Video / Visual Arts Installation / Dance
2024
MAPPING ‘89, History and Video Mapping Show
Timișoara
Those who make revolutions don't get to rule. The 1989 revolution is about a moment of collective power.
20th of December 1989 is the day the Revolution moved from the street to the balcon of the Opera. Mapping '89 speaks About this Revolution, about the city of Timisoara, about communism and history, through elements of architectural videoprojection, graphic movies on tape, poetry, maps of the route of the people and photos from the periodic of 15-25 December in Timișoara.
2021
Video mapping – Multimedia Dictionary of Romanian Theatre
Bucharest
Video mapping projected on the facade of the Odeon Theatre in the capital city to mark the launch of the Multimedia Dictionary of Romanian Theatre. An event organized as part of the Visual Installations section of the 31st edition of the National Theatre Festival.
2018
Confessions of Faith
Mogoșoaia Palace
About our faith in God, the greatest and the sternest of all forms of faith, only LOVE can speak. I would like to draw a heart instead of this text, a heart able to contain these words. That was unreachable.
This exhibition should be imagined as a halt through a bigger project staged by the artist known as Romanian Diary. This is the first exhibition from this series of documentary theater representations, and I represent to myself this interruption as a holly halt. Because the wholeness of the inner dialog inside the cuhnia, as Carmen Lidia Vidu stage it, represents a very personal story about faith. A story about the relation with God, brought from the village of Socolari, the village of the artist’s grandparents, in the courtyard of the Brancovenian palace. Privates stories about people, times and events are told, moments which reinforced or tested the faith, stories about how could faith move mountains if it would be enough.
Everything exposed has been brought from home, each “object” part of this exhibition has a very deep personal weight, it comes from a direct genealogical line, they belong to the family. The grandmother’s pray or one of the neighbors, the walk of the grandfather towards the church, father Cristian Barbosu’s sermon, the wall statements (păretare) preserve that unique accent and they cover, as Carmen imagined it, the old kitchen’s walls.
I would like this exhibition to be seen as you would be walking along the alleys of the village of Socolary and there, you would meet the artist and have chat about faith. That dialog is now staged on the walls of the old cuhnia.
This exhibition should be imagined as a halt through a bigger project staged by the artist known as Romanian Diary. This is the first exhibition from this series of documentary theater representations, and I represent to myself this interruption as a holly halt. Because the wholeness of the inner dialog inside the cuhnia, as Carmen Lidia Vidu stage it, represents a very personal story about faith. A story about the relation with God, brought from the village of Socolari, the village of the artist’s grandparents, in the courtyard of the Brancovenian palace. Privates stories about people, times and events are told, moments which reinforced or tested the faith, stories about how could faith move mountains if it would be enough.
Everything exposed has been brought from home, each “object” part of this exhibition has a very deep personal weight, it comes from a direct genealogical line, they belong to the family. The grandmother’s pray or one of the neighbors, the walk of the grandfather towards the church, father Cristian Barbosu’s sermon, the wall statements (păretare) preserve that unique accent and they cover, as Carmen imagined it, the old kitchen’s walls.
I would like this exhibition to be seen as you would be walking along the alleys of the village of Socolary and there, you would meet the artist and have chat about faith. That dialog is now staged on the walls of the old cuhnia.
2013
Dancing Frames
Bucharest
The photo-video project Dancing City was decomposed and recomposed in the form of audiovisual and interactive installations.
2013
Dancing City
Bucharest, Brasov, Cluj, Timisoara
Dancing City overcomes the state of a common cultural project by creating a space where dreams become a spirited living force.
2012
Ion Barladeanu, my cowboy
Bucharest, Romania
Ion Bârlădeanu is not an artist in the classical sense of the word: he has no specialized studies, and the works he creates for more than thirty years have a rather self-therapeutic function (of ingenuous assertion of his own desires and obsessions, but also of an inner freedom) than a purely aesthetic addressing to a potential spectator. Ion Bârlădeanu is a character in the full sense of the word: he has always dreamed of playing in movies, being a hero ... Collages he realizes are nothing but his own films, composes them as a director after a story he imagines.
The installation designed by Carmen Lidia Vidu does nothing but "put on stage" the character Barladeanu, gives him the opportunity to be a Western hero as he has always dreamed of.
