“30 pieces gathered from the banks of the Dâmbovița – October 2012”

—Site-specific installation: 30 items, each accompanied by a description and a map of the location from where it was taken; 5 archive photographs of the Dâmbovița River. The installation was exhibited at the National Library (Bucharest), part of the event “Plug to Nature” (curators: Alina Șerban, Teodor Frolu)

The project put forward for the “Plug to Nature” event consists of an installation made up of nine glass display cabinets containing objects gathered from the banks of the Dâmbovița River along the length of its course through Bucharest, during the month of October 2012. The objects thus collected will be presented in a pseudo-scientific manner, thereby eroding the boundaries between reality and fiction or between natural and artificial. The project is based on an interpretation of the Dâmbovița River as an element of stage scenery in the urban context of Bucharest, whose natural appearance is reduced to a minimum. The collective perception of the river is profoundly marked by the interventions to which it has been subjected over time, and the river has become sooner a natural non-site and as such a subject of artistic expertise. Likewise, the installation also makes reference to the direct memory of the place in which the exhibition is held: the Mina Minovici Institute of Legal Medicine, which was situated up until 1986 on the site of what is now the National Library, and which also housed a museum of legal medicine. The installation sets out to invoke the type of display specific to museums and collections of artifacts. The objects in the glass display cases, which are natural or artificial and not named but merely described and measured, are wrapped in cloth, the aim being to provide an enigmatic image of the river’s passage through the city. On the other hand, the very gesture of concealing the objects is also connected to a non-fetishist view of art, in which it is not the final product that is most important (even if this is a ready-made). The processual quality of the artistic approach is what is brought to the fore. Relevant in this respect is the plan superimposed upon one of the archive images: an anti-monument dedicated to the action whereby the spatial-temporal distances of a perimeter are traversed.