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Contemporary art | Contemporary ideas

  Last update: April 17, 2014
IEEB6 space news

Ecological Thinking. Ecological Practice.

December 2014/February 2015

IEEB chose to focus until now on the general aspects of experimental printmaking with an extended vision also over geographic areas. This was meant to answer to the imperative needs of making a statement as a reaction to the current status of printmaking around the world, seen by far as a traditional technique, unintegrated to the contemporary art movement. This fact comes as a surprising reality despite the extended use of printmaking techniques in consumerist society: printed press, book industry, advertising area, packaging industry or fashion industry.

The 5th edition of IEEB was focused on Central and Eastern Europe contemporary printmaking problematic faced with its Western counterpart (North America and Western Europe) raising questions of social, cultural and political identity.

The curator of the Main Exhibition of IEEB5 was Richard Noyce from UK, a renowned specialist on printmaking, author of major books on 20th century Eastern European printmaking. The Pavilions event from Victoria Art Center (curator Olivia Nițiș) focused on Austria, Poland and Hungary brought new meaning to the impact of printmaking today on various societies and artistic practices.

Dan Perjovschi

© Dan Perjovschi

The 6th edition of IEEB will address issues of ecology. Ecological Thinking and Practices is the general theme of the edition that will bring forth a variety of environmental issues. Artist’s thinking and production function as a tool for observing, criticizing and revealing aspects of our life that are sometimes not enough debated, going unnoticed and being subject to ignorance or power relations, therfore left marginal. Thinking ecologically represents an imperative for our civilization today, the parallel process between thinking and acting accordingly providing real change.

The works presented in IEEB6 will address questions, perhaps also offer answers to problems regarding our relationship with the environment. The art production itself is starting to include ecological materials. The specificity of printmaking means the use of acids harmful for the environment, but today other possibilities are at hand including non toxic, water based ink, ink without animal ingredients, organic paper with a large quantity of recycled material, less chlorine and so on.

Current events in Europe such as Rosia Montana, fracking and animal protection rights in Romania, Gezi Park issues in Turkey, other similar situations in Poland, Bulgaria to which we add other aspects around the world like tropical deforestation, massive industrialization, water pollution, non-environmental living and architecture, influencing global warming, represent imperative aspects for human conscience reaction. IEEB6 intends to represent a platform for these concerns, from different points of view.

IEEB6 Venues: Mogosoaia Cultural Center, Victoria Art Center - Bucharest, Aiurart contemporary art space - Bucharest, Atelier 020303 - Bucharest.

OMV, the main sponsor of IEEB6

OMV once again supports contemporary art in Romania


OMV’s sponsorship activities once again focus on Romania. The international, integrated oil and gas company and majority shareholder of Petrom supports cultural exchange in the area of contemporary art between its core markets Austria, Romania, and Turkey.

OMV has repeatedly presented Romanian artists at the VIENNAFAIR and has also supported one of Romania’s two official contributions at the Venice Biennial 2013. For the second time, the company is the main sponsor of the International Experimental Engraving Biennial, which will address issues of ecology and will also present examples of Austrian and Turkish printmaking at the Victoria Art Center, Bucharest. OMV is looking forward to contributing to the international dialogue in experimental printmaking.

Further information on OMV’s sponsorship activities:

Javier Martín-Jiménez, the main curator of IEEB6


Javier Martín-Jiménez (b. 1978, Madrid) is president of the cultural association Hablar en Arte ( and responsible for the management of such projects as Ingráfica – International Platform for Graphic Art and Other Forms of Multiple Art (, Lugares de Tránsito (, and Jugada a 3 bandas (

He has curated a number of exhibitions, including Bajo techo: Cuatro estadios de intimidad (works from the Community of Madrid Collection, CA2M 2008); Reproduction, Repetition and Rebellion: Multiplicity in Spanish Emerging Art (shown in 2010 and 2011 at the Instituto Cervantes in Vienna, Austria; the National Brukenthal Museum in Sibiu, Romania; the International Centre of Graphic Arts in Ljubljana, Slovenia; Akademija – Centre for Graphic Art and Visual Research and The Windows Gallery in Belgrade, Serbia; and the New Contemporary Art Museum in Zagreb, Croatia); El Reto Ingrávido (Ingravid, Contemporary Culture Festival of Emporda, Figueres, Spain, 2010) and The Intervened Library (touring Spain 2012–2013).

Besides, he is the curator of the exhibition Password: Printmaking, together with the curators Sofie Dederen, Daina Glavocic, Jaanus Samma, Marta Anna Raczek-Karcz and Božidar Zrinski (MGLC Ljubljana: 17.4.−26.5.2013; FMC Kasterlee: 9.6.−28.7.2013; MCG Krakow: 8.8.−22.9.2013; CIEC Foundation Betanzos: 10.10.−25.11.2013; MMSU Rijeka: 10.12.2013−25.1.2014 TPT Tallinn: February−March 2014).

He holds a degree in Art History from the Autonomous University of Madrid.

He was the general coordinator of PHotoEspana 2007 and previously directed activities for PHE06 and PHE05.


Momentum 2

Michele Bressan

Michele Bressan, Waiting for the drama, 2010

Period: April 24st - May14th , 2014
Location: Aiurart Contemporary Art Space (21 Lirei, Bucharest)
Curator: Olivia Nitis
Opening: Thursday, April 24st, 7 pm.

Artists: Michele Bressan, Irina Botea, Irina Broboană, Cătălin Burcea, Mario Ionescu, Flavia Lupu, Delia Popa, Marilena Preda Sânc, Valeriu Șchiau, Roxana Trestioreanu, Mihai Zgondoiu.

Special invited French artist: Veronique Sapin

Momentum 2 emerged from a desire to determine the insertion of a thematic segment within art practices in Romania - forms of violence and abuse against women - a topic avoided in local contemporary art for various reasons. One of them seems to be related to the severity and discomfort such issues raise in a culture that combines prejudices concerning gender relations in which violence becomes the norm with the mechanisms of consumer culture in which violence serves marketing policies. On one hand, violence and abuse are perceived as private phenomena, and on the other they are show type subjects consumed by the public as such. They are in fact social phenomena with moral, physical and mental implications to be regulated at the legislative level, through state policies that combat such behavioral deviations. External pressures and those of non-governmental organizations in the country have determined that only in 2012 to be promulgated a law against domestic violence. However, implementation difficulties and mentality limitations keep violence against women at high levels. Internationally one in three women is a victim of violence or a form of abuse. Women artists and male artists involved in this project have related to the subject in different ways, some allusive other more direct. The works reflect attitudes, personal stories extended to collective ones, forms of social criticism extremely necessary in today's society.

The main sponsor of this event is


Parteners: Editura Vellant, Crama Oprişor, Asdesign95

Media Partners: Radio România Cultural, Zeppelin, All Hollow, The Institute, Șapte Seri, Revista Arta, Senso TV Arte, Modernism, ArtClue, Vernisaje, Artindex,, Metropotam, TVCity, AR_chitecture TV,

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Christian Paraschiv - SORRY!

Curator: Olivia Nițiș
Period: January 29 - February 22 2014
Location: Victoria Art Center, Bucharest (Calea Victoriei 12C)

Sorry! is a game that starts from the premise of equality and fair play, but which relies on the limits of a fluke by throwing the dice to undermine the partner. Equal opportunities, unequal competition. The apologetic version Sorry is rather an irony with exculpatory role for the player progressing ahead of the other. Progress through the decline of vicinity. The ideology of the game reflects the ideological paradigm of capitalism. Christian Paraschiv lures us into a game that is not foreign to us, a cultural game perhaps not only specific to a generation, or a society, yet challenging the practices around national mechanisms within the artistic community before and after 1990 and the socio -political friction and dynamic is open. Both the artist and curator came into play. Beyond the control and balancing authority between the two, the result of collaboration is the one that prevails. The principle of teamwork is a cultural ideal, but equally possible reality through the extent of reciprocity and creative freedom.

Christian Paraschiv

© Ion Grigorescu

Since the remarkable exhibition from 2007 (MNAC / Artexpo, Bucharest) signed by Christian Paraschiv , curator Mihai Oroveanu, the artist returns with a discourse in which his personal touch, always deep and ironic, coupled with technological and conceptual concerns is engaged in a slightly relaxed recontextualization. The self-referential experiment extends languishingly towards the world the artist is part of, here and there, between two geographies, between the tempo of actuality and the line of a defining rhythm. The personal body is the social body he is able to observe with the detachment of an experienced player. (Olivia Nițiș)

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FrequentlyNOWHERE is an online platform, exhibition space and archive for visual art projects and researches.

Probably the generic term Contemporary Art means the oppressive obligation of being inside the Community. It seems that in the realm of under surveillance freedom, to disregard this unwritten but taken for granted rule, may lead to immediate exclusion. Is that so? Maybe not. Let’s say perhaps… or undecidable. This blog, then? Why not? To wander on territories, marked too perhaps but less so, and where one could breathe differently. That is NOWHERE. Frequently. Contemporary, naturally. But with the unformulated desire to find a lost link.



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