curators Anca Benera, Arnold Estefan

19 - 23 April, 2011


Self-publishing in Romania has a complex and still insufficiently researched and publicized history. Under Ceausescu dictatorship, the ideologically imposed state regulation over the cultural and artistic realm was extremely harsh, the production of independent publications increasing only in the early ‘90s. In times of “freedom”, ideological censorship has been replaced by new constraints. Publishing as a means of self-expression and samizdat as a form of it, born in specific oppressive conditions, might shed a new light on the meaning of self-publishing, its forms and challenges today. What are the new forms of censorship today? What are the limits and means of self-expression / self-censorship and freedom of speech? What is the role of printed matter in the age of internet and social networks?

The practical part of the workshop consists in producing a publication on the subject of censorship. Marco Balesteros & Sofia Goncalves (Portugal), Renata Catambas (Portugal/NL), Rafaela Drazic (Croatia), Elenora Farina (Italy), Ward Heirwegh (Belgium), Tzortzis Rallis (Greece/UK), Katarina Sevic (Serbia/Hungary), Golie Talaie (Iran/NL), Paul Wiersbinski (Germany) will develop the content and editorial format.

In addition, a series of public lectures take place:

LIA PERJOVSCHI (Tuesday, 19 April, 7.30 PM)

Art has changed, aesthetics are not enough, to criticize without proposing something is outdated. To do what you can, out of what you have (based on world/local/personal view) may be a form of art.

PIOTR RYPSON (Wednesday, 20 April, 7 PM)
From Underground to Overground

Polish underground and samizdat press and publications became a wide-spread phenomenon in the 1980-s. Hundreds of titles covered politics, economy and religious issues. Parallel to them developed an independent circuit of art publications, having its roots in artistic samizdat of the 1960-s and 1970-s. Lecture by Piotr Rypson will present the main artistic and literary publications of that time – and show how they have made ground for the resurgence of cultural magazines in the last decade.

VASILE ERNU (Wednesday, 20 April, 8 PM)
New forms of protest in the former Soviet States: From Tweeter to street riots

The largest part of the former Soviet territory has been subjected, starting from 2000, to an intense process of depoliticization. The “capitalism with human face” has taken hold of everything, and the most important social and cultural groups either got too close to the political power, or set out to make a profit at all costs. The oases of independence from the Power’s domineering bureaucratic-commercial structure have become extremely rare. In the context of this prevailing system of software control, several independent groups have nevertheless managed to emerge, groups which brought alternative forms of reflection and action. How did they manage to organize themselves? What are the forms of protest to which they resorted? How are these networks developed and what else is new on the Eastern front?


OLGA ZASLAVSKAYA (Thursday, 21 April, 7 PM)
Archiving resistance: Samizdat and its archives

The recent research into the particular case of samizdat as an archival document reveals how the integrity of written memory can be destroyed. The documents and artifacts produced in the underground milieu in the countries of the Soviet Bloc were excluded from the long-term preservation policy. At the same time, the singularity of the historical context that had motivated the emergence and spread of samizdat also engendered the peculiar logic of its circulation. A significant share of samizdat documents were smuggled out of the communist countries to the West, ending up in numerous organizations and private collections abroad. The dispersed character of samizdat archival sources has a negative effect on the quality of research in this area. One of the main objectives of the International Samizdat [Research] Association is to find and work out possible solutions
to overcome the decay of samizdat materials both physically and “virtually”—in the collective memory of the present and for the cultural memory of future generations.

This project has been funded with support from the European Commission.This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.

In partnership with: UAP, Institutul Polonez, Galeria Posibila, Biblioteca Alternativa, Tipografia 3B

Media Partners: Zepellin, Arhitext, IglooMedia, Observator Cultural, Radio Romania Cultural, CriticAtac, 9am.ro, WebPR.ro, hipmag.ro, modernism.ro, studentie.ro, veiozaarte.ro, artboom.ro, neaparat.ro, metropotam.ro, artactmagazine.ro, revista Arte si Meserii, gingergroup.ro, artclue.ro, TATAIA.




regional express

research in context

ars telefonica


back shift




Artist talk Katarzyna Kozyra
Wednesday, June 16, 7pm


Katarzyna Kozyra’s presentation at CIV introduces the context and the history of the project The Midget Gallery, part of a cycle of works grouped under the title In Art Dreams Come True.

All parts of the project In Art Dreams Come True are connected through a variety of styles, combining fiction with documentary, comedy with drama. Each phase of the project is documented on video and then presented as a separate work. The Midget Gallery, the ironical action proposed by Katarzyna Kozyra, is the latest performative stage of the cycle. The Midget Gallery opened in 2006 during the 4th edition of the Biennale Berlin and traveled the same year at London Frieze Art Fair and in 2007 at Liste and Art Basel, revealing the economic and institutional mechanisms that characterize such events.

Katarzyna Kozyra studied German Philology at the Warsaw University between 1985 and 1988, then sculpture at the Academy of Fine Arts in Warsaw. After graduation in 1993, she quit practicing sculpture for photography, video installation and performance. In 1997, Polityka magazine awarded her for the most promising Polish artist. Kozyra represented Poland at the 48th edition of the Venice Art Biennale (2006) where she won an honorary mention. She lives and works in Warsaw, Trento and Berlin.




Katarzyna Kozyra’s presentation will be held in English and is part of the program Regional Express. Artistic, Curatorial and Institutional Strategies in Central and Eastern Europe.

Event organized with the support of :


Mixed & Mastered
Greek Video Art from the 00's
curators: Xenia Kalpaktsoglou & Christopher MarinosFriday, 23 April 7 pm


On Friday 23 April, CIV hosts a new series of talks and screenings part of the program Regional Express. The guests are Greek curators Xenia Kalpaktsoglou and Christopher Marinos. Their presentations offer an overview and a critical assessment upon the contemporary Greek art scene in the last decade. Through the presentation of artists, exhibitions and independent initiatives, as well as the screening of particular artworks, their talk will address issues pertinent to the development of the Greek art scene. Consequently, aspects related to the institutional dynamic will be identified, as well as insights into the methodologies and principles of local artistic practices. Xenia Kalpaktsoglou presents the Athens Biennale, emerged from the intense cultural activity that makes Athens one of the most interesting places for contemporary art. The Biennial functions as a platform for designation and critical engagement of local artistic production, as well as a forum of discussion and exchange with the international scene.

Xenia Kalpaktsoglou is a curator and co-director of the Athens Biennale. In collaboration with artist Poka-Yio and curator/art-critic Augustine Zenakos, she co-founded in 2005 the Athens Biennale. With the same collaborators (as the curatorial team XYZ), she co-curated the 1st Athens Biennale 2007 Destroy Athens and acted as artistic director for the 2nd Athens Biennale Heaven 2009. Recent XYZ projects include: John Bock: A Lecture and a Film Retrospective (Athens, 2008), Goldfish Suddenly Dead (Extra City, Antwerp, 2009). Apart from her independent curatorial practice she is also a regular contributor to artists’ catalogues and various project-based publications. From 2006 until 2008, she was the director of the DESTE Foundation, Centre for Contemporary Art Athens.

Christopher Marinos is an art historian and curator based in Athens. He is the founder and co-editor of the online art magazine kaput (www.kaput.gr). During 2005-06 he worked as an art historian/researcher for the National Museum of Contemporary Art in Athens (EMST). He is the editor of Possibilities: Interviews with Young Greek Artists (futura, Athens, 2006) and Meatspace: Art in a State of Emergency (www.meatspaceart.org). Since 2002, Marinos has been contributing regularly to various Greek art journals and exhibition catalogues. In 2006-07, he co-edited (with Xenia Kalpaktsoglou) the visual arts section in Velvet monthly magazine. He is the Athens correspondent for Flash Art International and Modern Painters, and a founding member of the Reading Group (http://readinggroupathens.blogspot.com). Marinos was one the curators of the 2nd Athens Biennial 2009.



Event organized with the support of:

In partnership with:

Media partners :


Between Body and History
Lecture by Magdalena Ziolkowska
Monday 7 December 7 pm


Magdalena Ziolkowska is guest curator at Van Abbemuseum in Eindhoven and curator at Muzeum Sztuki in Lodz, Poland. She recently curated Sanja Ivekovic exhibition at Muzeum Sztuki in Lodz (2009) where she is also co-organizing the project Art Always Has Its Consequences (2008-2010) (www.artalways.org) - an international platform for art from post-communist Europe. She was an assistant editor of publication „Possible Museums“ (Walter König, Cologne 2007) and editor of “Notes from the Future of Art. Selected Writings of Jerzy Ludwinski” (Veenman, Rotterdam 2007).

Artur Zmijewski | Rendez-vous | 2004 | 8"; Our Songbook | 2003 | 11"

Artur Zmijewski (b. 1966, Poland) lives and works in Warsaw. Between 1990-1995 he studied studieaza at Academy of Visual Arts Warsaw. He is invited to exhibit by prestigious art institutions and contenporary art spaces: MOMA, New York, 2009; Foksal Gallery Foundation Warsaw 2009; Neuer Berliner Kunstverein, Berlin, 2008; Basis voor Actuele Kunst, Utrecht 2008; Kunsthalle, Basel 2005; Polish Pavilion – Vinice Art Biennale 2005; Centre d'art Contemporain de Brétigny, Brétigny-sur-Orge 2004. He participated among others in: The Reach of Realism, MOCA, Miami 2009; What Keeps Mankind Alive, Istanbul Biennale 2009; Opposition & Dialogues, Kunstverein Hannover 2009; On the Tectonics of History, Motorenhalle, Dresden 2008

Anna Niesterowicz | HH | 2002 | 8"

Anna Niesterowicz (b. 1974 Polonia) lives and works in Warsaw. Niesterowicz graduated the Kowalski studio at the Warsaw Academy of Fine Arts (1995–2000). Selected individual exhibitions: Hanba, Foksal Gallery Foundation, Warsaw, 2006; Common Germ, Galerie Jesco von Puttkamer, Berlin, 2004; Polska czesc Slaska, Bytomskie Centrum Kultury, Bytom 2004; Unreal Castle, Laboratorium Gallery, CCA Ujazdowski Castle, Warsaw, 2002; Calling 07, Transmission Gallery, Glasgow, 2001; Darkness and Mould, Foksal Gallery, Warsaw, 2000.


Yael Bartana | Dreams and Nightmares | 2007 | courtesy the artist


Yael Bartana | Dreams and Nightmares | 2007 | 10" 50'

Yael Bartana (b. 1970, Israel) lives and works in Amsterdam and Tel Aviv. Bartana received a BFA from the Bezalel Academy of Arts and Design (Jerusalem, 1992–1996), she studied as well at Rijksakademie van Beeldenden Kunsten, Amsterdam (2000-2001). Selection of individual exhibitions includes: PS1, New York 2008; Foksal Gallery Foundation, Warsaw 2008; Kunstverein Hamburg 2006; MIT List Visual Arts Center, Cambridge, Massachusetts 2004. Yael Bartana participated among others in: Documenta 12, Kassel 2007; 9th Istanbul Biennale 2005; Liverpool Biennale 2004; Busan Biennale 2004; Manifesta 4, Frankfurt pe Main 2002.

The event is part of the program Regional Express. Institutional, Artistic and Curatorial Strategies in Central and Eastern Europe.

Event organized by Centre for Visual Introspection with the support of Polish Institute Bucharest.


Lecture What, How and for Whom/ WHW Zagreb
Centre for Visual Introspection/ Biserica Enei 16, Bucuresti

10 October 2008 7 pm


What, How and for Whom / WHW is a curators' collective formed in 1999 and based in Zagreb, Croatia. Its members are curators Ivet Curlin, Ana Devic, Natasa Ilic and Sabina Sabolovic, and designer and publicist Dejan Krsic. Since May 2003 WHW has been directing the program of Gallery Nova - non-profit, city owned gallery in Zagreb. WHW is currently curating the 11th Istanbul Biennial (2009).

The three basic questions of every economic organization, What, how and for whom, operative in almost in all segments in life were also the title of the WHW’ first project dedicated to the 152 anniversary of the Communist Manifesto, in 2000 in Zagreb. These questions became the motto of WHW's work and the title of the collective. All WHW activities have been conceived as a platform for discussing relevant social issues through art, theory and media, as well as a model of collaboration and exchange of know-how between cultural organizations of different backgrounds. Problematic relation towards the legacy of socialism as well as local daily policy and crucial social issues as collective relationship to the past and construct of history, economic transition, question of national identity and nationalism and post war normalization have been the main centres of attention of WHW’s projects. Recently they have been working on the unsolved questions of modenism in socialist Yugoslavia, exhibition of the modernist Croatian sculpture Vojin Bakic.


Ana Devic's lecture will be centred on some of the major projects WHW: "What, how and from whom, on the on the occasion of the 152nd anniversary of the Communist Manifesto,2000, and more recent projects like “Normalization, dedicated to Nikola Tesla” and “Vojin Bakic's" exhibition. These examples of their curatorial practice were chosen because all of them are in many ways symptomatic of relations between institutional and non-institutional culture in Zagreb, and they are also examples for strategies that WHW tries to develop within the format of the exhibition.