Romanian Participation at the 
59th International Art Exhibition — 
La Biennale di Venezia
Adina Pintilie
You Are Another Me—

A Cathedral of
the Body

1 of 10

Exhibition

Artist and filmmaker Adina Pintilie represents Romania at the 59th International Art Exhibition – La Biennale di Venezia 2022 with the project You Are Another Me—A Cathedral of the Body. It consists of a multi-channel video installation at the Romanian Pavilion, complemented by a virtual reality extension, hosted by the New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice.

Today, once again, the body has become a contested site for ideologies, a pretext for cultural and political anxiety, brought to the extreme by the recent outbreak of an atrocious war on the European continent, motivated by an imperialist, nationalist ideology and fascist ethos. Amidst this resurgence of right-wing ideologies, seen throughout the world and accelerated during the pandemic—which also saw a hijacking of the discourses on body autonomy—Pintilie imagines a space of togetherness beyond borders and binaries.

While contributing to the current conversations towards reassessing the normative in gender, sexuality, bodily ability and diversity, Pintilie’s distinctive perspective is conveyed through her particular visual universe and aesthetics, as well as through a sophisticated and seductive rethinking of the role and power of the moving image. Emerging from her personal experiences, background, and research, and nurtured by long-term collaboration with her protagonists, the artist’s idiosyncratic methodology explores the central role of intimacy in the everyday, centering on embodied practices and deep psychological investigations inspired by Family Constellations, attachment theory, psychosomatics, trauma therapy, and bodywork practices. It proposes possibilities to see, to think, and to relate, destabilising ingrained visual rhetoric and politics of the gaze.

Pintilie’s contribution to the Romanian Pavilion is inscribed in a lineage of artists who have responded over the past two decades to the question of national representation. It continues a conversation about who represents the nation and who is excluded, about collective shame and responsibility, in the shadow of Romanian society’s fraught history of dealing with intimacy, sexuality, and bodily diversity, and by extension with solidarity between the individuals forming a perpetually fractured nation. Against the backdrop of a public sphere haunted by biopolitical control, religious and cultural conservatism, and a traditionally corrosive climate of shame, the Romanian Pavilion is conceived as a site to reflect upon the body as a device to process recognized and unrecognised history, trauma, and desires. Engaging with these complex narratives of institutionalised normativity and their habitual denial of the body, Pintilie transforms the historically loaded pavilion into a contemporary cathedral that celebrates the body and human connections beyond any preconceptions. In the spirit of the Mayan greeting You Are Another Me, the project places our connection to the bodies of others and to our own at the centre of our personal and political lives.

You Are Another Me—A Cathedral of the Body marks the next stage of Pintilie’s multi-platform research on the politics and poetics of intimacy and the body, initiated with her feature film Touch Me Not—winner of the Golden Bear at the 2018 Berlinale and acclaimed worldwide for its boundary-pushing language and aesthetics. Her long-term, trans-disciplinary inquiry explores, through different artistic languages ​​and mediums—installation, cinema, interactive performance, publication—notions of how we relate to each other and to our own bodies, calling into question regimes of seeing in these different fields.

—Cosmin Costinaș and Viktor Neumann

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ARTIST: Adina Pintilie

Artist and filmmaker Adina Pintilie was born in 1980 in Bucharest and lives between Bucharest and Hamburg. Her decade-spanning artistic multi-platform research on intimacy, contemporary body politics, and the aesthetics and ethics of expanded moving images production spans installation, performance, film, and virtual reality and is nurtured by long-term collaborations and trans-disciplinary research. 

Her feature film Touch Me Not was awarded the Golden Bear at the 2018 Berlinale and was nominated for the European Discovery Award at the European Film Academy Awards. Since, it has been distributed in theatres in more than forty territories and was presented in festivals and institutions including the MoMA, New York; ICA, London; Bozar, Brussels; Harvard Film Archive; BFI London Film Festival; Sarajevo Film Festival; International Documentary Film Festival Amsterdam; Toronto International Film Festival; Viennale, Vienna; Karlovy Vary International Film Festival. The film received widespread critical acclaim in reviews including in the New York Times, Hollywood Reporter, IndieWire, Los Angeles Times, Sight & Sound, Télérama, Les Inrockuptibles, Die Welt, Die Zeit, Libertatea, Adevărul, Observator Cultural, and Arta Magazine.

The medium length Don’t Get Me Wrong premiered at the Locarno International Film Festival in 2007 – Filmmakers of the Present Competition, won the Golden Dove Award at Dok Leipzig, the Best Female Director Award at the Mexico City International Contemporary Film Festival, and was presented in more than fifty international film festivals including the Thessaloniki International Film Festival, Montpellier International Festival of Mediterranean Film, Trieste Film Festival, Festival International du Film Francophone de Namur, Documenta Madrid, Dokfest Munich, Moscow International Film Festival, Sarajevo Film Festival, and Warsaw International Film Festival. 

Her medium length Oxygen premiered at the Rotterdam Film Festival in 2010, was nominated for the Best Short Film Award at the Romanian Film Industry Awards, and was presented, amongst others, at BAFICI Buenos Aires International Film Festival, Warsaw International Film Festival i Montpellier International Film Festival, Bilbao International Film Festival, Thessaloniki International Film Festival, and Tampere International Film Festival. 

Her short Diary#2 won the Zonta Prize at Oberhausen International Short Film Festival in 2013, and was presented, amongst others, at the Belo Horizonte International Short Film Festival and Sofia International Film Festival. Her short Man at Work 2 Sandpit#186 premiered at the Locarno International Film Festival and received a Special Mention at the Trieste International Film Festival 2009 and Second Prize at Miami International Film Festival. 

Pintilie has taught internationally including at KHM Academy of Media Arts, Cologne, Berlinale Talents, Stockholm University of the Arts, York University Toronto, National University of Drama and Film Bucharest, SOURCES 2, and Tehran Film Festival. She was jury member, amongst others, at Berlinale Official Competition, Locarno – Pardi di Domani Competition, International Competition – Trieste Film Festival, Karlovy Vary International Film Festival – Eurimages Lab Award, TorinoFilmlab, Indielisboa International Film Festival, Oberhausen International Short Film Festival, Nordic Competition – Goteborg International Film Festival, First Appearance – IDFA International Documentary Festival Amsterdam, Next Masters – DOK Leipzig International Film Festival. 

Currently, Pintilie is preparing her next feature film Death and the Maiden, alongside further experimentation. An international co-production (Germany, France, Austria, Czech Republic, Romanian), Death and the Maiden is an international co-production currently in development, supported by MOIN Filmförderung Hamburg Schleswig-Holstein, MBB - Medienboard Berlin-Brandenburg, BMKOES Austrian Ministry of Culture - Innovative Film Funding, Czech Film Fund and the Romanian Cinema Center. The international sales will be handled by The Party Film Sales.

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Performers

HERMANN MÜLLER

Hermann Müller is a cultural producer, curator, and performer. After studying Protestant Theology and Classical Philology at the Rheinische Friedrich-Wilhelm-Universität in Bonn, he joined the team of Schauspiel Köln, Cologne where he was assistant to various directors including Stefan Bachmann, Ersan Mondtag and Robert Borgmann. In 2019, he worked as the programme assistant of the exhibition Transcorporealities, curated by Leonie Radine at Museum Ludwig. Since 2021, he is working together with Eva Birkenstock, Nikola Dietrich and Viktor Neumann on the project reboot: responsiveness, a multi-cycle cooperation between Kölnischer Kunstverein, Cologne and Ludwig Forum Aachen. In September 2022, he will curate the Poetiktage Erzgebirge, a Czech-German festival for contemporary literature.

“I was raised in a family of many siblings, in a highly religious community. For generations, this community has literally followed the word of the Bible, leaving no room for contemporary interpretations that could better fit a modern understanding of humanity and self-fulfilment.

Their main conviction is that you only get to Heaven if you constantly see your life and your actions as sinful or doomed, and the only way to obtain Salvation is by God’s mercy. Also, it is a sin to think about sexuality, to masturbate or to make love with someone you’re not married to. If you love someone of the same sex, with no will to surpress your abnormal desires, it is believed you will go to Hell after you die.

My entire family (my parents and my five siblings) hold these beliefs and try to live strictly according to these Bible laws. I grew up with the strong belief that, if I will not be able to suppress my feelings and my sexuality, I was going to be doomed. The pastor of our church compared my homosexuality to the urges of serial killers or child abusers, who, as myself, need to work hard every day on surpressing these inclinations, in order to be saved from going to Hell.

My intimate life has been deeply impacted by the wound of not being loved as I was, of being part of a system in which only God’s word has relevance. I bear the burden of my parents’ unlived, suppressed sexuality. And I am the first one in generations trying to break free by openly living my sexuality. Yet this road I’ve taken is often an arduous one. My intimacy has been fraught with violence, self-destruction and a deep sense of shame and guilt, which inflicted so much pain into both my partner and myself.

Only recently did I slowly start to realise that I deserve being taken care of. And so does the one I love. It’s a slow process of developing my feeling of self-worth. And finding the others equally worthy...

I chose to be part of this artistic research and to share the story of my intimacy, because I feel that by expressing myself authentically and by understanding my own exploration of sexuality and love, I can reach a better understanding of myself. And maybe a possibility of healing... And I chose to share my story because I feel it’s urgent to be shared. I can be ruthlessly honest, with no shame, because I trust my story is not mine alone. It’s certainly someone else’s as well. And I am not at the end of my story. It's just the beginning...”

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DIRK LANGE

Dirk Lange is an actor, singer and performer. Since 2013, he has been a company member of Schauspiel Leipzig. He was a company member of Staatstheater Braunschweig from 1997 to 2002 and then joined Schauspiel Köln until 2007. He joined the acting company of Theatre Chemnitz in 2008, where he stayed until 2013, and he performed as a guest at Maxim Gorki Theatre. He has worked with directors such as Armin Petras, Claudia Bauer, Dušan David Pařízek, Günter Krämer, Erik Gedeon, Albrecht Hirche, Frederike Heller, Nuran David Calis, Michael Talke, Mateja Koležnik and Enrico Lübbe.

CHRISTIAN BAYERLEIN 
& GRIT UHLEMANN

Life partners Christian Bayerlin and Grit Uhlemann’s advocacy for people with functional diversity centres on the intersections of sexuality and disability. Christian runs a blog on the topic titled kissability.de. They have lectured on disability empowerment and intimacy internationally.

“I’m not afraid of this project or myself being attacked. You know, Adina, when they accuse you of exploiting vulnerable human beings such as the disabled ones, just know that the people screaming are precisely those who have no idea about disability, about what us disabled people feel, need, desire. They have their own false concepts about disability. They look at us as vulnerable and as somebody who has to be protected. But that’s actually patronising, they are putting us down. Like anyone else, I do have the right to enjoy my body, to explore my sexuality and show myself as a sexual being. I believe it is important to show that we, disabled people, have the same desires, dreams, responses to stimuli, like everybody.”

LAURA BENSON

Laura Benson is an actress and acting teacher living in Paris. She trained at the prestigious Théâtre Nanterre-Amandiers directed by Patrice Chéreau and Pierre Romans. Her first role was in Hôtel de France (1987) by Patrice Chéreau, and has since worked with directors such as Pierre Romans, Luc Bondy, Irina Brook, and Stuart Seide. In 2003, together with Nathalie Bensard, she conceived and co-wrote George, which she produced with her own theatre company. Her numerous film credits include Dangerous Liaisons by Stephen Frears, I Want to Go Home by Alain Resnais, Ready-to-Wear by Robert Altman, and Spencer by Pablo Larraín.

“Our intimacy, our body are essential and natural aspects of our life, and of our identity, and yet they are topics we find so difficult to talk about, surrounded by so many taboos and blockages. In my education for example, the body never existed, desire was something shameful, and about intimacy we barely ever talked. It was very interesting for me to discover,- during the Touch Me Not research process, - that there are so many different ways to experience intimacy and to relate to your own body, and with the bodies of others, and they’re all as human, as ok, a natural part of life.”

HANNA HOFMANN

Transgender sex worker and activist from Germany, HANNA came ‘out of the closet’ as a trans person when she was 50, after a whole life life in a body and an identity in which she never felt at home. She always wanted to be a woman, in spite of nature endowing her with a vigorous male body. Reaching her 50’s, HANNA finally decided to take the risk and become what she really wanted to be: she left her(his) 20 years of marriage and family and started a new life as a woman. Around the same time she started practicing sex work.

An intelligent and charming conversationalist, HANNA elegantly moves from her philosophical references (she has a Master in Philosophy), to her professional experiences (she makes her living mainly as a real estate agent, complimented by escorting), and to the political and economical crisis in Germany and Europe. She is also an activist for the rights of sex workers and sexual minorities, has been an executive member of BEDS (Berufsverband Erotische Und Sexuelle Dienstleistungen) and providing psychological consultancy to her fellow transsexual sex workers in Leipzig.

Contrary to the general preconceptions, her main reason to practice sex work is not money. Escorting played a central role in her search for identity, being a liberating and inspiring playground where she could explore her sexual preferences and fantasies, her seduction power and vulnerabilities, her femininity.

As well, she debates about the therapeutic qualities of her sex work, both for herself and for the client. The escorting services HANNA provides are an intriguing mix of erotic role-play and psychotherapeutic counselling, having often an empowering effect on the clients, as they feel recognized and reassured that their fantasies and desires are not “wrong” but actually a healthy way to explore themselves.

ADDITIONAL NOTE:  

In his ground-breaking study of human sexuality ‘AROUSAL: The Secret Logic Of Sexual Fantasies’, the psychoanalyst Michael Bader explains how our sexual behaviour, preferences and fantasies are ‘a keyhole through which we have the possibility to see our true selves’, telling a lot about our ‘pathogenic beliefs’/ patterns, about the unreleased psychological tensions that float beneath the surface of our consciousness. ‘Sexual excitement’, he writes, ‘is loaded with taboos in our culture and is inevitably fraught with conflict and complications.’ Using case studies from his 20 years of counselling experience, Bader explains how the shame and guilt patients experience in their early years (via the usual suspects: unhappy childhood, difficult parents) later well up in their intimate lives, oftentimes coming to surface in the form of secret and seemingly deviant fantasies. Throughout the book, Bader attempts to elucidate how these fantasies are used by our unconscious as healthy strategies to ‘undo the beliefs and feelings interfering with sexual excitement, to ensure both our safety and our pleasure’, and thus they become an essential tool for psychotherapy. In Bader’s experience, most patients proved to be able to resolve their issues by understanding the meaning and logic of their fantasies and preferences, which helped them move on to more satisfying relationships.

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Curators

Cosmin Costinaș

Cosmin Costinaş is the Director of Para Site, Hong Kong (since 2011). He was Artistic Director of Kathmandu Triennale (2022), Guest Curator of Dakar Biennale (2018), Guest Curator at the Dhaka Art Summit (2018), Co-curator of the 10th Shanghai Biennale (2014), Curator of BAK, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010), and Editor of documenta 12 Magazines, Kassel (2005–2007).

At Para Site, Costinaş oversaw the institution’s major expansion and relocation to a new home and (co)curated the exhibitions: ‘Koloa: Women, Art, and Technology’ (touring at Nuku’alofa, Tonga and Artspace Aotearoa, Auckland); ‘An Opera of Animals’ (touring at Rockbund Art Museum, Shanghai); ‘A beast, a god, and a line’ (touring at Dhaka Art Summit; Myanm/art&The Secretariat, Yangon; Museum of Modern Art in Warsaw; Kunsthall Trondheim; MAIIAM, Chiang Mai); ‘Soil and Stones, Souls and Songs’ (touring at MCAD, Manila and JT Art Center, Bangkok); ‘Afterwork’ (touring at ILHAM, Kuala Lumpur); ‘Great Crescent: Art and Agitation in the 1960s—Japan, South Korea, and Taiwan’ (touring at the Mori Art Museum, Tokyo and MUAC, Mexico City); ‘A Journal of the Plague Year’ (touring at The Cube, Taipei; Arko, Seoul; and Kadist, San Francisco); ‘Taiping Tianguo, A History of Possible Encounters’ (touring at SALT, Istanbul; NUS Museum, Singapore; e-flux, New York), a.o.

He has edited and contributed his writing to numerous books, magazines, and exhibition catalogues and has taught and lectured at different universities, art academies, and institutions across the world.

Viktor Neumann

Viktor Neumann is a Berlin-based curator and art historian. He is, together with Eva Birkenstock and Nikola Dietrich, co-curator of the multi-cycle project reboot: at Ludwig Forum Aachen and Kölnischer Kunstverein, Cologne. He has curated exhibitions and projects for institutions such as Whitney Museum of American Art, New York; Museum of Modern Art, Warsaw; Bildmuseet Umeå; Total Museum, Seoul; National Centre for Contemporary Art Ekaterinburg; Württembergischer Kunstverein Stuttgart; Kunstverein für die Rheinlande und Westfalen, Düsseldorf; The Kitchen, New York; Künstlerhaus Stuttgart. He was co-curator of the transnational Parliament of Bodies, co-curator of Bergen Assembly 2019, curatorial assistant for documenta 14 and assistant curator for the 3rd Moscow International Biennale for Young Art. He was Curatorial Fellow of the Gebert Stiftung für Kultur in Rapperswil 2019 – 2021 and Helena Rubinstein Curatorial Fellow of the Whitney Museum of American Art ISP 2015 – 2016.

He has been teaching internationally, most recently as Guest Professor for Curatorial Studies at Karlsruhe University of Arts and Design. He edited several publications, most recently, together with Fanny Hauser, as co-editor of Wicked Little Town (Archive Books, 2021).

Team
  • Attila Kim, Commissioner
  • Corina Bucea, Project Manager
  • Bianca Oana, Creative Producer
  • George Chiper-Lillemark, Director of Photography
  • Martin Backhaus, Exhibition Design
  • Manuel Grandpierre, Sound Design
  • Bernhard Maish, Artistic Consultant for Sound
  • Martin Backhaus, Technical and Post-Production Coordinator
  • Blixa Bargeld, Einstürzende Neubauten, Throbbing Gristle, Marcel Pérès & Ensemble Organum, Music
  • Augmented Space Agency, VR Installation Design
  • H3 & Kaustik, Light & Video Sculpture Design
  • Vertical Studio, Architecture
  • Paul Dunca / Paula Dunker, Paolo Lagana, Răzvan Firea, Supporting Performers
  • Laurențiu Răducanu, 2nd Camera Cinematographer
  • Dragoș Hanciu, 3rd Camera Cinematographer
  • Adrian Cristea, Set Designer
  • Maria Pitea, Costume Designe
  • Anca Bărbuică, Script Supervisor
  • Daniel Neugebauer, Mediation & Education
  • Larisa Oancea, Mediation & Education
  • Georgiana Petcu, Head of Communication
  • Tiana Alexe, Communication Coordinator
  • Iris Opriș, Social Media
  • Sean Yendrys, Graphic Design
  • Julia Novitch, Website Development
  • Lucian Indrei, Production Assistant
  • Eugenio Ambrosin, Local Production Support
  • Larisa Oancea, Translation
  • Bertha Savu, Translation
  • Maria Gabriela Mitrofan, Financial Coordinator
  • Cristina Serafim, Katharina Thoms, Accountancy
  • Attila Kim, Commissioner

    Attila Kim has been the Commissioner of Romania at La Biennale di Venezia since 2016. An architect with extensive experience in architectural and cultural event design, exhibition architecture, and restoration, he has been nominated for the European Union Prize for Contemporary Architecture – Mies van der Rohe Award (2009, 2011, 2017), for the Iacov Chernikhov contemporary architecture award, and received numerous awards and nominations at the National Architecture Biennale and the Transylvania Architecture Biennale (11 awards and 13 nominations). In 2016, Kim was awarded the Art and Society Leadership Award for the Contribution to Cultural Patrimony from the Aspen Institute. 

    He has designed international exhibitions including Adrian Ghenie: Darwin’s Room at La Biennale di Venezia; Mircea Cantor: Q.E.D., Deimantas Narkevicius: Cupboard and a Song, Geta Brătescu: The Artist’s Studio, subREAL / Retrospect, all National Contemporary Art Museum, Bucharest; European Travellers: Art from Cluj Today, Kunsthalle Budapest; Transformation, Romanian Sculpture 25 Years After the Revolution, Beelden Ann Zee Museum,The Hague; Between the Lines and Gheorghe Ilea: The Relocation Story, Plan B Gallery Cluj. He has been the exhibition architect for the Romanian Design Week, and a series of design presentations showcasing Romanian creatives Stockholm Design Week, Vienna Design Week, London Fashion Week, and London Architecture Festival. 

  • Corina Bucea, Project Manager

    Corina Bucea is a cultural manager based in Cluj, with extensive experience in coordinating cultural projects, arts production, and cultural management. She manages the flagship programme The Academy of Change of the Cluj Cultural Centre and is a founding member of the contemporary art space Fabrica de Pensule / The Paintbrush Factory, Cluj. She has been involved in numerous international projects, being connected with networks such as IETM and/or Balkan Express.

    In the past years, Bucea has been working on a number of projects representing Romania both at the Art and the Architecture editions of the Venice Biennale, including in 2013 and 2016 as project coordinator for Alexandra Pirici and Manuel Pelmuș – An Immaterial Retrospective of the Venice Biennale and Selfie Automaton respectively; as custodian coordinator for Adrian Ghenie – Darwin’s Room in 2015, and as project coordinator for Geta Brătescu - Apparitions in 2017.

  • Bianca Oana, Creative Producer

    Dedicated to discovering filmmakers with a particular artistic view, Berlin-based producer Bianca Oana has been building, over the past 10 years, a solid expertise in handling challenging, unconventional filmmaking processes, at the unpredictable border between fiction and reality, and with complex international co-production structures. Besides producing Golden Bear winner Touch Me Not by Adina Pintilie, Oana has been involved since 2009, in developing, producing and distributing multi-awarded art-house films including Collective by Alexander Nanau (double Oscar nominee in 2021 for Best Documentary and Best International Feature), Toto and his Sisters by Alexander Nanau, and Turn off the Lights by Ivana Mladenović. As guest-expert and advisor, Oana held lectures at institutions and events such as Berlinale Talents, Berlin (2019), Consolidating European Cooperation Through Co-Production, Bucharest (2019 conference organised by MEDIA Creative Europe Romania), Days for a Creative Europe, Paris (2018 conference organised by the Council of Europe), International Conference on Women in Film Industry – Zagreb (2019), and others.  

    She has served as a jury member for festivals and funding bodies such as IDFA Bertha Fund & IDFA Forum, Sundance Film Institute, Visions du Reel , InterFilm Berlin Script Pitch, and others.



  • George Chiper-Lillemark, Director of Photography

    George Chiper-Lillemark studied Cinematography at the UNATC National University of Theatre and Film “I.L. Caragiale”, after receiving a degree in Philosophy at the University of Bucharest. He has been the cinematographer of six award-winning features and over 30 shorts. His work has been honoured in major film festivals such as Cannes, Venice, Berlin, Locarno, Rotterdam or Sarajevo. 

    Chiper-Lillemark is a long-term collaborator of Adina Pintilie, having been director of photography on Touch Me Not, as well as on a number of her preceding shorts. He is the recent winner of the Lion of the Future and Giornate Degli Autori Best Director awards at Venice Film Festival 2021 for the Romanian feature film Immaculate, which he photographed and co-directed (together with Monica Stan). He was the director of photography, among others, for Beyond the Hill by Emin Alper (2012), Songs of my Mother by Erol Mintas (2014), The Camp in Razoare by Cristi Iftime (2012), The Palm Lines (2009) by George Chiper (2009), and Sandpit#186 by Adina Pintilie & George Chiper.

  • Martin Backhaus, Exhibition Design

    Martin Backhaus is a Berlin-based exhibition designer, technical director and creative producer and project manager, who works within the triangle of design, technology and management of audiovisual productions such as media exhibitions, fiction and documentary films, virtual & augmented reality, and animation projects. He has a cinema education and a background as a creative producer and in post-production, animation & visual effects artist, being a 2013 graduate of Baden-Württemberg Film Academy, Ludwigsburg. The hybrid-documentary Die Menschenliebe, presented at Visions du Réel 2014 festival was awarded with the German First Steps Award 2014. He collaborated with director Dustin Loose on the short film The Last Will in 2014, which won a Student Oscar in 2015.

    In the past decade, he worked extensively on media exhibitions, spatial design and architecture, 360° immersive experiences, virtual and augmented reality, and new real-time technologies in general. Recent works that were created in collaboration with Berlin-based design studio Tamschick Media+Space include the Museo Lavazza Universo experience in Turin, Italy (2018) and the KTM Motohall Racing Heroes immersive film in Mattighofen, Austria (2019). The Hyundai Motorstudio Goyang Kinetic Sculpture exhibition (2017) was awarded a Red Dot Award in 2017.



  • Manuel Grandpierre, Sound Design

    Manuel Grandpierre is an award-winning sound designer, musician, and re-recording mixer living in Vienna. He studied sound engineering at the University of Music and Performing Arts in Vienna. He has been working as a sound designer and re-recording mixer on various feature and documentary films for the past decade, encompassing sound recording, sound design and re-recording mixing. 

    He has worked on projects including the internationally acclaimed The Last of the Unjust by Claude Lanzmann, The Shine of Day by Tizza Covi, and Rainer Frimmel and Angelo by Markus Schleinzer.

  • Bernhard Maish, Artistic Consultant for Sound

    Bernhard Maish is one of the most renowned sound designers and re-recording mixers living in Austria. He has been awarded the Austrian Film Award for Best Sound both in 2011 and 2012. He has collaborated with Adina Pintilie for various projects. 

    His filmography includes Touch Me Not by Adina Pintilie (2018) - Golden Bear & GWFF Award for Best First Film at Berlinale 2018; Joy by Sudabeh Mortezai (2018) - Label Europa Cinemas Award at Venice Film Festival 2018; Walden by Daniel Zimmermann (2018) - Special Jury Prize at Karlovy Vary 2018; Toni Erdmann by Maren Ade (2016) - FIPRESCI Prize at Cannes Film Festival 2016, 2016 European Film Award winner (for European Film, Director, Actress, Actor, Screenwriter), Lux Prize winner 2016; Little Girl by Tizza Covi, Rainer Frimmel (2009) - Label Europa Cinemas Award at Cannes Film Festival 2009; Lourdes by Jessica Hausner (2009) - FIPRESCI Prize and Signis Award at Venice Film Festival 2009; Funny Games by Michael Haneke (1997) - Silver Hugo Award at Chicago Film Festival 1997, FIPRESCI Prize at Ghent Film Festival 1997; Models by Ulrich Seidl (1998) - Audience Award at Sarajevo Film Festival 1999.

  • Martin Backhaus, Technical and Post-Production Coordinator
  • Blixa Bargeld, Einstürzende Neubauten, Throbbing Gristle, Marcel Pérès & Ensemble Organum, Music
  • Augmented Space Agency, VR Installation Design

    Ciprian Făcăeru
    Sabin Șerban
    Dan Făcăeru

    Augmented Space Agency are the explorers of the expanse found at the convergence of reality and virtuality, with the mission to discover new creative and innovative technologies that can generate new sustainable connections between physical and digital spaces. Their work revolves around new media technologies, immersive, interactive and digitally augmented experiences found in the real-virtual continuum and is supported by a crew specialising in software application development, experience design and XR digital content production.

  • H3 & Kaustik, Light & Video Sculpture Design

    Andrei Mitișor
    Florin Niculae
    Marius Dumitrașcu
    Răzvan Pascu

    H3 represents a multidisciplinary collective working with new media art, industrial design and robotics. The team’s projects range from light sculptures and permanent structures to performance and immersive experiences. Kaustik is a production boutique specialised in creating stage sets, props, interior design, and temporary structures for events & exhibitions.

  • Vertical Studio, Architecture
  • Paul Dunca / Paula Dunker, Paolo Lagana, Răzvan Firea, Supporting Performers
  • Laurențiu Răducanu, 2nd Camera Cinematographer
  • Dragoș Hanciu, 3rd Camera Cinematographer
  • Adrian Cristea, Set Designer
  • Maria Pitea, Costume Designe
  • Anca Bărbuică, Script Supervisor
  • Daniel Neugebauer, Mediation & Education

    Daniel Neugebauer is head of the Department of Communications and Cultural Education at Haus der Kulturen der Welt (HKW). His research there is focused on new approaches to intersectional and international forms of learning. Educated as a literary scholar, he is interested in the interfaces of communication and educational work. He received additional training in marketing and cultural work for elderly people. Having trained at the Kunsthalle Bielefeld, from 2012 to 2018 he headed the division of marketing, mediation, and fundraising at the Van Abbemuseum in the Netherlands. During this period, he helped shape the museum as one of Europe's most inclusive art spaces. In 2016 - 2017, he coordinated marketing for documenta 14 in Kassel and Athens. 

    In recent years, inclusion and queering have been the focus of his institutional practice. He is an active member of Berlin’s council for the Arts and is involved as an advisory board member in various smaller international art institutions. He publishes regularly on topics such as inclusive learning, body semiotics and artistic speculation on corporeal futures.



  • Larisa Oancea, Mediation & Education

    Larisa Oancea is an art historian and independent researcher based in Venice. She holds a PhD in Art History and Theory from the National University of Arts in Bucharest. Her thesis investigates the influences of Renaissance art on European cinema, from Sergei Eisenstein to Peter Greenaway and Lech Majewski. Trained both as an art historian and an anthropologist, Oancea has developed a strong interest in the intersection of the arts with other disciplines. She is the author of Nancy Spanier. The Arc of a Dancing Life – a monograph about the American dancer and performer Nancy Spanier – published by Performance Inventions in December 2021. 

    Her most recent experiences include various collaborations: researcher for Siam’s Guy Books, Yogurt Magazine, Performance Inventions; museum assistant at Prada Foundation, Triennale di Milano, Biennale di Venezia, Fondazione Pino Pascali; curator of numerous film sessions (Casa del Cinema Pasinetti, Venice; Floating Cinema Festival, Venice; Palazzo Cesi, Acquasparta; Center for Contemporary Art Club Electroputere, Bucharest/Craiova, among others). She is currently the researcher and manager of Tiane Doan na Champassak’s studio and artists’ books collection in Venice.



  • Georgiana Petcu, Head of Communication

    Having 15 years of experience in the field, Georgiana Petcu has designed and managed numerous information and communication campaigns for European institutions, companies and associations, while also promoting art and cultural projects, such as Touch Me Not - The Politics of the Body and explore festival, dedicated to performing arts. She was previously involved in promoting the LUX Film Days, Europe Day and the launch of the European Year of Citizens in Romania, as well as other events of the Representation of the European Commission and the European Parliament Information Office in Bucharest (2010 – 2015).

    Between 2008 and 2018, she worked in local communication and public affairs agencies, where she coordinated the Cultural, Lifestyle & Corporate PR departments, being responsible for the development of communication strategies, campaign planning and implementation, media relations management, content creation, online communication and evaluation of actions carried out by project teams. Through her collaborations with international organisations and her editorial projects, she is involved in promoting creative industries and art initiatives. She contributed to the promotion of the Romanian Design Week, Diploma and Ideo Ideis festivals between 2016 and 2018, and also of Romanian creatives and art spaces, museums and galleries on the Homo Faber Guide platform, dedicated to European craftsmanship.

  • Tiana Alexe, Communication Coordinator

    Tiana Alexe completed her master’s degree in Cultural Management and Marketing at the UNATC National University of Theatre and Film “I.L. Caragiale”, Bucharest, receiving a BA in Theatre Studies (Cultural Management & Journalism) from the same university. During her studies, she carried out several internships that involved the promotion of cultural events, such as: Undercloud - International Independent Theatre Festival (2018), National Theatre Festival (2015 - 2016), Excelsior Teen Fest (2017 – 2018), and Ploiești International Film Festival (2014).

    Starting 2019, her work at ACT Theatre has allowed her to be part of or organise different cultural projects. She works as an editor of the theatre magazine Teatrul Azi.

  • Iris Opriș, Social Media

    Iris Opriș is a digital communications specialist and journalist based in Bucharest. Her professional experience spans over a wide range of artistic, cultural and media projects over the past 15 years.

  • Sean Yendrys, Graphic Design

    Sean Yendrys is an independent graphic designer based in Berlin. He is currently Head of the MA Curriculum in Graphic Design at the Estonian Academy of Arts, Tallinn.

  • Julia Novitch, Website Development

    Julia Novitch is a graphic designer and programmer.

  • Lucian Indrei, Production Assistant
  • Eugenio Ambrosin, Local Production Support
  • Larisa Oancea, Translation

    Larisa Oancea is an art historian and independent researcher based in Venice. She holds a PhD in Art History and Theory from the National University of Arts in Bucharest. Her thesis investigates the influences of Renaissance art on European cinema, from Sergei Eisenstein to Peter Greenaway and Lech Majewski. Trained both as an art historian and an anthropologist, Oancea has developed a strong interest in the intersection of the arts with other disciplines. She is the author of Nancy Spanier. The Arc of a Dancing Life – a monograph about the American dancer and performer Nancy Spanier – published by Performance Inventions in December 2021. 

    Her most recent experiences include various collaborations: researcher for Siam’s Guy Books, Yogurt Magazine, Performance Inventions; museum assistant at Prada Foundation, Triennale di Milano, Biennale di Venezia, Fondazione Pino Pascali; curator of numerous film sessions (Casa del Cinema Pasinetti, Venice; Floating Cinema Festival, Venice; Palazzo Cesi, Acquasparta; Center for Contemporary Art Club Electroputere, Bucharest/Craiova, among others). She is currently the researcher and manager of Tiane Doan na Champassak’s studio and artists’ books collection in Venice.



  • Bertha Savu, Translation
  • Maria Gabriela Mitrofan, Financial Coordinator
  • Cristina Serafim, Katharina Thoms, Accountancy

News

March 2022
Against the War in Ukraine
February 2022
Over One Hundred Applications Submitted under the Open Call for Participants in the Cultural Mediation Programme
February 2022
You Are Another Me—A Cathedral of the Body, by Artist and Filmmaker Adina Pintilie, to Represent Romania at La Biennale di Venezia 2022
more...

News

March 2022
Against the War in Ukraine
February 2022
Over One Hundred Applications Submitted under the Open Call for Participants in the Cultural Mediation Programme
February 2022
You Are Another Me—A Cathedral of the Body, by Artist and Filmmaker Adina Pintilie, to Represent Romania at La Biennale di Venezia 2022
×

Press Centre

For media enquiries, please contact:

Tiana Alexe, Communication Coordinator
press@cathedralofthebody.com 

Press Coverage

more...

Press Coverage

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A PROJECT PRODUCED BY
Manekino Cultural Association

ORGANISERS
Romanian Ministry of Culture, Romanian Ministry of Foreign Affairs, Romanian Cultural Institute

CO-PRODUCERS
Manekino Film, Avanpost, Snaporazverein

IN COLLABORATION WITH
Augmented Space Agency, ARRI Lighting, Eidotech, H3 & Kaustik, Mimic Productions

INSTITUTIONAL PARTNERS
Haus der Kulturen der Welt (HKW), Goethe-Institut Bukarest, Württembergischer Kunstverein Stuttgart, Hamburg Ministry of Culture and Media, ERSTE Foundation

ACADEMIC PARTNERS
UNATC National University of Theatre and Film “I.L. Caragiale” Bucharest, CESI - Centre of Excellence in Image Studies Bucharest, “George Enescu” National University of Arts Iași, University of Art and Design Cluj-Napoca, Università Iuav di Venezia

PRIVATE PARTNERS
Tudor Havriliuc & David Corbell, Andrei Dunca, UniCredit Bank, Groupama, Vinexpert, Grup Transilvae, Anca Poterașu Gallery, ARAC Romanian Contemporary Art Association, KGP Filmproduktion, Sky Tour, Christa Gebert 

CATALOGUE AND PUBLIC PROGRAMME PARTNERS
Spector Books, Dispozitiv Books, Cărturești, Motivation Romania Foundation, Mozaiq Association

MEDIA AND MONITORING PARTNERS
TVR, Radio Guerrilla, Radio România Cultural, Europa Liberă România, Radio România Internațional, Deutsche Welle, Allgemeine Deutsche Zeitung, Revista Arta, Scena9, Kajet Journal, Observator Cultural, DoR | Decât o Revistă, Propagarta, HotNews, Libertatea, Elle România, Avantaje, Unica.ro, The Institute, LiterNet, Modernism, mediaTRUST

ACKNOWLEDGEMENTS
Mihai Pop, Mihaela Lutea, Andrei Tănăsescu, Gabriel Chiș, Blixa Bargeld, Joachim Umlauf, Victor Ciobotaru, Florin Buhuceanu, Paul B. Preciado, Antje Ehmann, Luis Feduchi, Alex Lo, Sophie Erbs, Maximilian Haslberger, Balthasar Busmann, Barbara Pichler, Radovan Síbrt, Alžběta Karásková, Ulla Hahn, Emilie Bujes, Paolo Moretti, Jonathan Pouthier, Corina Șuteu, Galerie Barbara Weiss, Art Encounters Foundation, Göteborg International Biennial for Contemporary Art, Paula Hotea, Marco Alessi, Mandy Rahn, Bernard Michaux, Amalia Enache, Flavia Stamate, Alexandra Puiu, Anastasia Dumitrescu, Vlad Feneșan, Anca Brezeanu, Cristina Serafim, Sophia Mayr, Elena Schloendorff, Dragoș Olea, Sandra Demetrescu, Anca Hrab

Accessibility

Exhibition Venues

Romanian Pavilion
Giardini della Biennale
Sestiere Castello, 30122 Venice

New Gallery of the Romanian Institute for Culture and Humanistic Research
Campo Santa Fosca
Palazzo Correr, Cannaregio 2214
30121 Venice


Exhibition dates
April 23 – November 27, 2022


Opening hours
April 23 – September 25, 2022:
11 am – 7 pm
September 27 – November 27, 2022:
10 am – 6 pm


For information on tickets, prices, special opening times, and other exhibition venues at the Biennale di Venezia, please access: www.labiennale.org.

Please find below the accessibility guidelines for visiting our exhibition venues:

  • Romanian Pavilion, Giardini della Biennale

Folding chairs and two wheelchairs are available for all visitors at the entrance of the Pavilion.

Users of wheelchairs, rollators or strollers

We recommend you to use the new entrance to the Giardini that has been established for this edition of La Biennale, conveniently located next to the Romanian Pavilion. Since most parts of the Giardini are difficult to navigate for some wheelchairs due to loose gravel on the paths, the new entrance can be helpful. 

The gravel path consists of about 100 metres until you reach the ramp at the Romanian Pavilion, especially installed for you to visit the multi-channel video installation inside it.

To see which other pavilions are accessible, please refer to the official map or website of La Biennale di Venezia

For any questions, please talk to one of the custodians in the pavilion who are more than happy to help.

Deaf visitors
The installation in the Romanian pavillion has a soundscape. All spoken parts are transcribed on the screens and can be read in English.

Unfortunately, there is no service in sign language.


Blind and visually impaired visitors
We recommend visiting the Romanian Pavilion together with a seeing person.

There are no orientation marks for sticks on the ground, while the walls are reflecting and mirror the video content, which can make orientation with impaired vision hard.


Ticketing
For visiting the Romanian Pavilion in the Giardini, we recommend purchasing tickets online to avoid queues and inaccessible sales booths. The New Gallery of the Romanian Cultural Institute can be visited free of charge and without prior registration.

  • The New Gallery of the Romanian Institute for Culture and Humanistic Research in Venice

Users of wheelchairs, rollators or strollers

The gallery is wheelchair accessible, but located in an area of the city that might be inaccessible to some persons.

People with limited mobility can take the vaporetto and get off at Cà D'Oro stop (Line 1) or San Marquola stop (Line 1), but will have to cross two bridges without ramps. Should you not be able to do so, we do not recommend this path.

An alternative is to take a taxi equipped with an elevator platform inside. The taxi will allow boarding and disembarking from the boat and landing in two possible locations:

1) in Campo Santa Fosca (two other steps must be overcome in this case)

or

2) take the taxi next to the Ponte di Santa Fosca over the Rio di Noale.

We recommend clear arrangements with the taxi beforehand to avoid disappointments.

Deaf visitors or blind and visually impaired visitors

The VR installation in the New Gallery is not accessible to blind visitors, but can be enjoyed for deaf visitors or visitors with impaired hearing.

Further information


Should you have further questions, do not hesitate to contact us. You can also find the official accessibility guidelines of La Biennale di Venezia here.

NEWSLETTER

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