Stefan Constantinescu
The exhibition incorporates a cardboard installation with a series of video works by Hungarian artist Péter Forgács, Poland's Zuzanna Janin, UK-based collaborators Karen Mirza and Brad Butler, Lithuanian Deimantas Narkevičius and Switzerland's Yves Netzhammer, sound-work by Liliana Moro, a sculpture by Via Lewandowski and Constantinescu's own film My Beautiful Dacia.[20] Based on a witnessed incident, the realistic account reveals the man having a series of abusive phone calls with his wife, girlfriend or lover (who is on the opposite end of the line), filled with "cursing, accusations, and continuous threats of harm, even murder".[21] As Chronicle Art Critic, Kenneth Baker puts it: the film shows the man "castigating her for making him jealous by being unreachable.In the Eastern European setting of Constantinescu's piece, in the aftermath of generations under communist rule, uncertainty over the duties of citizenship must weigh heavily on individuals' minds.In the process he encounters the challenge of telling the story and of passing on history to younger generations as he weaves text and photos from his own life with briefly stated historical facts in textbook form.Passagen follows the uprooted lives of three Chileans who were forced to leave Chile in the aftermath of the coup d'état led by Augusto Pinochet in 1973.Romanian Context of Dadaism at the Zacheta National Gallery of Art in Warsaw, Poland 2008[42] indirect speech at the Kunsthalle Fridericianum in Kassel, Germany, 2006[43] All that remains ... Teenagers of Socialism at Waterside Project Space in London, United Kingdom, 2010,[44] Phoney Language at the no.w.here studio in London, United Kingdom, 2010,[45] Audience as a Subject at the Yerba Buena Center for the Arts in San Francisco,USA, 2010,[46] C.o.n.t.r.a.v.i.o.l.e.n.c.i.a.s.