At the 53rd International Art Exhibition - La Biennale di Venezia
2009, the Romanian Pavilion features works by artists Stefan
Constantinescu, Andrea Faciu and Ciprian Muresan. The three artistic
positions will be conceptually united within a site-specific
installation conceived by the studioBASAR architectural group as a
theatre set.

Artists possessing the experience of exile, of the shift in political
regimes, social transitions, Stefan Constantinescu, Andrea Faciu and
Ciprian Muresan relate in their work to the theatricalisation of
social practices, the encrypted "dramaturgy" of the public realm, and
the complex order of individual destiny.

Stefan Constantinescu was born in 1968 in Bucharest and now lives in
Stockholm, Sweden, and Bucharest, Romania. His works "Troleibuzul 92"
and "Passagen" are focused on events, situations and everyday
occurrences – which confront personal destiny with historical
dystopias, expressed either in the form of anthropological
documentary or fictional film with neo- realist features. Putting
onto the stage what is personal, intimate, subjective, Stefan
Constantinescu confers upon his films the status of investigations
into themes such as solitude, alienation and social violence.

Andrea Faciu was born in 1977 in Bucharest and lives in Munich,
Germany. In "EXUBERANTIA suspended," the artist is the director of a
screenplay in which the viewer escapes into a detemporalised space of
reverie. Reflecting on the reciprocity between stage and spectator,
between the instrumental and the aesthetic, between the object of
dreaming and the dreamer, Andrea Faciu proposes the traversal of an
experience in which the instantaneity of the relationship between
subject and world is dominant.

Ciprian Muresan was born in 1977 in Dej and lives in Cluj-Napoca,
Romania. His works "Auto-da-Fe" and "Dog Luv" operate with different
modalities of transposing literary texts into images. The artist does
not pursue fidelity to the text or narrative re-construction, but
rather the staging of sophisticated visual sequences, in order to
punctuate versions of the real, obsessively inter-related with the
imaginary. The subtle tension released by the subjective
re-transcription of texts offers the spectator a projection of
fragments of a world in transformation, in which aspects of security,
control and individual choice are brought to the fore.

Dwelling upon the still open severance between the artist's vision
and the viewer's expectations, between what the artist places on
stage as a "scenario" and what the viewer progressively discovers in
time, The Seductiveness of the Interval proposes a reflection upon
the conditions whereby the exhibition space is transformed into a
space of self-reflection by means of the gaze.

Organisers:
The exhibition at the Romanian Pavilion is financed by the Romanian
Ministry of Culture, Religious Affairs and National Heritage and has
received the support of IASPIS, ORION Electrics Romania, Peill
Stiftung, Leopold Hoesch Museum Dueren, Botanisher Garten Munchen
Nymphenburg, Murfatlar, Romanian Institute for Culture and Humanistic
Research of Venice and Ministry of Foreign Affairs of Romania.

Publication:
The publication, edited by curator Alina Serban and art critic Mirela
Duculescu, brings together essays by the following cultural theorists,
scholars and curators from the field of art: Mieke Bal, Roann Barris,
Adina Bradeanu, Hanneke Grootenboer, Erika Fisher-Lichte, Catrin
Lundqvist, Dan Lungu, Angelika Nollert, Andrei State, Saviana
Stanescu, Katalin Timar, Ovidiu Tichindeleanu, Adnan Yildiz.

The publication has been produced in partnership with the Romanian
Cultural Institute of Stockholm and the Romanian Institute for
Culture and Humanistic Research of Venice.