Short guide for An Immaterial Retrospective of the Venice Biennale

7/28/2019 Short guide for An Immaterial Retrospective of the Venice Biennale

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Commiioner: Monica Morari

Depty Commiioner: Aleandr Damian

Crator: Ralca Voinea

Project manager: Corina Bcea

Grapic deign: Nona Inec

Organizer:


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Romanian Pavilion at te 55t InternationalArt Eibition la Biennale di Venezia


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One ndred year o itoryin a day, every day

For the entire duration of the 55th International Art Exhibition la Bi-ennale di Venezia, in the Romanian pavilion a small group of perform-ers will enact, during opening hours, a selection of art works, momentsor situations that were presented or occurred at the Venice Biennale.From its founding in 1895 until the present day, from iconic works tocontested or scandalous ones, from mainstream Western Europeanartists to anonymous ones, from sculpture to abstract installations andto decorative arts, the history of the most famous world exhibition ofcontemporary art is brought to life through the poses and movementsof a few human bodies. The retrospective is created and recreateddaily, in an ongoing action in which the works are following each other

and complete each other, in the same way in which the gestures of theperformers and their spoken words are conceived both autonomouslyand as sequences. Thus, one can say that An Immaterial Retrospec-tive of the Venice Biennale is an exhibition just as much as it is a liveperformance.

The history of the Venice Biennale is presented neither chronological-ly nor hierarchically, still, the projects scope is not to create a corr ec-tive version of art history. Marginal Venice, women artists presentedin Venice, non-Western-European artists who exhibited there - manyof these positions are inclu ded in the project but do not become moreprominent than they were in the real history of the Biennale. It is thishistory, with its mainstream and its forgotten artists that is enactedand transformed at the same time. Bronze and oil on canvas, marble orsteel, smoke and screens, hyperbolic paintings, majestic sculptures,delicate objects, immersive installations or conceptual art, perfor-mance, live art or happenings, even political situations are all evokedand reduced to their basic shapes, patterns or ideas. They are briefly

summarized and described or suggested by dry words, arching bod-ies, bending knees, rotating arms, smiles, shouts, lying downs. As ina choreographic or theatre play, the performers have to know well


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their roles and rely on each other; as in an exhibition, the visitors canget in and out at any time, come back, stay as long as they want. As

in performing arts, each day the show is repeated, for all the specta-tors deserve the full experience, no matter if they visit the Biennaleat the heat of the opening or at any other time; as in visual arts, evenif deprived of objects, the exhibition is there to be seen, offering thecertainty of constant presence. At the same time, the show is every-day a new one, no work is interpreted twice identically, the teams ofperformers are changing, their mood varies and surprises can happentoo. Some works might get replaced, others might become interactiveand the works in the neighbouring pavilions, at the 2013 edition might

be inspirational enough that they get to be added to the retrospectiveas well. Therefore, the project is a continuous action but also a workin progress, opening up limitless possibilities and just as many ques-tions, doubts, regrets or frustrations.

An Immaterial Retrospective of the Venice Biennale didnt require anyproduction; no expensive electronic equipment was necessary, noheavy materials to be transported by boat, no logistics or safety regu-lations to be respected, no storage necessary, no customs paperwork.

Instead, performers were employed, thus human immaterial labour,Romanians working in Italy for a survival salary plus the plane ride anda bed. The same journey and no easier conditions than those in whichhundreds of thousands of Romanians and Moldovans and Albanianscurrently work in Italy more than in other places in the world: for Italyis not far from home, the language is accessible, food is good and lifeis easier to understand. The low-cost flights that the performers takefrom Bucharest to Venice are the shuttles of these immigrants and oftheir visiting families, the flux i s endless as are their hopes for a better

life.


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As always, art is political even when it disguises itself as a playfulart historical comment. In the context of the Venice Biennale, where

art is more important than institutional criticism and hedonismseems to be the dominant attitude, it becomes a real challenge forartists to problematize the conditions of presentation of their works.

Romania has a pavilion in the Giardini della Biennale. It was inaugurat-ed in 1938 and it hosted Romanian art also in 1940 and 1942, whenmany countries were not participating, their pavilions being occupiedby the Italian army. The discourse in Romanian culture revolves cir-

cularly around issues such as periphery, provincialism, lack of recog-nition and other complexes. Yet, Romania has a pavilion in the Giar-dini, bought by the Romanian state. It also owns a building which isnow hosting the Romanian Institute for Culture and Humanistic Re-search and a second Romanian project that became part of the officialprogramme of the Venice Biennale. Romania suffers that ConstantinBrancusi was never presented in the Romanian pavilion. His workswere included in the general biennale very late, as was the case withmost of the avant-garde (with the notable exception of futurism, whichfound its comfortable place in the catalogues opened by the portrait

of Mussolini and in the exhibitions visited by Hitler). Obsessions ofnational, ethnic and religious identity are the new old jewellery at theneck of governments in countries which we believed and hoped to besecular and modern. In Venice, art that consolidates these obsessionsand art that downplays them are equally welcome, the latest trends ofthe season in politics are well reflected and the runway is generous inglitter and glamour for all. Oligarchs collections, new commissions bythe Vatican, propaganda or harmless art from autocratic states, proj-ects about climate change, all find thei r way to Venice, which lives now

probably its most glorious time of inclusiveness.


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According to the well-known saying, for a faithful cartographic depic-tion of the empire, one would n eed a map as large as the empire itself;

thus, a retrospective of the Venice Biennale worthy of its title couldonly be made on a scale of 1:1. For a small country (which in fact isthe 8th largest country of the European Union by area and the 7th bypopulation), situated at the crossroads of Empires (Russia, the US,the EU or Turkey, they all have their share of economic and militaryinterest in Romanias strategic position), to present in its national pa-vilion a retrospective of the entire history of the Venice Biennale hasseveral meanings. It is an irony addressing the megalomania of manypolitical decisions and cultural works in Romania, of yesterday and

today; it is a criticism towards the enormous budgets which are spentevery two years, by everybody (from state representatives to galler-ies and collectors) for the arts presentation in Venice and towardsthe decontextualized settings in which this takes place, irrespectiveof the economic and political conditions of the contexts where this artoriginates; and it is not least an homage to the spectators who thinkthat art is nevertheless interesting and who make their own archivesof memories from what they see at the Biennale. An Immaterial Retro-spective of the Venice Biennale represents, in addition to all that, anexpression of confidence in a future of art which is less fetishist and

object-oriented, which contests hegemonic interpretations of historywithout replacing them with equally hegemonic others, an art whichis not beyond and more important than artists or than the people whocontribute to its making.

In 1974, the Venice Biennale interrupted its numbering of editions andreplaced that year exhibition with a series of events dedicated to Chile,at that time under the recently installed military dictatorship of Augus-

to Pinochet. Under the title Freedom to Chile, workers and artistsshowed their solidarity with the Chilean people, the Biennale was ev-erywhere in the streets of Venice, as anonymous graffiti, posters and


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popular theatre or music interventions replaced the big scale showand put aside the recognized names; no Holly wood actor-collector wasthe visiting star but the wife of Salvador Allende. Four decades later,with pinochets everywhere in a world which miseries are better knownbut, nevertheless, ignored, no biennale affords to make such a boldstatement, Venice the least of all. Art is a lucrative business, the citylives from it and the artists profit from it, who are we to change that?

Instead, the project proposed by Alexandra Pirici and Manuel Pelmutakes the Venice Biennale as it is and looks at i t lightly and ser iously at the

same time, offering an experience and an exercise of imagination bothto those who perform its art history and to the ones who remember it.

Raluca VoineaMay 2013


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Lit o work enacteddaily in te Immaterial

Retropective ote Venice Biennale


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Enactment o Eve

sculpture by NemesioMogrobejo y Absolo

the Spanish room6th International Art Exhibitionof the City of Venice, 1905

A L E x A N D R A P I R I C I & M A N u E L P E L M u


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Enactment o Toward Lie

sculpture by Victor Rousseau

Belgian Pavilion10th International Art Exhibition

of the City of Venice, 1912

A N IMMAT E RIA L RE T ROs PE CT IVE Of T hE VE NICE BIE NN A LE


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Enactment o Rabbi

painting by Marc Chagall

16th International Art Exhibitionof the City of Venice, 1928



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Enactment o Te Animal

installation by Ernesto Neto

49th International Art Exhibition:Plateau of Humankind, 2001



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Enactment o TeOice o Inormationabot te Vietnam Warat Tree Level:Te Vial Image,

Tet and Adioinstallation by David Lamelas

34th International Biennial ArtExhibition,1968



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Enactment o a ceramicobject rom ukraine

U.S.S.R. Pavilion37th edition,

La Biennale di Venezia, 1976

A N IMMAT E RIA L RE T ROs P E CT IVE Of T hE VE NICE BIE NNA LE


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Enactment o Leonardowit i Grandater,Palazzo Papadopoli

photograph by Nan Goldin

exhibition Real Venice54th International ArtExhibition: ILLUMInations, 2011



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Enactment o To Raie teWater Level in a fipond

documentation of aperformance by Zhang - Huan

48th International Art Exhibition:dAPERTutto, 1999



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Enactment o teretropective o painting

by Amedeo Modigliani

17th International BiennialArt Exhibition, 1930



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Enactment o Time,Mitake, space

installation by Gino de Dominicis

38th edition, La Biennale di VeneziaFrom Nature to Art From Art to Nature, 1978



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Enactment o a drawing

by Jos Clemente Orozco

Mexican Pavilion25th Biennale di Venezia, 1950



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Enactment o an eventwen ten toand btterlie

were reed rom anenormo wooden cet

in st. Mark qare

36th International Art Exhibition:Work and Behaviour, 1972



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Enactment oTe fligt o Carlete Bold

painting by Eugne Burnand

2nd International Art Exhibitionof the City of Venice, 1897



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Enactment o ho! ho! ho! MerryCritma: Battle o Eael Point -Memorial Project Okinawa

video by Jun Nguyen Hatsushiba

51st International Art Exhibition:Always a Little Further, 2005



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Enactment o a drawingdepicting two tiger

the Japanese room14th International Art Exhibition




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Decription o abanner ngotide te Giardini

52nd International Art Exhibition:Think with the Senses, Feel with theMind: Art in the Present Tense, 2007



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Enactment o Reclining figre

sculpture by Henry Moore

British Pavilion24th Biennale di Venezia, 1948



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Enactment o Trotkya Commander o teRed Army

painting by Iurii Annenkov

USSR Pavilion14th International Art Exhibitionof the City of Venice, 1924



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Enactment o Black Circle

painting by Kazimir Malevich

USSR Pavilion14th International Art Exhibition




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Enactment o Play/ Relaation -Active space orDidactical Action

35th International Art Biennial, 1970



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Enactment o an embroiderydepicting a girl playing

an intrment

Peoples Republic of China exhibition39th edition, La Biennale di Venezia:

Visual Arts Section: 1980



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Enactment o an embroiderydepicting a boy playingan intrment

Peoples Republic of China exhibition39th edition, La Biennale di Venezia:Visual Arts Section: 1980



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Enactment o "salom"

painting by Federico Armando Beltran-Masses




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Enactment o clptre

by Marina Nez del Prado

26th Biennale di Venezia, 1952



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Enactment oQetion, 19812003

slide-installation by Peter Fischli & David Weiss

50th International Art Exhibition: Dreams andConflicts. The Dictatorship of the Viewer, 2003



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Enactment oTe flower Carrier

painting by Diego Rivera

Mexican Pavilion25th Biennale di Venezia, 1950



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Enactment o apainting rom te

Made in heaven erie

by Jeff Koons

44th International Art Exhibition:Future Dimension, 1990



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Enactment o a paintingdepicting window waer

U.S.S.R. Pavilionthe 31st edition ofLa Biennale di Venezia, 1962



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Enactment onidentiied work

bas-relief with women




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Enactment o "sade oldinger foot (Depair)

sculpture by Auguste Rodin

2nd International Art Exhibitionof the City of Venice, 1897



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Enactment o "Tirtyare Better tan One

silkscreen by Andy Warhol

41st International Art Exhibition:Art and the Arts, 1984



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Enactment o te inagrationo te non-eitentsot Arican Pavilion

an event by Vincenzo Eulisse

42nd International Art Exhibition:Art and Science, 1986



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Enactment o + AND -

installation by Mona Hatoum

51st International Art Exhibition:Always a Little Further, 2005



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Enactment o "Ecce homo"

sculpture by Mark Wallinger

British Pavilion49th International Art Exhibition:Plateau of Humankind, 2001



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Enactment o Pberty

painting by Edvard Munch

Norwegian Pavilion27th International Biennial Art Exhibition, 1954



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Enactment o "Nmber 12

painting by Jackson Pollock

American Pavilion25th Biennale di Venezia, 1950



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Enactment o untitled

sculpture by Urs Fischer

54th International Art Exhibition:ILLUMInations, 2011



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Enactment o Te Dream

painting by Henri Matisse




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Enactment o "Balba,Godde o fertili ty"

sculpture by unknown author

part of the "Black Sculpture" exhibition13th International Art Exhibition




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Enactment o Germania

by Hans Haacke

German Pavilion45th International Art Exhibition:Cardinal Points of the Arts, 1993



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Enactment oclptre o two bird

French Pavilion18th International

Biennial Art Exhibition, 1932



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Enactment o aclptre o a panter

French Pavilion18th International Biennial Art Exhibition, 1932



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Enactment o a clptreo a cal lying down

Italian Pavilion19th International Biennial

Art Exhibition, 1934



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Enactment o aclptre o a eal

Boemia and Moravia exhibition22nd International BiennialArt Exhibition, 1940



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Enactment o"Te Lat Riot"

video by AES + F

Russian Pavilion52nd International Art Exhibition:

Think with the Senses, Feel with the Mind:Art in the Present Tense, 2007



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Enactment oA football Matc oJne 14t, 2002

detail, installation by Huang Yong Ping

53rd International Art Exhibition:Making Worlds, 2009



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Enactment o"Compoition no. 1wit Grey and Red"

painting by Piet Mondrian

Peggy Guggenheim collection24th Biennale di Venezia, 1948



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Enactment o "TePope and te Peni"

graphic works by Gran Fury

44th International Art Exhibition:Future Dimension, 1990



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Enactment o Coneion

video by Marina Abramovic




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Enactment oI am here

photographic series by Helena AlmeidaPortuguese Pavilion51st International Art Exhibition:Always a Little Further, 2005



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Enactment oLa itazione

antipettiva

part of The Blind Pavilion

installation by Olafur Eliasson

Danish Pavilion50th International Art Exhibition:

Dreams and Conflicts.The Dictatorship of the Viewer, 2003



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Interpretation o atraditional Maori ong

New Zealand Pavilion53rd International Art Exhibition:Making Worlds, 2009



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Enactment o"spreme Meeting

painting by Giacomo Grosso

1st International Art Exhibitionof the City of Venice, 1895



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Enactment ountitled (Boy)

sculpture by Ron Mueck




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Enactment oJdit II

painting by Gustav Klimt




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Enactment oL.h.O.O.Q, Mona Liawit motace

painting by Marcel Duchamp

41st International Art Exhibition, 1984



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Enactment o Pblicspace/ Two Adience

interactive installation by Dan Graham

Ambiente Arte, 37th editionLa Biennale di Venezia 1976



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Enactment o"Take Care o Yorel"

installation by Sophie Calle

French Pavilion52nd International Art Exhibition:Think with the Senses, Feel with theMind: Ar t in the Present Tense, 2007



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Enactment ospace sclptre

sculpture by Norbert Kricke

German Pavilion32nd International

Biennial Art Exhibition, 1964



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Enactment o"Wo' Wo"

painting by Hakan Gursoytrak

50th International Art Exhibition:Dreams and Conflicts.The Dictatorship of the Viewer, 2003



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Enactment o"Bird in space"

sculpture by Constantin Brancusi

Peggy Guggenheim collection24th Biennale di Venezia, 1948



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Enactment ouomo Domo

video by Anri Sala




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Enactment osock Troop

Advancing nder Ga

painting by Otto Dix




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Enactment oprotet logan

during the 34thInternational Art Biennial in 1968



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Enactment oAgaint te Wall

painting by Juan Genovs

Spanish Pavilion37th edition, La Biennale di Venezia 1976



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Enactment o a paintingdepicting ive spani people

Spanish Pavilion15th International Art Exhibitionof the City of Venice, 1926



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Qotation oTi i o Contemporary

performance by Tino Sehgal

German Pavilion51st International Art Exhibition:

Always a Little Further, 2005



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Enactment o Tehanged Trkey

painting by Chaim Soutine




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Enactment o how toBlow up Two head at Once

installation by Yinka Shonibare

African Pavilion52nd International Art Exhibition:Think with the Senses, Feel with theMind: Art in the Present Tense, 2007



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Enactment o"Wally Nezil in

Black stocking"

painting by Egon Schiele, 1912

Austrian Pavilion24th Biennale di Venezia, 1948



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Qotation oInciion (detail) Body Conigration

performance by Valie Export

40th edition, La Biennale di Venezia:Visual Arts Section: 1982



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Enactment o"Track and field"

installation and performance byAllora and Calzadilla

U.S. Pavilion54. Esposizione Internazionale d'Arte:

ILLUMInazioni, 2011



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Enactment o A Lie(Black et Wite)

intervention by Nedko Solakov




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Enactment o"Empty sot"

painting by Misheck Masamvu

Zimbabwe Pavilion54th International Art Exhibition:ILLUMInations, 2011



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Enactment o"Te Nint hor"

installation by Maurizio Cattelan, 1999




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Enactment o Void field

installation by Anish Kapoor

British Pavilion44th International Art Exhibition:Future Dimension, 1990



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Enactment o"Intant hoe"

interactive sculpture by Vito Acconci

39th edition, La Biennale di Venezia:Visual Arts Section: 1980



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Qotation oWall Encloing a space

intervention by Santiago Sierra

50th International Art Exhibition:Dreams and Conflicts.

The Dictatorship of the Viewer, 2003



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Enactment o stckInlatable Zeppelin

installation in public spaceby Hector Zamora

53rd International Art Exhibition:Making Worlds, 2009



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Enactment o anInti Illimanigrop ong

during theFreedom to Chile

special edition of theVenice Biennale, in 1974



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Enactment o "Tramtop.A Monment to te ftre"

installation by Joseph Beuys

German Pavilion37th edition, La Biennale di Venezia 1976



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Enactment oTe Goya serie

drawings by John Baldessari

47th International Art Exhibition:Future, Present, Past, 1997



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Enactment oCt, Carve, Engrave

work in situ by Daniel Buren

French Pavilion42nd International Art Exhibition:Art and Science, 1986



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Enactment o"Gernica"

painting by Pablo Picasso

"Paris International Exhibition"Spanish Pavilion, 37th edition

La Biennale di Venezia 1976



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Enactment olive art/ perormance

by Menashe Kadishman

Israel Pavilion38th edition, La Biennale di VeneziaFrom Nature to Ar t from Art to Nature, 1978



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Enactment oWelder

sculpture by Fekete Iosif

Romanian Pavilion27th International Art Biennale, 1954



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Enactment o"Il ono rapidodelle coe"

works by John Cage

Homage to John Cage exhibition45th International Art Exhibition:Cardinal Points of the Arts, 1993



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Enactment oAbac

installation by Serghei Shutov

Russian Pavilion,49th International Art Exhibition:

Plateau of Humankind, 2001



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Enactment ontitled

photographs by Cindy Sherman




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Enactment oVenice Rent

Collection Cortyard

installation by Guo Qiang




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Enactment o Tracer

painting-collage by Robert Rauschenberg

32nd International BiennialArt Exhibition, 1964



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Enactment oEit

neon sign by Adel Abdessemed

52nd International Art Exhibition:Think with the Senses, Feel with the Mind:

Art in the Present Tense, 2007



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Enactment oWave-ufO

interactive installationby Mariko Mori

51st International Art Exhibition:Always A Little Further, 2005



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Enactment oTriptyc

painting by Francis Bacon

45th International Art Exhibition:Cardinal Points of the Arts, 1993



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Enactment o"untitled"

installation by Jenny Holzer

U.S. Pavilion44th International Art Exhibition:Future Dimension, 1990



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Enactment o"CompoitionNmber 234"

painting by Wassily Kandinsky




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Enactment o untitled(Pblic Opinion)

by Felix Gonzales Torres

U.S. Pavilion,52nd International Art Exhibition:Think with the Senses, Feel with the Mind:Art in the Present Tense, 2007



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Enactment o Bolero(soe sine Ble)

drawings and animation by Francis Als

52nd International Art Exhibition:Think with the Senses, Feel with the Mind:

Art in the Present Tense, 2007



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Enactment orEsT

drawings by Dan Perjovschi

Romanian Pavilion48th International Art Exhibition:dAPERTutto, 1999



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Enactment opoter by

Gerrilla Girl

51st International Art Exhibition:Always A Little Further, 2005



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Enactment o Te story ote Lion/ Venice Yeterdayand Venice Today"

installation in public space(detail) by Georges Adagbo




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by Daniel Knorr

Romanian Pavilion51st International Art Exhibition:

Always A Little Further, 2005

Enactment oEropean Inlenza



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We believe the immaterial production (social relations, affectivework, the economy of attention, etc.) plays a key role (political, eco-nomic, social but also aesthetic) in todays society. It becomes muchmore important how an object performs itself/ is performed, whatpromises it contains, than what its technical qualities are.

We juxtaposed two notions that are in friction with each other: themonumental and the immaterial. The monumental presupposes some-thing solid and great, usually, and the immaterial something that can-not be archived and collected. Or at least that needs to be celebrateddifferently. We think this friction has ar tistic and political impl ications.Not in the sense of denying or producing an easy and simple critiqueof objects and of the market, more in undermining its logic. It doesntmean that we are against some forms of art, but that we try to addressthis reality of the immaterial.

Another dimension of t he work is the fact that we invest ourselves withthe right to propose a Retrospective of the oldest Biennial, in Venice.

A pavilion of a country from the periphery will write the history ofthe Biennale and will ignore certain moments or bring to the

spotlight others.

We developed the project starting from other recent works of ours,mainly from Alexandras If You Don t Want Us, We Want You and Man-uels Romanian Dance History (initiated in 2010). However, the mainreference point was the Biennial itself, its history and its significance.What it means to affirm, to write the history. The aim is not the mere

reproduction of some works but that we look at this entir e history andrewrite it in a pavilion.


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What we present is an exhibition, with actions instead of objects. Orwith actions as objects. It is not a play but the order of the works fol-lows a certain dramaturgy/ choreography. However, the work is imag-ined for a space which is not theatrical, with the possibility for thevisitors to spend more or less time inside, to come back. There is nobeginning and no end.

The performers have different types of bodies and qualities of move-ment, not just the typical dancer body. We have actors, dancers orperformers who dont have a training/ background in movement.The entire project has a certain fragility as it happens when some-thing is live and in real time. You cannot control the situation in t otalityand in this case, where the action takes place over a long time (sixmonths), it becomes even more unpredictable. However, we think thisis also the st rength of our proposal. The fact that the works are li terallyalive. They breathe, perspire, shiver and watch you.

Alexandra Pirici and Manuel Pelmu

Based on interviews realized with the authors byOana Stoica, Iul ia Popovici and Raluca Voinea


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Biograpie


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Aleandra Pirici, born in 1982, lives and works in Bucharest,Romania. Alexandra has a background in choreography and perform-ing arts but attempts to work undisciplined, across different mediums,including film and music. Her work has been presented/ exhibited atHebbel am Ufer Berlin, Tanzquartier Vienna, Kanuti Gilde Saal Talinn, Nottdance Festival UK, Salonul de Proiecte/ MNAC Anexa Bucharest, Temps dImages international festival, the Balkan DancePlatform, etc. She was par t of Cooperativa Performativ andRectifier Crew collectives, working on bringing an anarchic, opensource model in t he performative context.

Manel Pelm is a Romanian artist. He works in Bucharest andOslo. His performances have been extensively presented throughout

Europe and the United States. In 2011 he founded Cminul Cultural inBucharest, together with Brynjar Abel Bandlien and Farid Fairuz.Manuel Pelmu was awarded the Berlin Art Prize for Performing Artsin 2012 by the Akademie der Knste Berlin, the jury describing hisprojects as: often surprising and sophisticated ways of reachingthe public. They represent rebellious reactions towards the smoothand non-binding productions that serve the international arts marketand they target in a disruptive manner a culture dominated by conser-vatism. They are independent, smart and uncomfortable.


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Corina Bcea is a cultural manager working in Cluj, Romania.Since 2009 sh e is the manager of Fabrica de Pensule/ The PaintbrushFactory an independent contemporary arts collective in Cluj. Shehas been working in arts production and cultural management, havingcollaborated with several initiative groups, organizations and artistsin Romania, for various arts programmes including exhibitions, per-formances, talks, educational and training programmes. Corina holdsa degree in Philosophy, her background including training in the UK,France and Aus tria.

Nona Inec is a young designer, born in 1991, in Bucharest,Romania. She studied Art & Design at C helsea College of Art & Designin London, UK and Fashion Design at Royal Academy of Fine Arts inAntwerp, Belgium. Since 2009 she is involved in several projects in thefield of graphic design and fashion. She is currently based in Bucha-rest and works as a freelance graphic designer.

Ralca Voinea , born in 1978 in Braov, she lives and works inBucharest, Romania. She is currently co-director of tranzit.ro, an insti-tution which is part of the tranzit.org network. Since 2008 she is part ofthe editorial team of IDEA arts + society magazine, published in Cluj,Romania. She is also co-editor of Long April. Texte despre art, an artsmagazine focused on the Romanian context and published online bya group of women authors. Raluca was part of the conversations thatled to the creation of the international platform ArtLeaks. Sometimesshe writes. She holds an MA in Curating Contemporary Art from theRoyal College of Art in London (2004-2006) and a BA in Art Historyand Theory from the Arts University in Bucharest (1997-2001).


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Special thanks to:

Brynjar Abel Bandlien, Claire Bishop, ChristineBoehler, Eduard Constantin, Elena Crippa, AndreiDinu, Andrei Gavril, Daria Ghiu, Keiko Koshihara,Mihail Macovei, Otilia Mihalcea, Vlad Morariu, Cip-rian Murean, Vlad Nanc, Timotei Ndan, LauraOprea, Livia Pancu, Dan Perjovschi, Irina Radu,Nicoleta Radu, Cosmin apu, Heide Wihrheim

An Immaterial Retrospective of the Venice BiennaleShort guide edi ted by Raluca VoineaPrinted in Bucharest by Fabrik


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Romanian Pavilion, Giardini della Biennale, Venice, Italy1 June 24 November 2013

Opening hours: 10 am to 6 pmClosed on Mondays ( except June 3rd and November 18th, 2013)

Public transport : from Piazzale Roma / Railway Stationto Giardini: lines ACTV 1, 2, 4.1, 5.1, (6 from Piazzale Roma only)


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Short guide for An Immaterial Retrospective of the Venice Biennale

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