Mon 11.04.2016    19:30    map

Black Hyperbox – artists talks Alina Popa, Florin Flueraș

Black Hyperbox Talk. The talk covers part of the speculative explorations in Black Hyperbox. From means of aesthetically and conceptually reinvesting the Black Box in a moment of migration of the performance to the white cube, to approaches of the “black box” in philosophy. For further details, see #BhyperB:


Initiated by Florin Flueraș and Alina Popa

Presentations: Bogdan Bălan, Larisa Crunțeanu, Andreea David, Ion Dumitrescu, Florin Flueraș, Adriana Gheorghe, Ioana Gheorghiu, Cătălina Gubandru, Anastasia Jurescu, Alexandra Ivanciu, Cristian Nanculescu, Cosima Opartan, Alina Popa, Xandra Popescu


Alina Popa navigates between visual arts and performative arts, between the white cube and the black box, between philosophy and experimental text. In 2012 she launched together with Florin Flueraș the project Unsorcery, where they developed three concepts, practices and performances: Second Body, Dead Thinking, Eternal Feeding. Alina Popa set up with Irina Gheorghe The Bureau of Melodramatic Research (BMC) which is active since 2009. She is cofounder and coeditor/ designer of the “Bezna” Magazine and coinitiated the “Art-Leaks” Platform. She constantly works in collective projects such as: Postspectacle (Presidential Candidancy), Robin Hood Minor Asset Management.


Florin Flueraș is author and co-author in projects as: Postspectale Trilogy, Presidential Candidancy, Romanian Dance History, A Brave Search of the Ultimate Reality, Performative Cooperative etc. His projects are at the border between contemporary arts, performance, theory and politics – investigating, questioning and exploring the art’s political function as well as the way in which the “artistic”(spectacle) elements of politics and mass media may be expressed and explored from the perspective of his experience as a performer.


Bogdan Bălan, The Central Metaphor                                                                   

“[...] the central metaphor will guide the discussion from here onward, it will be helpful to consider an experiment that strongly suggests the purely experimental nature of the self.” (Th. M.)


Larisa Crunțeanu, Do as I do as I do as I do as I do

With mouth open, eyes sink. With mouth closed, eyes bulge. Holding breath, eyes bulge out completely. They wouldn’t like it if I dropped one on the floor. They don’t like it if I drop food either, they ask me to eat it. I wouldn’t want them to ask me to eat my eye.


Andreea David, I am Just About to Go Further or I am Just About to Change my Mind

How do we distinguish between the actual space of the theater and the reality of the imaginary space? How can one linger in-between them? What if the middle is the beginning?


Ion Dumitrescu, Present by Forfeit

I will not be there.


Florin Flueras, End Dream (Point of Difference)

The theater’s black box ends the outside reality with the reality of the performance. It is possible for a performance to suspend its reality with its own means? But is this suspension not part of the performance, the performance part of reality, and reality part of the suspension?


Adriana Gheorghe, Spoils

Receiving a performance implicitly builds you as a subject. Doubt that subject that you’re shaped into by what is visible and languaged. I devoted myself to hiding most of what I address to you, getting in and out of subjectivities. You’ll be comforted to know that something else is hiding me.


Ioana Gheorghiu, Synthetic Sophisms

Testing reductions with a penchant for denotative perfection and maximum of synthesis: not necessarily false, but necessarily insufficient.
There is nothing else but sound.

C: “How do you say white?” C: “Night.” C: “No. White, not Night.” C: “White.”


Cătălina Gubandru, The Tiger in the Box

The tiger lives in the jungle. No description available for this feature.


Alexandra Ivanciu and Anastasia Jurescu, Re-sistering

In the state of Possession, my false Self possesses my real Self. I turn against my Self. I try to kill my Self and my Sister Self. I am reversed imitation. Once mindful of the Sister, I am her, I am her Self, spinning into the deep Background of the Self. A tribute to Mary Daly.


Cristian Nanculescu, Neither Head Nor Tail

Score for actions, movement, states of mind, people, the empty stage and the memory gap. Contents exhibited that are forming, deforming and erasing themselves. The interpretation of this content is corrupted by the presence on stage and the imagination of the viewer. Without beginning or end.


Alina Popa, End Dream (Point of Indifference)

I cover the space with space. I cover magnitude with a point and hide my perspective in your internal time. The black box moves around a single point and bleeds its dead center away towards the limits. Where does a box take place? I moved your space one point further into the out.


Cosima Opartan, The Sound of the One Hand Clapping

Hearing tutorial for the sound produced by the one handed clap.


Xandra Popescu, If we want Things to change, Things will have to stay as they are

How to come up with a method? A method for being here and now. I write a method. It is a good method. I like it. But I could come up with a better method. I am told that until I find the better method, I could use the good method. I refuse. I won’t accept anything less than the optimal method.