lives" (2008) from D Media made mostly by Joanne Richardson, I was filming a few interviews for it, it is on arhive.org HERE

Precarious Lives mixes archival footage depicting women’s labour over the past century with ten portraits of Romanian women working today. The video challenges the dominant discourse about precarity and its disregard of differences based on gender and of economic disparities between the first and third worlds of Europe. 43 min, 2008.

visuals for AKM in 2006

2008-08-22T23:27:00.000+03:00

in 2006
for AKM
in Bucharest RO
by Nita Mocanu ;)

transreport-exhibition in munchen

2008-08-16T08:43:00.000+03:00

more here
and here

The way things are- exhibition

2008-06-12T14:34:00.000+03:00

The Way Things Are…
Works from the Thyssen-Bornemisza Art Contemporary Collection

Julian Rosefeldt, Allan Sekula, Los Carpinteros, Anetta Mona Chisa &
Lucia Tkácová and Andreas Siekmann

To celebrate its institutional opening as Poland’s first newly erected venue dedicated to contemporary art since 1939, Torun Centre of Contemporary Art invited Thyssen-Bornemisza Art Contemporary to present works from the foundation’s collection as part of the inauguration exhibition.

The selection of artworks drawn from the Thyssen-Bornemisza Art Contemporary Foundation (T-B A21) explores the question of artistic representation of today’s ever more precarious work spheres within advanced economies. The dramatic but also multi-voiced “work histories”, as narrated or presented by Julian Rosefeldt, Allan Sekula, Los Carpinteros, Anetta Mona Chisa & Lucia Tkácová and Andreas Siekmann result from radical shifts in production and work processes, such as the outsourcing of services to migrant workers, often “sans papiers”, and from larger social re-stratifications reflecting the changing orders of social representation. These histories are the symptoms of transitional states, where larger, planetary readjustments create localized distortions and conditions of morbidity and entire sectors of skilled labor are at risk of displacement or disappearance.

Julian Rosefeldt’s 9-screen-film installation asylum (2001/02), presented in the main hall of the Centre of Contemporary Art “Znaki Czasu,” focuses on the unacknowledged practices of everyday work routines performed by migrant workers. In these tableaux groups of men and women are cast as players in scenes in which they perform in a Sisyphean manner cycles of menial work that are never to be fulfilled.
Allan Sekula’s Fish Story— Middle Passage (1994) has been characterized as a hybrid, “paraiterary” revision of social documentary photography. Working with industrial subjects over a long period of time Sekula has tried to dissolve the boundaries between essay writing, a “poetics” of sequenced descriptive photographs, and the practices of research in cultural, economic, and social history.
The Cuban duo Los Carpinteros have reappropriated and parodied the image of the preindustrial artisan and his idealized relationship with materials (wood, drawings), nature, and society to develop an artistic practice that draws largely on investigations and readings of objects of everyday life.

In After the Order (2006), Anetta Mona Chisa & Lucia Tkácová tackle the issues of hierarchical distinctions among individuals and groups within societies or cultures. The artists transpose the concept of a class society onto Slovakia by creating a living sculpture classified by criteria such as occupation, education, income, power, and social prestige.
In his drawings and sculptures Andreas Siekmann investigates current structures of power within the paradigmatic shifts of neoliberal economies and conceptualizes alternative social models. In 2002 he installed on the Place Royal in Brussels a merry-go-round that revolved around the equestrian statue of Godfrey of Bouillon, the medieval leader of the First Crusade. Under the title The Exclusive, it was reinterpreted in 2007 at documenta 12 in Kassel, where it circled the statue of Frederick II, the duke of Hesse.

The exhibition is complemented by a daily film program True [Hi]stories of Work, consisting of works drawn from the holdings of Thyssen-Bornemisza Art Contemporary and a vast range of international fiction, documentary, animation, and artistic films and videos from the beginning of cinema history (1895) until today with a curatorial focus on Polish film.

1	LEAVING THE FACTORY Louis Lumière Sortie d’usine (N°-1), 1895 Harun Farocki Arbeiter verlassen die Fabrik (Workers Leaving the Factory), 1995 Chris Marker and Mario Marret à bientôt j’espère..., 1967 Krzysztof Kieslowski Fabryka, 1970 Siegfried A. Fruhauf La Sortie, 1998	2	A HARD DAY’S WORK - THE DAILY ROUTINE Charlie Chaplin Work, 1915 Hans Richter Everyday, 1929 Kazimierz Karabasz Muzykanci (The Musicians), 1960 Krzysztof Kieslowski Urzad (The Office), 1966 Józef Robakowski Z mojego okna / From my Window, 1978 - 2000 Edyta Wróblewska PRL de Luxe, 2008
3	MICHAEL GLAWOGGER - WORKINGMAN’S DEATH Michael Glawogger Workingman’s Death, 2005	4	ANDRZEJ WAJDA - ZIEMIA OBIECANA (Promised Land) Andrzej Wajda Ziemia obiecana (Promised Land), 1974
5	COLLECTIVE MEMORY Mike Figgis The Battle of Orgreave, 2001 A television documentary by Mike Figgis of an artwork by Jeremy Deller (2001) Jun Nguyen-Hatsushiba Ho! Ho! Ho! Merry Christmas: Battle of Easel Point - Memorial Project Okinawa, 2003 William Kentridge Monument, 1990 Mine, 1991 Natalia Brzozowska Kopalnia (Coal Mine), 1947 Juliusz Machulski, Andrzej Jakimowski, Jerzy Domaradzki, Jan Jakub Kolski, Piotr Trzaskalki, Filip Bajon, Krzysztof Zanussi, Robert Glinski, Ryszard Bugajski, Jacek Bromski, Feliks Falk, Andrzej Wajda, Malgorzata Szumowska Solidarnosc, Solidarnosc, 2005	6	TRAINING AND EDUCATIONAL EXPERIMENTS Adriana Monti and "Continuing Education for Teachers of the 150 Hours" Scuola senza fine, 1983 Želimir Žilnik Soap in Danube Opera, 2006

		7	NEWS OF THE PRESENT - IDEOLOGIES OF THE PAST Józef Robakowski (dir. with Tadeusz Junak, Ryszard Meissner) Rynek (The Market), 1970 Krzysztof Kieslowski Z punktu widzenia nocnego portiera (Night Porter`s Point of View), 1977 Kuba Maciejko Felgarz z Woli (The Lord of the Rims), 2008 Leslaw Dobrucki Kilka mniejszych wygranych (The Booth of Fortune), 2008 Andrzej Chodakowski and Andrzej Zajaczkowski Robotnicy ’80 (Workers ’80), 1980 Anetta Mona Chisa and Lucia Tkácová Capital: Magical Recipes for Love, Happiness and Health, 2006

8	DIFFERENT REALITIES OF A WOMAN’S WORKING DAY Nita Mocanu EDEN, 2005 Mamadou Kotiki Cissé Ra, la réparatrice (Ra, the Mechanic), 2007 Kristina Leko Zagreb Milkmaids on Your Right Hand Side, 2002/03 Sylke Rene Meyer Anna Walentynowicz, the world smallest crane operator or: Who founded Solidarnosc? (Anna Walentynowicz, die kleinste Kranführerin der Welt oder: Wer gründete Solidarnosc?), 2003 Artur Zmijewski Danuta, 2006 Artur Zmijewski Halina, 2006 Artur Zmijewski Dorota, 2006	9	POLAND AND THE REWRITING OF LABOR HISTORY Andrzej Munk Kierunek Nowa Huta! (Destination Nowa Huta!), 1951 Andrzej Wajda Czlowiek z marmuru (Man of Marble), 1976 Andrzej Wajda Czlowiek Z Zelaza (Man of Iron), 1981

		10	MIGRATION AND GEOGRAPHIC MOBILITY Adrian Paci Centro di Permanenza temporanea, 2007 Turn on, 2004 Dirk Schreier Jin-Riki-Sha, 2005 Matei Bejenaru Maersk Dubai, 2007 Chen Chieh-jen Factory, 2003 Marija Mojca Pungercar Bratstvo in Enotnost (Brotherhood and Unity), 2006

11	COMMUNICATION NETWORKS AND GLOBALIZATION Kazimierz Karabasz Wezel (Railway Junction), 1961 Michael Blum My Sneakers, 2001 Sean Snyder Casio, Seiko, Sheraton, Toyota, Mars, 2004/05 André Hörmann Calcutta Calling, 2006 Raqs Media Collective A/S/L (Age/Sex/Location), 2003-2007

Neighborhood+ expo Timisoara

2007-11-05T09:39:00.000+02:00

Wednesday, October 31 at 17:00 to attend the opening of the exhibition “Neighborhood – daily practice of social values” in the Timisoara "Mansarda" Gallery of the Faculty of Art.

Dolma 2007

2007-06-22T14:58:00.000+03:00

sequence from the video "Dolma":

stills:

Vecinatatea

2007-06-22T14:39:00.000+03:00

EUROBAROMETRU VIZUAL

VECINATATEA

exercitiu cotidian al valorilor sociale

27.06 – 8.07.2007

vernisaj: miercuri 27.06.2007, ora 17:00

MNAC Galeria Etaj ¾ Teatrul National,

Bd. Nicolae Balcescu nr. 2.

artisti participanti: Alina BONDREA, Emanuel BORCESCU, Diana DUTA, Irina GHEORGHE, Eugen HARASIM, Raluca IONESCU, Loreta ISAC, Andor KOMIVES, Alexandru LAZAR, Cezar LAZARESCU,

Bogdan MATEIAS, Olivia MIHALTIANU, Nita MOCANU, Eugen MORITZ, Vlad NANCA, Cristina NASTASE, Cosmin NASUI, Dumitru OBOROC, Carmen PARII, Andrei PASTUHOV, Cosmin PAULESCU,
Bogdan & Magda PELMUS, Alina POPA, Violeta RADU, Bogdan RATA, Mark REHA, Mima SOROCEAN,
STUDIOBASAR (Cristi BORCAN & Alex Axinte), Oana TODERICA.

curator: Irina CIOS

Cu aceasta ocazie vor fi anuntati castigatorii concursului de creatie si vor fi decernate premiile.

Proiect al Centrulului International pentru Arta Contemporana,

finantat in cadrul Programului PHARE de microproiecte Fondul Europa 2006

Proiect realizat cu sprijinul: Muzeul National de Arta Contemporana, British Council, Asociatia Apollonia Strasbourg, Swiss Cultural Programme Romania Pro Helvetia / SDC, Galeria Noua, UNAgaleria, Galeria Meta, DC Communication, Headvertising.
__________________________________________________
Nita Mocanu- "Dolma" documetar video 2007

Precarity meeting Amsterdam - 2 July

2007-06-19T13:45:00.000+03:00

"Eden" video documentary by me will also be presented ;)

Ambient Urban

2007-06-17T11:47:00.000+03:00

eFundatia Culturala Meta va invita la Sibiu, in perioada 22-24 iunie, cu ocazia lansarii proiectului Ambient Urban, in cadrul programului Sibiu, Capitala Culturala Europeana 2007.

Intentia este de a investiga relatia artei cu sfera publica, de a
initia un dialog intre spatiul urban si artele vizuale, intre arhitectura de
patrimoniu si formele artistice contemporane, neconventionale, mergand
pana la gest, atitudine, arta contextuala, interventii de ambientare cu
sculpturi gonflabile, sonore, eletronice, imagini in miscare etc.

Nu va fi vorba de sculpturi traditionale, de clasicele monumente de
glorificare sau comemorare, in bronz sau piatra, prezente in mai toate
orasele romanesti, ci de o repunere in discutie a perspectivei urbane
de catre artisti vizuali care lucreaza cu strategia spectacolului, a
"entertainment-ului" urban, a peisagisticii si tehnologiei
contemporane. Perspectiva urbana este abordata in aspectele ei ambientale, vizuale,
sonore, sociale etc., important fiind felul in care acestea
interactioneaza si influenteaza prezenta umana.

Propunem nu simple elemente de decor, ci interventii artistice care pot
remodela o piata publica, o strada, un zid de incinta. Sunt lucrari din
materiale neconventionale – gonflabile, electronice, sonore - care se
integreaza intr-un spatiu activ intr-un mod aproape fluid, participand
spontan la viata cotidiana.

Ii numim pe artistii implicati in proiect:
Alina Buga, Franc Purg (Slovenia), Matthias Deumlich (Germania), Romelo
Pervolovici, Mirela Dauceanu, Irina Botea, Cosmin Moldovan, Eva Pervolovici,
Cristina David, Raluca Spataru, Lea Rasovszky, Nicoleta Mocanu, Duo van derMixt,
David Maljkovic (Croatia), Kader Muzaqi (Kosovo), Alejandro Vidal
(Spania), Simona Denicolai (Italia) & Ivo Provoost (Belgia), Jakrawal
Nilthamrong (Tailanda), Martin Veldhoen (Olanda), Wayne Horse
(Olanda),Douwe Dijkstra (Olanda), Chok Wah Man (Olanda), Guilherme Marcondes
(Brazilia), Seth Scriver (Canada).

Humour Works by City of Women

2007-05-02T17:43:00.000+03:00

The video documetary "EDEN" was presented in the framework of the project HUMOUR WORKS by City of Women from Slovenia

HUMOUR WORKS
30th and 31st March 2007
Space Gallery, Bratislava,
International meeting and video program
Produced and organised by:
City of Women

In collaboration with:
Kanak Attak (Germany)
Space (Slovakia)
Foundation Cure (Bosnia)

The event was made possible by:

European Cultural Foundation
Ministry of Culture of the
Republic Slovenia

Program coordinators:
Dunja Kukovec
Katja Kobolt

F[acts]igures - Amsterdam

2006-12-12T07:57:00.000+02:00

Stichting Drei Birken auf der Heide in samenwerking met Stichting Artwalk presenteren:

F[acts]igures

van 15 december 2006 tot en met 18 maart 2007

Tentoonstelling// Exhibition Artwalk/ Staatsliedenbuurt Amsterdam.
Opening donderdag 14 dec 17.00-20.00 u. // Opening Thursday 14 Dec 17.00-20.00 hrs.

De Wittenkade 170-1h/ 1051 AP/ Amsterdam/ Netherlands
Openingsact: Queens Nails Annex uit San Francisco / Mexico.

Deelnemende kunstenaars // Participating artists
Zbynek Baladrán (Tschechië/Czech Republic) // Tiffany D. Chung (Vietnam) // Felipe Dulzaides (Cuba) // Sean Mc Farland (U.S.A) // Cigdem Kaya (Turkije/Turkey) // Dimitri Kozyrev (Rusland/Russia) // Momo Mee-Ping Leung (China) // Ingrid Masondo (Zuid Afrika/South Africa) // Nita Mocanu (Roemenië/Romania) // Ivan Moudov (Bulgarije/Bulgaria) // Mark J. Mulroney (U.S.A) // Guy Overfelt (U.S.A) // Queens Nails Annex (Julio Morales, Mexico/ Bob Linder, U.S.A) // Anders Ruhwald (Denemarken/Denmark) // Samson Ssenkaaba (Uganda) // Despina Stokou (Griekenland / Greece)

Curatoren // curators
Ian McDonald
Esther Vossen
Anno Dijkstra

more info
"Amsterdam my love"

"fiction" film

project by Nita Mocanu

„ Amsterdam my love” is the name of a film that doesn’t exist in reality. The unwritten script is based on a walk description that is more or less imaginary: Amsterdam (Staatsliedenbuurt neighborhood)… is the place where the walk takes place and Arad is the place where this film could be shot. The photos that are real are the unique proofs and traces of this walk, of the film, only trough them “ Amsterdam my love” can exist as a fictional film and as my work.The imaginary script provoked by these photos is based on the set of information of each of those viewing the work. Each person can have a distinct and unique imaginary story.The photography is a static image, fixed, dislocated from a certain event that has an unknown beginning or ending. From this perspective, the photography is a singular proof or testimony of that event. Therefore, ones ability to reconstruct the event is always dynamic and provocative: starting off with a photo, there could be constructed multiple types of events in which that photo could be integrated as testimony.The idea of this work started like this, I was reading the statistic received from Esther Vhoosen, and suddenly I realized that I’m imagining the statistics using my home town Arad as representation.I was never in Amsterdam , so I can’t say how similar are the two towns, Arad and Amsterdam , but I think that they are confounding in each other in our imaginary worlds. The story in the photos is about the lives of three people in Amsterdam , their common lives among others. The imaginary film is the possible reconstructions of their lives and identity trough each of us.

FREESTYLE- Intermedia magazine

2006-11-13T11:43:00.000+02:00

The launch of a new edition from Intermedia magazine (and a workshop), a project made by Kinema Ikon group will take place at Clio Gallery and KF space in Arad, Romania, 17-18 November 2006
http://kinema-ikon.projects.v2.nl/#
Our pages from the project "Only tomorrow" here.

Free speech versus hate speech

2006-11-09T17:56:00.000+02:00

Today I was at the round table "Free speech versus racism in the virtual space" organised by the Press Monitoring Agency in Bucharest.
This round table is part of a larger project call CyberHate Wach in the framework of 'INACH International Network Against Cyber Hate', a network of 14 countries. There were a mixture of representatives from internet providers to people involved in ONG-os for gay /lesbian rights, Roma people rights, and also juridical experts.
I was presenting Indymedia Romania.
The discussions were about how the legislation is functioning in Romania and elsewhere (examples from USA and Germany) in cases of discriminative content. What can be done?
Romania has a law against discrimination, but the reality is that the number of websites instigating to hate and violence is getting bigger by day.
www.freeex.ro
www.legi-internet.ro

Balkan Black Box Festival

2006-11-08T16:10:00.000+02:00

The video documentary "Mami !!!" made by Nita Mocanu and Hajni Bessenyei will be screened at Balkan Black Box Festival in Berlin, 17-25 November 2006.