NITA MOCANU

visual artist



   Only tomorrow II is an interactive video first exhibited at the Media Art Festival Arad Dadada/2016. This work is a sequel of Only tomorrow (video exhibited at the Biennial of Young Artists Bucharest in 2006 and at European Travelers. Art from Cluj Today at Műcsarnok Kunsthalle Budapest in 2012) and a further development of the idea behind it. Notions like Bataille's "communication" and Deleuze/Guattari's becoming are reused and enhanced through the use of technology, allowing new forms of expression (interactivity, combinatorics, loop, choice path, randomness) all linked to the content of the video.
   Only tomorrow is a reverse Only yesterday (a Japanese anime published in 1991) where nostalgia is replaced by reverie and the forgotten past by the immediate future and draws inspiration from the common theme of time, change and becoming. The work is composed of 14 interlinked videos that are accessed by user interaction. The videos are arranged and linked following this combination matrices.

   A project by Nita Mocanu & Marius Stoica. Aditional voice-over by Oana Petrugan.
  etho.tk



   It was already there, the human structure, when you appeared. You never got to see yourself before the structure, it already has become part of you. Everything is partitioned into accessible rectangles from the physical world to your own thoughts. Everything is interlinked in the human texture of squares.

“O, mighty, divinely delimited wisdom of walls, boundaries! It is perhaps the most magnificent of all inventions. Man ceased to be a wild animal only when he build the first wall. Men ceased to be a wild man only when we built the Green Wall, only when, by means of that wall, we isolated our perfect machine world from the irrational, ugly world of trees, birds, and animals...” Yevgeny Zamyatin, We

It was already there
video, 03:56 min
Full HD
Arad, 2016
video by Nita Mocanu
_________________________________________________________________________________


"It was already there" video is part of the project "Network Expressions"


   Network expressions is web based installation of video ("Era deja acolo..."), text ("Etotectura") and data visualisation (OWL data visualisation software) exhibited at Kinema Ikon Series s03e06, Arad, June 2016.
   The project is both an artistic expression and an application of interdisciplinary pursuit in the fields of contemporary philosophy and semantic web. "The Ethotecture" text is a stub for further research that states the main ideas raised from the base theoretical question (using Quentin Meillassoux vocabulary) on how can the world be represented and processed from a non-correlationist perspective? Is there a precedent? What example, what model should we consider? To answer these, we first express the uncomfortable and even dangerous endeavor of directly living, sensing and comprehending the hyper-chaos. But there's someone who tried that and even created techniques on how to manage all the experience. Enter the shaman. Having the shaman as an example and model, we define the expressiveness of the world reusing the notion of Michel Foucault's "statement" to develop a non-correlationist, object-oriented world view model. Based on this model we created a semantic web ontology using OWL that it is used to annotate and represent visually (using WebVOWL software) both the text and the video.

A project by Nita Mocanu & Marius Stoica.

         The space in which I walk discreetly influences me, gradually I realize that I'm someone else in this place. The self is an illusion, in fact we don't exist. The self is instances of mental processes that are connected directly with the context in which you unfold. I'm a part of the place where I am, I'm part of the subtle network in which are bound everything that surrounds me. I could develop a future self, what defines the self is human values, this is our selves... If you attach yourself to an angel you get a true self. There is no artist self just self image. Me being just an element of the network, the artist being a phantom in the network, the woman next to flowers being a phantom part of the plants. We stare blankly into the water, we steal ourselves from each other from time to time. We disappear from time to time.
         “The fading subject” is a visual art work based on my research trough texts related to the experience of the self in psychology mostly and philosophy. My research was strongly influenced by my experience of being in Linz, Austria, out of my usual context, the way I discovered the city and analyzed my relation to different places, and by my recent discovery of experimental philosophy. 
          The project was developed in the framework of an art residency at Atelierhaus Salzamt Linz, Austria, July-August 2015. The residency is part of the CreArt Europe project (link HERE).


VIDEOS








          This is the memory of a memory. "No historical gesture" is a video performance made following the video with the same name that was  presented in the framework of  the exhibition "Almost nothing happened" at Kinema Ikon: Serial 2, Episode 4.
I remember vaguely the event that generated the artwork, only the video remained as a powerful image instead of the memory. I am the text that replaced the memory, I'm telling a story now that has a sense. In front of the video memory I'm also the text I'm also another memory, time passes by, I'm someone else again. I'm rewriting myself again.



EXHIBITIONS 

KINEMA IKON – DRAGOSTE ȘI RÂS OCTOBER 14 @ 7:00 PM - NOVEMBER 21 @ 6:00 PM
part of the video collection: kinema ikon: serial / sezonul 2 [10 episoade, 25'00"] 2015
HERE


          “An hour is not merely an hour, it is a vase full of scents and sounds and projects and climates, and what we call reality is a certain connection between these immediate sensations and the memories which envelope us simultaneously with them” In Search of Lost Time by Marcel Proust Look that is me, it was me, it is not me anymore.
          What I think it was me is just my imagination, the reality of the past me is all that I was connected with in that moment. I'm the text about myself even now... All that remained are my thoughts about that moment of past. Empty words are coming to fill the empty spaces left by the lost connections from that moment. We have special formulas for this kind of situations like “I don't remember exactly but...”.
          The black and white photos contain a part of this formulas, I collected the expressions from conversations with friends.
No historical gesture- B/W photos 2015
"Almost nothing happened " B/W photo series 2015


The video "No historical gesture" was part of the installation. While you could stay on the couch  you could also watch an almost still video, a moment felt like forever, I had a car accident. I was trying to understand what happened. Breathing, only breathing. No important gestures, not what you could expect, just a lot of freezing. "Or something of this kind, I don't remember exactly ...", the blanket, if you feel cold you can cover yourself with it.

No historical gesture - installation view 2015
"No historical gesture" installation view
(photo gallery)
Almost nothing happend - exhibition opening 03.04. 2015
opening of the exhibition:
Kinema Ikon: Serial Season 2 Episode 4 / 2015 Art Museum Arad
Diana Marincu // Nita Mocanu / Levente Kozma: Almost nothing happend


                    The exhibition entitled 'Diary of a Discussion on Education and Other Things' is based on an unfinished project from 2011. The project, a video documentary was called 'Art Class', and it aimed at presenting how it is to be a visual artist and an art teacher at the same time today. The project was further developed in 2014 during my residency program at Cluj at Studio Conset. The diary is an artistic method which I often use, because it suits best my ideas. My perspective upon education here is more a personal than a scientific one, thus I rely on my personal experiences together with the experiences of fellow-teachers and their pursuit of understanding via own practices. In November 2014 I held an open discussion for art teachers at MAGMA, Sfantu Gheorghe, which was recorded, and parts of this discussion is also included in the Diary. All these texts are a kind of a testimony of my personal experiences with the education system. Right now the situation is still unchanged.
                    'The definition of art used in Art Classes is very narrow. It is extremely hard even for us teachers to give a suitable definition, but at the same time we are forced to provide a functional definition for the students, sometimes by integrating the lack of clarities themselves in the definition.' Actually, in the case of Art Classes, art is defined as follows: visual language has its own specific grammar that is very different from the structure of verbal language, and which has to be learned separately if we want to understand visual arts. Constituting elements of the visual language are: the point, the line, the shape, the color, and they can be learned through creating aesthetic visual compositions. The curriculum in secondary schools (age group: 10-14) contains the following activities during Art Class: exercises based on using different working materials characteristic of the different forms of visual arts; exercises aimed at obtaining the different tones of the color wheel; exercises of deconstruction of and reshaping different structures; making decorative compositions with one single pattern, or repeated patterns (using different techniques); making figurative and non-figurative compositions by using contrast-colors (at least one composition for each pair of colors); fine and decorative compositions by using the decorative, constructive and signifying role of the dot and the line, etc.
                      In 2009 I finished my final exam as a teacher. When preparing for this exam, as being active on the contemporary art scene at the same time, I had a marked feeling of inadequacy: I felt that the bibliography for this exam was completely parallel with the cultural reality we were living in. Our whole education system seemed to be a machinery on autopilot. Similarly, the curriculum for Art Classes seemed to be an insensitive machinery as well, incapable of integrating the human factor. I was wondering where the students' lives and experiences could be placed in this whole system? According to the curriculum – which is highly result-oriented – it is easy to evaluate student performance: the different artworks realized by them either stick to the drained formalism of the Bauhaus-school, or they don't.
                      Interestingly, one book mentioned in the bibliography for the final exam was 'Postmodern Pedagogy' by Emil Stan. Greenwash for Fine Arts? - I was wondering. It was exactly postmodern (actually modern) pedagogy that is still missing from our education system, which is rather highly traditional, mechanic, formalist and competitive. We are missing exactly that kind of critical philosophy which character- izes postmodern pedagogy: we are missing activities based on collaboration); we are lacking experimental ways of learning such as learning through failure); we are lacking the student-oriented way of thinking as well as critical thinking regarding the visual world (visual arts and images in general).
                       All that is required from the students is to be able to realize a drawing on a piece of paper and to be able to follow some rules. In primary schools teaching art is even more schematic: many times teachers use copies of drawings in order to make the students follow the required aesthetic norms. The topics these children have to draw about are usually connected to holidays or they are the ones often required at competitions, such as 'The Colors of Autumn' or 'Visual Dialogs'.
I was told many times that Art Classes are placed at the middle of the school-day - they should constitute a moment of intellectual/mental break – in order to be able to better concentrate afterwards until about 2 pm.
                      During my teaching years I realized that each art teacher has his/her own version of the same story, very few of them are happy with the curriculum, they complain about the lack of methodology, and non of them is actually expert in pedagogy. Thus, teaching art becomes a subjective practice which follows the aesthetic values and dispositions of each and every teacher. Some of us, passionates about education, came up with our own methodologies, we created new methods based on our findings on the Internet following some of the student-oriented activities practiced in other countries/in other school-systems. However, trying to reinvent the pedagogy of arts individually is very time consuming and exhausting, and often it takes time and energy from the actual teaching itself. While a coherent long-term curriculum is completely absent from our educational system, the discussions I had with the different art teachers show that they have a general perspective upon the current situation, which could constitute as a starting point for redesigning the whole curriculum and the system.
Nita MOCANU



EXHIBITIONS


CONSET Studio, Cluj-Napoca, Romania
26.08-14.09.2014
HERE

MAGMA Contemporary Art Medium, Contemporary Art Space, Sfantu Gheorghe, Romania
13.11-07.12.2014
HERE

TEXTS FROM THE EXHIBITION

Texts from “Diary of a discussion on education and other things”:

“The 21 century kid has no idea about what he sees on TV”, “I never wrote a lesson plan”, “The visual education is educating the eye, without images you're dead”, “The good method is the consequence of a profound knowledge of the domain”,<<”To express a language”, it was Romanian the one who wrote the curriculum for Plastic Education?>>, “The pedagogical art is not visual art”, “The lesson on how to censor yourself at drawing because of the imposed lines types”, “Art teacher's mental bias: the pedagogy is composed of sentiments, intuitions and talent”, “The kids search for teachers recognition”, “To educate children to be happy about art even if they are not doing art”, “To learn to see”, “There are teachers with different opinions”, “A so big disinterest”, “One last possibility, to enter in education”, “Come on, give me your class to make some math preparation”, “A lot of kids are doing this, they do nothing”, “Exercises of getting out of the scheme”, “Ore he doesn't pay attention, or he needs to be in the center of attention”, “There are also others here that are as talented”, “Wrongly understood pedagogy”, “To much paperwork”, “The pressure to be doing all the time something, without reflection time”, “I would like to have other manuals”, “The performative part of teaching, what you say has to be authentic”, “You get to know to draw but to not know what to draw”, “You already anticipate the drawing when you say seasons”, “The art education is a mystery”, “Don't draw me what you know draw what you like”, “The problem of art is that it approaches the world as a whole and it has this ambition to speak in the name of the planet, but the population is not interested”, “Everybody communicates trough images not only the talented ones”, “Visual education should not resume itself to artists because we all can read images and write with images”, “When exams are coming, it's over, we are not doing drawing anymore”, “Contemporary art its a niche”, “The stakes are not always to educate artists”, “There is no importance given to subjects only to techniques”, “I don't pay attention to the curriculum”, “How an art work gets to have the masterpiece stamp”, “What happened in the past 150 years?”, “A total rethinking of the curriculum”, “The instruments are very limited, they are not even representing as but them”, “The ignorance about the life context of children, focusing of visual language grammar learning”, “Where did you get at Art History? At landscape.”, “All that you have to do is to SEE”


Conset Studio- Diary of a discussion on education - opening
"Diary of a discussion on education and other things" opening at Conset Studio, Cluj-Napoca, 13.09.2014
(photo gallery)
Diary of a discussion on education and other things 2014
"Diary of a discussion on education and other things" at Conset Studio, Cluj-Napoca, installation view
(photo gallery)

THE DEVELOPMENT OF SENSITIVITY - video by Nita Mocanu 2012


The Development of Sensitivity from Nita Mocanu on Vimeo.

BIBLIOGRAPHY
IDEA. Arts+Society #45 "Always a step away from art" by Diana Marincu
Anyway there is no point
by Nita Mocanu
//
Anyway there is no point in doing something
because it will have no outcome.
All are the same.
Even if you try to do something,
the Mafia is too big and there is no point.
No, you can not. We'll raise you a statue.
There is no point.
But do you think that others are doing something? Nobody does anything.
Do you think I'm a sucker?
How do you think some got rich? Only money matters.
Do you think someone does something? But what's the point?
Nobody is capable of anything.
Anyway there is no point.

Oricum nu are rost
de Nita Mocanu
//
Oricum nu are rost să facem ceva
pentru că nu o să iasă nimic.
Toți sunt la fel.
Chiar dacă încerci să faci ceva,
mafia e prea mare și nu are rost.
Nu, nu se poate. O să-ți ridicăm statuie.
Nu are rost.
Dar crezi că ceilalți fac ceva? Nimeni nu face nimic.
Da' ce io's fraier?
Alții cum crezi că s-au îmbogățit? Doar banii contează.
Crezi că face cineva ceva? Da' ce sens are?
Nimeni nu e în stare de nimic.
Oricum nu are rost.


Anyway it won't work//Oricum nu o sa iasa nimic
//
A posters and stickers campaign for warding off those who are interested to get involved in civic activities, presented at WAD - Dependent Artist Weekend Arad, Romania
//
O campanie de afișe și stickere pentru a tăia elanul celor care dorec să se implice în acțiuni civice,
prezentata la WAD - Weekendul Artistului Dependent, Arad, Romania


Me and she. 
 Mother and daughter.
 Teacher and pupil.
 A gesture of binding together and a gesture of letting go.
 Automatic dependency, 
we are now part of the same body,
 you see trough my eyes for a while, than I'll let you go.

" March" video by Nita Mocanu 2014

EXHIBITIONS

MAGMA Contemporary Art Medium, Contemporary Art Space, Sfantu Gheorghe, Romania
13.11-07.12.2014
HERE

CONSET Studio, Cluj-Napoca, Romania
26.08-14.09.2014
HERE

Kinema Ikon: Serial, Season 1, episode 7
Art Museum Arad, March 2014
(installation, B/W photography, text, drawing, video, fan art)
HERE

         "Evasive diary" is a continuous flux of visual poem that has it's source in my personal diary. It is a reflexive construct in which the personal texts is overlapping the images of the places where I passed by. The images become hints of the text, the places become expressions of the interior experience. The daily meditations by writing are becoming commentaries upon the situations I encounter, thoughts about different discussions with people, portraits of certain people, in the end they are a personal view of a certain place and the people I meet there.

EXHIBITIONS

Kinema Ikon: Serial, Season 1, episode 7
Art Museum Arad, March 2014
(installation, B/W photography, text, drawing, video, fan art)
HERE

RAM Media Art Festival Arad Art Museum Arad,
October 2014
(B/W photography)

ART WORKS
Evasive diary 2013/2014
The evasive diary
B/W photography
(photo gallery)

Evasive diary - diary pages 2013/2014
Diary pages
text, Romanian only
(photo gallery)

Evasive diary - fan art 2013/2014
It's complicated
fan art
(photo gallery)

Evasive diary - 2014 opening
Exhibition view
Kinema Ikon: Serial, Season 1, episode 7
Art Museum Arad, March 2014
RAM 2014
RAM Media Art Festival Arad 
Art Museum Arad, October 2014
(B/W photography)

VIDEOS


"Kids park", installation


"Evasive diary" presentation video
still image from the video
//
Aceasta stare imobila si repetitiva / This motionless and repetitive mood
video by Nita Mocanu
Arad 2013
//
(video/Pal DV/2.02 min)

//

Exhibitions 

Kinema Ikon: Serial, Season 1, episode 7
Art Museum Arad, March 2014
HERE