Mona Vătămanu & Florin Tudor

Mona Vatamanu & Florin Tudor, Land distribution, installation, 2010-2014

La începutul anilor nouăzeci am fost martorii felului în care, după eşecul ideii proprietăţii comune în estul socialist, pământul cooperativelor a fost înapoiat proprietarilor originali. Acest lucru a fost realizat în numele restaurării drepturilor legale ale proprietarilor de la care reforma a confiscat pământul, în anii cincizeci. Atunci, reformiştii acelor timpuri, încercau la rândul lor o redistribuire a pământului şi a da o şansa celor săraci prin transformarea unei întregi societăţi şi fortându-i să înveţe despre împărţirea la comun a lucrurilor. Acum, aici, în estul postsocialist, în ultimii ani, am fost martori din nou procesului de redistribuţie în care de această dată băncile şi alte corporaţii private speculează şi iau pământul de la mulţi oameni prin folosirea creditelor şi împrumuturilor. Pământul şi distribuirea pământului înseamnă valută, reformă sau sărăcie, depinzând de condiţiile geografice, istorice sau socio-politice.  Acum câţiva ani, în Venezuela, pământul a fost redistribuit oamenilor mai săraci astfel încât să le ofere o şansă de a-şi începe propriile mici ferme, auto-suficiente. Oamenii foloseau banda casetelor analog VHS pentru a îngrădi pământul şi a crea unităţi mai mici, întâmplătoare, pentru a găzdui familiile. Foloseau un produs depăşit al societăţii noastre consumeriste pentru a delimita spaţiul într-o modalitate arhaică pentru a pune în scenă o nouă situaţie.

In the beginning of the nineties we witnessed how after the failure of the idea of common property in the socialist East the cooperatives land was given back to the original owners. It was done in the name of restoring the legal rights of the owners from whom in the 50es the reform confiscated the land. Back then the reformists of those times were also trying to do a redistribution of the land and give a chance to the poor people by transforming a whole society and forcing them to learn about sharing things in common. Now here, in the postsocialist East, in the recent years we witness again a processus of redistribution in which this time the banks and other private corporations are speculating and taking the land from a lot of people by using loans and credits. Land and land distribution means currency, reform or poverty, depending on geographical, historical or socio-political conditions. Some years ago in Venezuela the land was redistributed to poorer people in order to give them a chance to start their own small self sufficient farms. They were using analog VHS tape to fence the land and to create smaller random units meant to host families. They made use of an obsolete product of our consumerist society in an archaic way to delineate space in order to stage a new situation.

Mona Vatamanu & Florin Tudor, născuți 1968/1974, lucrează împreună din 2000.
Expoziții solo: stones, too, feel, Neue Galerie, Innsbruck, 2017; Prapadenia pamantului, Salonul de proiecte, Bucharest, 2016; Flying Utopia, tranzit.sk, Bratislava, 2015; Le monde et la dette, D+T Project, Brussels, 2015; I do not know the real story which happens there, Argos Centre for Arts and Media, Brussels, 2014; 46°19′41″N 23°12′44″E Geamana, Andreas Huber Gallery, Vienna, 2014; All that is Solid Melts into air, Extracity Kunsthal, Antwerp, 2013; I dreamt the work of another artist, Kunsthalle Lissabon, 2013; Powerlessness a Situation. Revolutie, Frankfurter Kunstverein, 2013; The order of things, daadgalerie, Berlin, 2012; Geometric Analogies, D+T Project, Brussels, 2012; Land Distribution, Lombard – Freid Projects, New York, 2011; All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna, 2009; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht, 2009; August, Andreiana Mihail Gallery, Bucuresti, 2008; Living Units, Project Room, Ludwig Museum, Budapest, 2003. Expoziții de grup: My sweet little lamb (Everything we see could also be otherwise), HDLU, Zagreb, 2017; Still (the) Barbarians, EVA Biennial, Limerick, 2016; Sensitive Zones, Does the map make the world? 49 Nord 6 Est – Frac Lorraine, Metz, 2016; All Men Become Sisters, Muzeum Sztuki ms2, Lodz, 2015; Ortstermin mit Leoni Wirth, Kunsthaus Dresden, 2015; What is to come has already arrived, MUSAC, Museo de Arte Contemporaneo de Castilla y Leon, 2015; A Luxury We Cannot Afford, Para Site, Hong Kong, 2015; Social Factory, 10th Shanghai Biennale, Power Station of Art, Shanghai, 2014; A History, Centre Pompidou, Paris, 2014; Something in Space Escapes Our Attempts at Surveying, Württembergischer Kunstverein Stuttgart, 2014; How to disappear completely, Kunstpavillon, Innsbruck, 2014; Report on the Construction of a Spaceship Module, New Museum, New York, 2014; Atlas of Modernity, The 20th and 21st Century Art Collection, ms2 Muzeum Sztuki, Lodz, 2014; Sights and Sounds, Global Film and Video, The Jewish Museum, New York, 2014; Meeting Points 7, Ten Thousand Wiles and a Hundred Thousand Tricks, M hka, Antwerp, 2013; Videonale.14, Kunstmuseum Bonn, 2013; Général Bordure, Centre d’art contemporain de Quimper, le Quartier, Quimper, 2013; eva International Biennial of Visual Art – After the Future, Limerick City, 2012; Untimely Stories, ms Muzeum Sztuki, Lodz, 2012; Untitled, 12th Istanbul Biennial, 2011; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice, 2011; Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg, 2010;
 Related Spaces, Ernst Museum, Budapest, 2010; Flying Down to Earth, 49 Nord 6 Est FRAC Lorraine, Metz, 2010; Over the Counter, Mucsarnok Kunsthalle, Budapest, 2010; Blind Spots, Akademie der bildenden Künste Wien, Vienna, 2009; 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin, 2008;
 6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri, 2008; Art as Gift, Periferic Biennial 8, Iasi; Like an Attali Report, but different: On fiction and political imagination, Kadist Art Foundation, Paris, 2008; 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice, 2007; Terrorvision, Exit Art Gallery, New York, 2004.

Mona Vatamanu & Florin Tudor, născuți 1968/1974, lucrează împreună din 2000.
Expoziții solo: stones, too, feel, Neue Galerie, Innsbruck, 2017; Prapadenia pamantului, Salonul de proiecte, Bucharest, 2016; Flying Utopia, tranzit.sk, Bratislava, 2015; Le monde et la dette, D+T Project, Brussels, 2015; I do not know the real story which happens there, Argos Centre for Arts and Media, Brussels, 2014; 46°19′41″N 23°12′44″E Geamana, Andreas Huber Gallery, Vienna, 2014; All that is Solid Melts into air, Extracity Kunsthal, Antwerp, 2013; I dreamt the work of another artist, Kunsthalle Lissabon, 2013; Powerlessness a Situation. Revolutie, Frankfurter Kunstverein, 2013; The order of things, daadgalerie, Berlin, 2012; Geometric Analogies, D+T Project, Brussels, 2012; Land Distribution, Lombard – Freid Projects, New York, 2011; All Power to the Imagination!, Secession, Grafischess Kabinett, Vienna, 2009; Mona Vatamanu & Florin Tudor, Surplus Value, BAK, basis voor actuele kunst, Utrecht, 2009; August, Andreiana Mihail Gallery, Bucuresti, 2008; Living Units, Project Room, Ludwig Museum, Budapest, 2003. Expoziții de grup: My sweet little lamb (Everything we see could also be otherwise), HDLU, Zagreb, 2017; Still (the) Barbarians, EVA Biennial, Limerick, 2016; Sensitive Zones, Does the map make the world? 49 Nord 6 Est – Frac Lorraine, Metz, 2016; All Men Become Sisters, Muzeum Sztuki ms2, Lodz, 2015; Ortstermin mit Leoni Wirth, Kunsthaus Dresden, 2015; What is to come has already arrived, MUSAC, Museo de Arte Contemporaneo de Castilla y Leon, 2015; A Luxury We Cannot Afford, Para Site, Hong Kong, 2015; Social Factory, 10th Shanghai Biennale, Power Station of Art, Shanghai, 2014; A History, Centre Pompidou, Paris, 2014; Something in Space Escapes Our Attempts at Surveying, Württembergischer Kunstverein Stuttgart, 2014; How to disappear completely, Kunstpavillon, Innsbruck, 2014; Report on the Construction of a Spaceship Module, New Museum, New York, 2014; Atlas of Modernity, The 20th and 21st Century Art Collection, ms2 Muzeum Sztuki, Lodz, 2014; Sights and Sounds, Global Film and Video, The Jewish Museum, New York, 2014; Meeting Points 7, Ten Thousand Wiles and a Hundred Thousand Tricks, M hka, Antwerp, 2013; Videonale.14, Kunstmuseum Bonn, 2013; Général Bordure, Centre d’art contemporain de Quimper, le Quartier, Quimper, 2013; eva International Biennial of Visual Art – After the Future, Limerick City, 2012; Untimely Stories, ms Muzeum Sztuki, Lodz, 2012; Untitled, 12th Istanbul Biennial, 2011; Call the Witness, Roma Pavilion Collateral Event, 54th Venice Biennale, Venice, 2011; Shockworkers of the Mobile Image, 1st Ural Industrial Biennial, Ekaterinburg, 2010;
 Related Spaces, Ernst Museum, Budapest, 2010; Flying Down to Earth, 49 Nord 6 Est FRAC Lorraine, Metz, 2010; Over the Counter, Mucsarnok Kunsthalle, Budapest, 2010; Blind Spots, Akademie der bildenden Künste Wien, Vienna, 2009; 5th Berlin Biennial, When Things Cast No Shadow, KW Institute for Contemporary Art, Berlin, 2008;
 6. Gyumri Biennial, Transformation of History or Parallel Histories, Gyumri, 2008; Art as Gift, Periferic Biennial 8, Iasi; Like an Attali Report, but different: On fiction and political imagination, Kadist Art Foundation, Paris, 2008; 52nd Venice Biennial, Romanian Pavilion, Low-Budget Monuments, Venice, 2007; Terrorvision, Exit Art Gallery, New York, 2004.

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