October 19 to October 26
October 12 to October 19
October 5 to October 12
Text excerpt of : LUPA a short film by Aurelia Mihai, 2019, 18:46 min.
(…) “You’ll meet me in Rome, at the Capitoline Museum. But also in front of City Hall in Rome in the state of Georgia, or in Rome in the state of New York. In Cincinnati, Ohio; Washington, D.C.; and in about 55 other places in the world. In Brasilia, Buenos Aires, Benghazi, Boston, Guatemala City, Munich, Nuremberg, Nancy, Narbonne, Paris, Segovia, in the Belgian city of La Louvière, twice in Tokyo, maybe even three times. In the Moldovan capital of Chisinau, in Shahriston in Tajikistan, in Talca in Chile, in the Norwegian municipality of Tonsberg, in La Paz in Bolivia and in Toronto, in the Swedish municipality of Lidingö, in Alexandria, Aquileia, Pisa, Piacenza, Siena, in the New Zealand town of Hamilton, and in Romania in Alba Julia, Blaj, Bucharest, Brasov, Constanta, Cluj, Galati, Ludus, Sacele, Sigisoara, Tirgu Mures, Turda and Timisoara.”
September 28 to September 5
Aurelia Mihai … şi cel moldovean / … And the Moldavian one
ERASE THE BORDERS a collective art work for Bienal Sur 2021 (Argentina)
September 21 to September 28
Aurelia Mihai – für Adriana – Postcard to Argentina
You See This Work Of Art
If You See Yourself Seeing, – Piece of art for the media consciousness, Conceptual art work / Mail Art, 2021
September 14 to September 21
August 3 to August 10
July 27 to August 3
June 22 to June 29
April 27 to Mai 4
April 20 to April 27
April 13 to April 20
March 16 to March 23
January 5 to January 12
November 10 to November 18
October 6 to October 13
September 1 to September 8
Aurelia Mihai Red Cinema, Video installation 2009, HD, 6’58, loop, 16:9, Language: Romanian with English subtitles
“(…) Thus we jump through film history from Dracula to Roman Polanski’s Rosemary’s Baby, to which Aurelia Mihai makes explicit reference: in the background one can hear radio news from 1969, which one can infer from reports on the moon landing and the murder of Sharon Tate (Polanski’s wife and the leading actress in Dance of the Vampires). The cinematic horror is suddenly overlaid with a true incident and ultimately ties in with contemporary political history, which is communicated via the radio in the form of the Romanian dictatorship. The cinematic, fictional horror shifts into an image of everyday life in the Romanian dictatorship, and vice versa: depending on where one enters the ongoing story in the loop, it is being told either chronologically or as a flashback. Aurelia Mihai once again critically approaches her own national history in a multilayered penetration of art, film, and contemporary history.”
Text excerpt of : Roads to (Hi)Stories, On Aurelia Mihai’s Video Art,
DISTANZ Verlag, Berlin, 2017
August 4 to August 11
June 2 to June 9
May 12 to May 19
3 min excerpt of Private Rooms a video installation in 2 parts by Aurelia Mihai, 2000, 31’48
It seems to describe our actual situation despite of being 20 years old.
This Is the Hour – HERMETHIK & OPENING, DISCIPLINE & POETRY – ASPECTS IN THE WORK OF THE VIDEO ARTIST AURELIA MIHAI
Siegfried Zielinski / Cologne, March 2004
(…) Aurelia Mihai uses the possibilities offered by digital technology specifically to expand and focus spatio-temporal perception.
In her installation “Private Rooms” (2000), for example, she confronts the observer with approximately fifty different rooms, private spaces for living and working. There is a split projection of these views in two different exhibition rooms and on two screens simultaneously. The first has an observing, almost documentary character and the rooms and their inhabitants are presented in their uniformity and disparity. In the second projection, a single person invades the dispersed homogeneity and visits all the different rooms. Thus the private space is occupied by an artificial figure, and this interloper transforms it into a quasipublic sphere.
The second level is more intricate. Access to this level demands concentration and attention. It is not possible for the casual passer-by, which is the characteristic behavioural mode of the majority of visitors to galleries and museums, including encounters with art that is produced by time-based media. By way of superficial, scarcely perceptible details, Aurelia Mihai invests her space-time images with subtle poetry. Miniscule details of the image are just as important to her as the complete tableau and her camera describes each of them with sensitivity. (…)
Text excerpt of : AURELIA MIHAI, FROM PLACE TO TIME & TIME TO PLACE, Revolver, Archiv für Aktuelle Kunst, 2004.
Aurelia Mihai (b. in Bucharest, Romania) is an artist and filmmaker who lives and works in Hamburg, Germany. Since 2009 she has been teaching at the Braunschweig University of Art.
Aurelia Mihai´s work brings clashing cultural, social, and political phenomena and events into focus. In her work Aurelia Mihai links aspects of documentation and research with fiction in a multifaceted way. Thus legends and historical incidents are frequently the occasion or the starting point for a socio critical examination of the present.
Aurelia Mihai is the recipient of numerous prizes and scholarships for her video works including the E STAR Scholarship from the Institute for Electronic Arts, Alfred University, New York, the Villa Aurora Scholarship, Los Angeles, USA, the EMARE Scholarship Hull Time Based Arts, Kingston upon Hull, UK , EuRegio Art Prize, Germany–The Netherlands, German Academy Villa Massimo, Rome, Italy, IASPIS, International Artist Studio Programme Stockholm, Sweden.
Her works have been exhibited internationally and have been seen at numerous festivals, including: Falckenberg Collection, Deichtorhallen Hamburg, Städtische Galerie Wolfsburg, K21 Düsseldorf, Kunsthalle Mainz, Martin Gropius Bau, Berlin, Hamburger Kunsthalle, “The Worldly House“, Documenta 13, Kassel, Germany, the Chelsea Art Museum, New York, USA, Centre Pompidou, Paris, The Louvre Auditorium, Louvre Museum, Paris, Centre International d’Art Contemporain de Pont Aven, France, Cobra Museum in Amstelveen, The Netherlands, Cass Gallery – Central House, London, Sheffield Institute of Arts Gallery, Centre of Contemporary Art and the Nature World, Plymouth, UK, National Museum of Contemporary Art MNAC, Bucharest, Periferic 8, Biennial of Contemporary Art, Iaşi, Romania, Museo Nacional Reina Sofia, Madrid, Spain, Latvian Centre for Contemporary Art, Riga, Latvia, MACRO Rome, PAN – Palace of the Arts of Naples, Italy, Landesgalerie Linz, Salzburg Museum, Austria, MOCAK Museum of Contemporary Art, Krakow, Poland, Kunstmuseum Thurgau, Switzerland, Cinéma du Musée, Montreal Museum of Fine Arts, Canada and Museu Correios, Brasilia, Brasil.