“DIYALOG”: New Energies

“DIYALOG”: New Energies

Co-initiated and supported by OMV, current developments of young art institutions in Romania, Turkey, and the Caspian region are presented at VIENNAFAIR The New Contemporary from October 10 to 13, 2013.

OMV supports a special project at the VIENNAFAIR The New Contemporary already for the third time. This year the focus is on young art institutions in Romania. The project is complemented with positions from Turkey and examples of the upcoming contemporary art scene in the Caspian region. “DIYALOG”: New Energies is curated by the artist and art expert Gaisha Madanova from Almaty (Kazakhstan) as well as by the artistic directors of VIENNAFAIR The New Contemporary, Christina Steinbrecher-Pfandt and Vita Zaman, in collaboration with OMV. OMV would like to contribute to cultural exchange in the field of contemporary fine arts.

OMV has been supporting activities of artists and art institutions in Romania  –  a core market of the integrated international oil and gas company  –  since 2012. OMV was the main sponsor of IEEB5, the International Experimental Engraving Biennial, taking place in Bucharest and Mogoșoaia from December 8, 2012 to February 28, 2013.

Supported by OMV, the exhibition “Reflection Centre for Suspended Histories. An Attempt” is still on show at this year’s Venice Biennial as one of the two official Romanian contributions at the Romanian Cultural Institute until November 24. Selected by the Romanian curator Anca Mihulet, the participating artists –  Apparatus 22, Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, and Sebastian Moldovan –  are primarily concerned with the absence of essential social and mental processes in Eastern European cultural institutions and the lacking appraisal of the more recent history of art in Romania.

“DIYALOG”: New Energies

The following galleries and art institutions will present selected positions in the context of “DIYALOG”: New Energies:

Romania: Club Electroputere (Bucharest) shows the oeuvre of Mihail Trifan for the first time, which is still only little known to the public. Experimental Project (Bucharest) presents works by Marilena Preda Sânc, Valeriu Șchiau, and Patricia Teodorescu. KILOBASE BUCHAREST (Bucharest) surprises the viewers with works by Apparatus 22, Farid Fairuz, Carl & Pontus Olsson, and Tobias Sternberg. Salonul de proiecte (Bucharest) shows forty-two positions dealing with the issue of money in works on paper. Kazakhstan: With the group show “Ahh… Youth!”, IADA (International Art Development Association) draws attention to the young Central Asian generation of artists: Ada Yu, Bahyt Bubikanova, and Gulnur Mukazhanova. Turkey: Cda Projects (Istanbul) displays works by Burçak Bingöl, Alpin Arda Bağcık, Zeynep Kayan, and Özlem Şimşek.


Club Electroputere was founded by Adrian Bojenoiu and Alexandru Niculescu as a Romanian center for contemporary culture in Bucharest in 2009. Its program is aimed at supporting new forms of artistic expression and reinstigating the cultural discourse in Romanian art.

With Mihail Trifan, Club Electroputere presents an experimental, only little known independent Romanian position in the context of “DIYALOG”: New Energies. Not related to the scene abroad and the relevant cultural and artistic environment, Trifan’s art has remained isolated from both the Western and, sometimes, the national discourse in a way. His production effortlessly merges painting, performance art, installations, objects, and music. Committed to a circumspectly imprecise goal of research and thematization, Trifan’s work is charged with information implying surfeit, chaos, and self-destruction. Rooted in a sensitive Conceptualism and lacking the obvious elements of political and social criticism, his position is one of those Eastern European approaches to art that have only received little attention so far. This is why the solo presentation in the context of “DIYALOG”: New Energies is a premiere. www.clubelectroputere.ro

Experimental Project was founded as a non-political non-profit organization in Bucharest in 2010 in order to make cultural and educational programs accessible to a wider public. Every other year, Experimental Project organizes the International Experimental Engraving Biennial (IEEB): the event is aimed at creating a new understanding of printed graphic work as a medium of art in its own right and at exploring recent techniques. The works by Marilena Preda Sânc, Valeriu Șchiau, and Patricia Teodorescu presented by Experimental Projectfocus on sociopolitical issues.

Patricia Teodorescu, a conceptual artist, studied sculpture at the Academy of Fine Arts in Bucharest and explores philosophical, ecological and sociocultural subjects in her works. In many of her performances, installations, paintings, and video works, she takes a feminist stand such as in the exhibition “Good Girls” dedicated to contemporary women artists, which is still on show at the Muzeul Naţional de Artă Contemporană in Bucharest until September 29. After finishing her studies at the Academy of Fine Arts in Bucharest in 1980, Marilena Preda Sânc did her doctorate there in 2002. Having intensely dedicated herself to painting, drawing, sculpture, and visual concrete poetry, she has increasingly worked in the fields of installation and video performance since 1993, sounding the boundaries between static and moving image. Born in the Republic of Moldova and living and working in Bucharest today, the artist Valeriu Șchiau’s paintings deal with the Post-Communist era, which he knows from first-hand experience, with loss, childhood nostalgia, getting older, as well as with forms of uprooting and the disintegration of the family.  www.experimentalproject.ro

KILOBASE BUCHAREST, initiated by the artists Ioana Nemeş (1979–2011) and Dragoş Olea, defines itself as a “nomadic gallery” which, with its projects and exhibitions, tests  the limits of the art market and explores the ways it functions and the artists’ influence on it.

Drawing on art, design, sociology, literature, and economy, the multi- and interdisciplinary Bucharest art and design collective Apparatus 22, which developed from the progressive fashion label Rozalb de Mura, questions the sociopolitical role of fashion and its critical potential. In his performances, video performances, and photographs, Farid Fairuz centers on subjects like capitalism, sexuality, cultural production, religion, and the failure of the Eurocentric society. Before he reinvented himself as Farid Fairuz along with a fictional biography and developed a new form of interaction between himself and public space, the artist ranked among the foremost representatives of contemporary dance in Romania after 1989. Born in Stockholm and living and working there today, the twin brothers Carl & Pontus Olsson investigate the physical boundaries of language and its form charged by critical and political gestures in their installations. Their key subjects are eclecticism, appropriation, and contingency. For Tobias Sternberg art only comes about when the viewer gets in touch with the work. With his interactive pieces, the Berlin-based Swedish artist invites the public in a both humorous and ironic manner to touch his sculptures, to climb, or crawl across them. Providing often completely absurd alternative proposals, he suggests that our own world with its institutions, habits, and rules may be equally absurd when looked at from outside.

Salonul de proiecte, a project initiated by Magda Radu and Alexandra Croitoru and supported by the National Museum of Contemporary Art (MNAC) in Bucharest, organizes exhibitions in the field of young, contemporary art in Romania. The starting-point for Salonul de proiecte was Marina Albu’s work Dear M., I Try Not to Think of You but I Can’t. Using the artist’s handwritten letter reproduced as a silk-screen print, Salonul de proiecte invited a number of artists to participate in a group show on the subject of money with works on paper (drawings, collages, texts, etc.). Forty-two artists –  among them Marina Albu, Mihuț Boșcu Kafchin, Geta Brătescu, Tudor Bratu, Anetta Mona Chișa & Lucia Tkáčová, Olivia Mihălțianu, and Delia Popa – are presented with one work each as part of the program of “DIYALOG”: New Energies. 

Mona Chişa and Lucia Tkáčová have been working together since 2000. Their works investigate gender relationships and the role of Eastern European artists in an art world dominated by the West. They live in Berlin and Prague and represented Romania at the Venice Biennale of 2011. Preferably working with texts and the means of performance and video installation, Delia Popa derives her ideas from history, comedy, visual anthropology, and trauma. With Geta Brătescu the show also includes a renowned artist of the older generation. Her works, which have already been on display in the Tate Modern in London, at La Triennale in Paris in 2012, at the Istanbul Biennale 2011, and in Vienna’s MUMOK, comprises graphic works, drawings, collages, photographs, and book illustrations. In 2008, Geta Brătescu was given the title doctor honoris causa for her outstanding contribution to the development of contemporary Romanian art by the National University of Arts in Bucharest. Mihuţ Boşcu Kafchin is certainly to be regarded as one of the most distinctive voices among the new generation of Romanian artists. He ironically thematizes various aspects of our culture like history, popular culture, and science, as well as media such as movies and video games. Mihuţ Boşcu Kafchin’s works are presently on show at the Prague Biennal 6. Olivia Mihălţianuʼs work testifies to the artist’s keen observation of people in her surroundings, their personal traits and peculiarities, as well as the medial and sociopolitical reality of life in her native Bucharest. Her videos, films, photographs, objects, installations, and performances explore the issue of identity, the development of the image of women, and the role of the artist in today’s society. In his most recent works Tudor Bratu examines the concept of morality as a driving force of social developments by focusing on the documentary power of media like photography and video. Bratu studied at the Rijksakademie van beeldende kunsten and the Gerrit Rietveld Academie and lives and works in Amsterdam and Bucharest today. Marina Albu’s work is pivoted on the written text and the spoken word. She derives the subjects for her audio and video works, interventions, performances, and objects from a variety of everyday incidents, events, and scenes.  www.salonuldeproiecte.ro


IADA, the International Art Development Association, is a non-profit organization aimed at supporting the cultural exchange between European and Central Asian artists in the international art world. It was IADA that initiated the presentation of contemporary artists in a special pavilion for Kazakhstan to be seen in the context of the 56th Venice Biennial in 2015, for example. Shown as part of “DIYALOG”: New Energies, the group exhibition “Ahh… Youth!” confronts the viewer with the new generation of artists from Kazakhstan. The works by Ada Yu, Bahyt Bubikanova, and Gulnur Mukazhanova on display are primarily concerned with subjects preoccupying the country’s people since the disintegration of the Soviet Union in the 1990s and with new formal solutions and modes of visualization. The title of the show is borrowed from a work by Mike Kelley from 1991.

In her current work shown in the context of “DIYALOG”: New Energies, Ada Yu deals with the place where she was born. The photograph titled Counterpoint (2013) captures the magic moment the artist experienced as a child following the clouds in the sky while sitting in an apple tree. Bahyt Bubikanovaʼs painting is characterized by a profound, powerful and extraordinary mode of visualization. A first look at the both lively and static pictorial and color compositions of her “Metaphysics Series” (2013) already triggers a feeling of anxiety and makes the viewer explore his/her own fears. One of the subjects Gulnur Mukazhanova devotes herself to in her works is the issue of identity in Kazakhstan and the loss of cultural values and the country’s national roots through the increasing globalization. The vanishing of the traditional Kazakh wedding dress and the saukele, the female wedding headdress, serve as an example. In her work Mankurts in the Megapolis (2013) she thematizes this loss, using a mankurt ‒ a being half-human and half animal that serves as a slave –  as a metaphor. As Asian victors pulled the skin of a freshly slaughtered animal over their prisoners’ shorn heads in former times, knowing that the skin, drying in the sun, would shrink, press the brain together like iron clamps, and make the victim lose his senses and will, globalization exorcises man’s ability to remember.



Cda Projects was founded by Moiz Zilberman as a gallery for contemporary art in Istanbul in 2009 to help make known the work of young Turkish and international artists. Since 2010, Cda Projects has been organizing the project “The Young Fresh Different” through an open call. For “DIYALOG”: New Energies, Cda Projects has prepared a selection of works by Burçak Bingöl, Alpin Arda Bağcık, Zeynep Kayan, and Özlem Şimşek which explore the social, political, economic, and human alienation caused by the influence of post-capitalism.

Burçak Bingöl’s work comprises drawings, photographs, and ceramics. She is concerned with such subjects as fragility, detachment, and alienation grounded in our present-day understanding of picture and form, mass production, and repetition. Alpin Arda Bağcık  examines our perception of reality in his work. He deliberately defamiliarizes the impressions resulting from our individual and socially informed perspectives by incorporating unequivocally ambivalent and almost schizophrenic structures in his works. Zeynep Kayan’s photographs and video works unfold as an unrelenting search for old things from which she creates something new through re- and deconstruction. An expressive pictorial language results from the visual motifs she uses, reworks digitally and photographs again and again. Özlem Şimşek writes contributions to various media such as Cumhuriyet, Genis Açi Photography Magazine, and Hürriyet Gösteri. Her central field of research is photography as a mode of expression in contemporary Turkish art after 1980. She lives and works in Istanbul.


Background Information

OMV Aktiengesellschaft

With Group sales of EUR 42.65 bn and a workforce of around 29,000 employees in 2012, OMV Aktiengesellschaft is Austria’s largest listed industrial company. In Exploration and Production, OMV is active in two core countries Romania and Austria and holds a balanced international portfolio. OMV had proven oil and gas reserves of approximately 1.12 bn boe as of year-end 2012 and a production of around 303,000 boe/d in 2012. In Gas and Power, OMV sold approximately 437 TWh of gas in 2012. In Austria, OMV operates a 2,000 km long gas pipeline network with a marketed capacity of around 103 bcm in 2012. With a trading volume of around 528 TWh, OMV’s gas trading platform, the Central European Gas Hub, is amongst the most important hubs in Continental Europe. In Refining and Marketing, OMV has an annual refining capacity of 22 mn t and as of the end of 2012 approximately 4,400 filling stations in 13 countries including Turkey. OMV further strengthened its position through the ownership of a 97% stake in Petrol Ofisi, Turkey’s leading company in the retail and commercial business.

OMV sponsoring

OMV's sponsorship extends to sport and culture. In the sporting arena, OMV is involved in regionally significant locations in Central and Eastern Europe in ski jumping (national ski associations in Austria, the Czech Republic, Slovenia and Romania), running and football. OMV's cultural sponsorship focuses on promoting cultural exchange between its core markets in Austria, Romania and Turkey in the field of contemporary fine arts.

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