Critical distance

Issue no. 4 • 18 October 2021

This issue of ARTSENS focuses on introspection and internal and external awareness developed with means such as measurements, associations and analogies, during an artistic journey taken on a route loaded with historical content, critical views and contemplative attitudes.

In an unknown and undefined space, time and the senses are anesthetized, altered and unidentified. The same physical distance is perceived as taking decades to cover by some people, but only seconds by others. For some it is just a couple of meters, for others, it is nine thousand kilometres.

The project is based on the visual and conceptual research and analysis of legendary places shrouded in mystery, which have generated exploratory journeys, stories and visual projections over time. The exhibition is structured around the duality of the mythology of knowledge and creation, where making a choice marks the creation of a new set of values that determine the development of a new identity detached from stereotypes and foreseeable existential paths.

At the fourth edition of the Art Encounters Biennial, ISHO offices host Landscape in a Convex Mirror, an exhibition curated by Mihnea Mircan, which includes the works of 42 Romanian and international artists.

In truth, our cities hide stories on every street corner. We step on them unconsciously every day, carried away by thoughts about an uncertain future and naively ignoring how we got here. We often think of history as those great events that have twisted the political history of the world, redrawn borders or killed thousands of people.

I 01 = Us

by Dani Gagiu

Nowadays the functions and purposes of art are as diverse as the forms it can take. Art can be quite “nice” and perfect for decorating our guest room sometimes, but it is also more than capable of setting off alarms or presenting a situation that influences our world from a different angle.

performance is that type of art that is created by the actions of the artist and/or the participants. Depending on the artistic vision, it can be live or recorded, spontaneous or based on a scenario.


by Alexandra Mereuți

Manuel Pelmus has recently described his practice as “live ongoing action”. Consequently, my subtitle has the form of an announcement for a live action that has begun, is going on now and will continue indefinitely.

I started from a list of works that looked like cardinal points for the project map and I thought of a series of juxtapositions, not necessarily harmonious, of these projects and other works I had come across during my research. I attempted to create a sequence of reflections, intermediary spaces and transitions, to give the project general dynamics. 

In an artist’s studio, space and time are “rattled”. The studio becomes impermeable; it turns into a capsule of ideas, thoughts and artistic expression. A laboratory of creation where questions, experiments, mistakes, accidents, games, analyses etc. prevail, the studio is the artist’s sanctuary that favours and prompts the delicate act of knowing oneself and reflecting on the environment.

What is the importance of images in the context of historical and political knowledge? The image, through its materiality, can provide us with a new key to understanding the tensions between several time variables, accumulated in a constellation of paces and durations. Consequently, confronting the image implies confronting time.