_CURRICULUM VITAE_
_EDUCATION
2021
Online school: TM Cult Contrasens Cultural Association
in collaboration with Art Encounters Biennale / Cultural mediation and communication / Art criticism and journalism
2018 – 2020
MA diploma, Fine art, Graphic art
University of Art and Design, Cluj-Napoca, Romania
2014 – 2017
BA diploma, Fine art, Graphic art
University of Art and Design, Cluj-Napoca, Romania
2014 – 2020
BA & MA Degree in Art Education psychopedagogy
University of Art and Design, Cluj-Napoca, Romania
CSILLA BARTUS
Interdisciplinary / intermedia artist ocasionally graphic designer
__
2012 – 2014
Fine art with graphics major ‘Ioan Sima’ Art college, Zalau, Ro
2010 – 2012
Vocational - Languages
‘Gheorghe Sincai’ Vocational college, Zalau, Ro
PERSONAL DATA
tel:
+36 30 675 1207 (HU)
+40 751 667 700 (RO)
mail: csillabartus@yahoo.com cs.onamission@gmail.com
Date and place of birth: 1996, Simleu Silvaniei (Szilagysomlyo), Romania
Double nationality: romanian, hungarian
_EXHIBITIONS
upcoming in 2023 end of March: ‘DEMO_nxt-gen’ group exhibition
FKSE - Young Artists’ Studio Association, Budapest, HU
2023
‘Flux_UX : (User Experience)’ artist insert in IDEA society + culture magazine
2022
‘cozzzmonautica - Forest of Antennae’ group exhibition
Indecis Artist Run Space, Timisoara, Ro
2022
‘At the edge of the world’ group exhibition; Art Encounters, Timisoara, Ro
2021
‘Probably Romania 3.0’ - Galeria Posibila Polycopies book fair, Paris, France
2021
‘Cosmic connections’ group exhibition @ Cosmic House & Studio Cultural Cecalaca, Ro
2021
‘Reminder to breathe’
Off-program solo installation @ OFF Biennale, during Aerocene: Museo Aero Solar project, Budapest, Hu
2020
Collection of prints from 2014 – 2017 featured in Korunk magazine ‘forum, culture and science’ - printed *https://drive.google.com/file/d/1XWUVfAiZMQXtBgsuoO9IuuvZ4UPREqTL/view
2020
‘Sometimes I have to remind myself to breathe’ online 3D exhibition
MA project @ UAD’s, Ro
2020
Show off 3 group exhibition
@ Matca Artspace, Cluj-Napoca, Ro
2020
‘Yet means at this time, or up to now, or at a future time’ group exhibition
@ Matca Artspace / Cluj-Napoca, Ro
2020
‘Open Window’ artwork featured in digital zine
@QuarantineZine (online edition)
2020
‘Blockages and Restrictions’ featured online @ 1111 Gallery, Budapest, Hu
2019
‘FLUX’ artist book; a meditation on time, space, change within digital fluxus
Bucharest, Ro
2019
‘Bandwidth’ group exhibition @ DH5 gallery, Linz, Austria
2019
‘Bandwidth’ group exhibition @ Galeria Posibila, Bucharest, Ro
2019
Inner worlds group exhibition
@Mumush 0.0 Festival, Tirgu Mures, Ro
2019
‘Brainst@rm’ solo exhibition
@ Matthias House Gallery Cluj-Napoca, Ro
2018
Visualia Festival group exhibition @ House for Culture, Cluj-N, Ro
2018
PPM#3 xerox art show group exhibition @ Aici – Acolo Pop Up gallery, Cluj-Napoca, Ro
2018
‘mintro’ - mind’s intro graduation project group exhibition @ Expo Transilvania, Cluj-N, Ro
_GRANT / INTERNSHIP / RESIDENCY
2023
A-i-R
Salzburg Kunstverein
Salzburg, At
By Budapest Gallery exchange program
2022 Studio
Art Quarter Budapest, Budapest, Hu
2022
NKA (National Cultural Fund of Hungary ) grant for artistic production
Budapest, Hu
2019 - 2021
Erasmus+ Internships
@ Muto group (artist run space), Budapest, Hu @ FKSE – Association of young artist’s studios
Budapest, Hu
2019 / Grant for study abroad in Braunschweig, DE –cancelled because of the pandemic
2019
“Bandwidth” Art Residency by Sounds like a book and Galeria Posibila @ Sona Village, Brasov County, Ro
2018
Erasmus+ Internship @ Galeria Plan B, Berlin, De assistance, art handling, archive
Part of rebuilding the artwork ‘GALAXY’ by Horia Damian for Art Basel/ Berlin, DE
2014 Workshop
two weeks workshop in photography and realalization of two short video work @Muze fest, Muzeum at Zalau city, Ro
2013 Participant
National Art Olympics, Slatina, Ro
Fine art/ Graphics
_CULTURAL WORK EXPERIENCES
2022
Volunteer
UH fest, Budapest, Hu (UltraSound festival)
2022Assistance
Art Quarter Budapest, Budapest, Hu
2021 –
Editor; co-organizor, graphician, contributor
Kodzine – zine, Budapest, Hu
2021
Editor; Issue coordinator
ARTSENSE #5 – Art and Technology newspaper for Art Encounters Biennale Contrasens Cultural Association, Timisoara, Ro
2021
Assistance
OFF Biennale, Budapest, Hu
2020
Assistant Visual Arts Programme Coordination
Paintbrush Factory, Cluj-Napoca, Ro (2 months)
2019 – 2020
Artist Talks
Organising talks with artists, gallerists and curators
University of Art & Design, Cluj-Napoca, Ro
2019 – 2020
Co-organizor; junior cultural manager and program coordinator
@ Mumush 0.0 and 1.0 Festival
Mures county, Ro
2017
Kaleidoscop Art festival
Co-organizor; University of Art and design, Cluj-Napoca, Romania
2014 – 2017
ASUAD member
Student Association of the University of Art & Design, Cluj-Napoca, Ro
_WORKSHOP leading
2023
Open Studio - A-i-R Salzburg maps of the unknown
2022
Postcard making workshop printing techniques and collage
@ Mumush 0.0 Festival for Arts& Music / Ro
2022
‘Future Perfect’ – Architecture Festival Speculative workshop on building future scenarios mutations of the city from the socialist era through capitalism, from the perspectives of: the architect, the builder, the building, the space and the inhabitants; Dunaujvaros, Hu
2021
Sketching & drawing workshop psychological drawing exercises
@Mumush 1.0 Festival/ Ro
2021
‘Plastic World Fantasy’ & ‘Plastic bag Print’ (miniature figurines and landscape elements made from plastic bag through printing and sculpting)
@OFF Biennale: AEROCENE: Museo Aero Solar, Budapest, Hu
2019
Technique of marbling and DIY merch making printing on textile
@ Mumush 0.0 Arts&Music Festival/ Ro
2018
Presentation
traditional printing techniques
@ University of Art and Design
Cluj-Napoca, Ro
2017
Proszto Print
(teaching an alternative printing technique with milk boxes/ inverted version of linocut printing)
@ Quint Studio, Budapest, Hu
2015
Bookbinding workshop with dr.uni.prof. Cristian Opris
@ ‘Kaleidoscop’ Arts Festival, Cluj-Napoca, Ro
_DESIGN EXPERIENCES
2018 –Freelance graphic designer
Artistic projects/ clients/ collaborations:
ArtSens#10 newspaper - Timisoara, Ro
IXIR - potion (beer) label (artistic collaboration)
Art Quarter Budapest (exhibition event, music event, website)
EXILES experimental music label (event cover)
Ganho @Letminimum Bazis
(experimental music event cover and projection)
Architecture Uncomfortable (exhibition material)
Arcana Art Collection (exhibition catalogue)
Kodzine (collective - zine, workshops)
OFF Biennale (design mutations)
Muto Group (artist run space)
Hexable (start-up)
Mumush arts & music festival, Ro Éclipse Totale (music event cover)
Kolorado arts & music festival, Hu
2022
Assistant graphic designer/artist Film Production – Silver Entertainmnent – HALO 2
2020–2021
Art direction; - stage designer&props
Hexable start–up, Budapest, Hu
2019
‘FLUX’ – self-published artist book
2018 Graphic designer Erasmus+ internship
@ VAN Graphic Design Studio, Budapest, Hu
2017
Junior graphic designer Erasmus+ internship
@ QUINT STUDIO, Budapest, Hu (An award-winning international design studio, the Netherlands, Hungary, USA and UAE.)
2016
Junior graphic designer Erasmus+ internship
@ LAKI ESZTER graphic designer, Flatlab, Budapest, Hu (Merging manuality and graphic design, printed and digital matter and the most basics of identity branding and package design)
SOLO SHOW // HOME SESSION
‘untitled’ 2023, whitered plants, epoxy, aluminium, 40x30cm
2023
George Bacovia ‘Plumb’
PRESERVE NATURE
‘frame and paper from reed’
2023, reed, epoxy mounted on wood plate, cca 40x30cm
reed - my name ‘Csilla’ means reed working with natural elements, an attempt to preserve them and stop from passing.
‘Organic observations’ 2023, print, A3
purely observing and learning from nature: about movement and transformation
photos from open studio in Salzburg, with plastic foil - cabinet of curiosities
mapping the _andscapes
2023.02. Salzburg
2023, obejct, organic bio-waste preserved in epoxy on vynil, with natural element brench cca 70x40 cm
During the 1month Salzburg Residency I was preoccupied with mapping and creating altered worlds. After 3 weeks I had to get the organic trash out, when I realised that I wanted long ago to create with trash. I have recorderd, on video, the process of rebuilding from the memory the landscape and map of my current residence.
On that day I woke up to the alarm of an alert: today is going to be 42 degrees outside, red code! It was the day before I arrived home to my parents. During the road I saw two deserted areas on fire, big areas, fast fire. Next day, in the red code heat, me and my mother went to check on the fruit trees. My mother sadly showed me that the pears are eaten by the bees, because they cannot get enough water so they extract it from the fruit. And the land was also dehydrated.
HEATWAVE 42 _ THE BEES DRINK PEARS 2022.07.23.
HEATWAVE 42 _ THE BEES DRINK PEARS 2022.07.23.
2022, photo documentation pears, bees
_ANDSCAPES*
* my new terminology for speculative landscapes created by imagining future scenarios art as media
The works shown in the exhibition ‘At the edge of the world’, are based on the concept of Pseudopodia. Pseudopods are a temporary arm-like projection, like a ghost arm that helps the cell membrane in motility and ingestion. The association between pseudopods phenomena reveals about the project how the concept expands in several directions, becoming a fluid entity, capable of transformations: recompositioning, recontextualizing, reforming. Due to its fluidity, reading or interpreting the message can also migrate or transform.
The installation is assembled from several small pieces that together make up a microcosm, created accordingly to a post-apocalyptic scenario, in which we assume that the earth melt down partially, and we are left in a deserted landscape filled with capitalist remains, toxic air in a hazed situation.
Responding to the word “edge”, I have created objects, installations and Environments (ambients). Atmospheres that balance the real and unreal; ... “what is” - what we have as materials and recent facts with which we can work and “what If “ - what we can do out of them, how they are interrelated, as well as how it is possible to play with their combination to result in a paradox in the way they are perceived and understood.
The starting point of the installation was a fireplace found near the water, in which I noticed a foreign body, similar to a slippery animal or an indefinite, amorphous organ. At a closer examination, it turned out to be contrary to what I thought, it was a hard plastic. This experience excited me and scared me at the same time, but it triggered a curiosity about the material and its potential in Storytelling. Studying this perfectly integrated plastic in nature, I began to play with it, remodelling it and placing it in different environments, and situations to camouflage it in nature or to find its place of belonging.
I consciously chose my materials to strengthen the contrast between organic and synthetic for creating a twist in recognition, since in this form they are very similar. The materials used were: melted plastic, resin, fiberglass, polyester, metal and, on the other hand organic materials: stones, shells, sand,
coal and seeds, construction materials and technological waste, melted plastic fossils. I tried to reach holographic and transparent effects to enchance the spookyness.
Within the exhibition are presented the molten plastic assamblages , and a series of photographs from 2018 to 2022, photos collected about objects or phenomena found on the ground or in the sky. They have catched my attention, because at first glance they seemed to be something but in fact they weren’t, but they were something else, like seeing ufos.
When I found this foreign body in the fireplace I did not had a concrete idea to follow, more of associations with scientifical bodies, melting of anatomical and chemical compositions. It was a poetic piece.
A more scientific theory for this project would be a turning point from 2020, when I moved to Budapest. During my assistance at Off biennale I have met the group of Xrto Realm artists and theoreticians. Their curatorial exhibition showed at the biennale was entitled Aclim! Agency for Climate Imaginary, they presented artworks based on the research of the 7 artists with different approaches on the crisis of climate change, the post-human, and theories that criticize anthropocentrism in contemporary thinking. The group has also published a book entitled Extrodaesia, an encyclopedia to a post-anthropocentric world, this being a bilingual multidisciplinary encyclopedia that includes theoretical articles with ecological thematics with poems in prose and visual works of art that approximates the anthropocene landscapes.
The project is combined with my own history, through my beliefs and opinions on ecological, economic and political problems. Also, personal and collective fears and speculation about what could be the result of such catastrophes we have experienced since 2019: climate crisis, Covid pandemic and the recent Russian-Ukrainian war. Reflects also on how we deal with constant problems like consumerism, capitalism, the collapse of the economy and new technological problems causing us burn-outs and not finding the way out of a not functioning system, and of a not sustainable way of consuming and polluting.
I.
‘At the edge of the world’ (exhibition view), Art Encounters, Timisoara, Romania 2022, prints, molten plastic, resin, glass fiber, sand, charcoal, metallic tool, foam, stones, shell, plexiglass
Unwater detail)
2022, shell and resin
Part of building up an imagined micro world , with it’s own creatures and tools. Undrinkable water holder, tool for dehydration.
Fog cutter sword (detail)
2022, prints with stills from a video work, molten plastic, resin, glass fiber
Impossibility to defeat the uncertainty
Capitalist archaeology (detail)
2017-2022, molten plastic, stones turned into resin, stones in sand
Tap to reveal (detail)
2022, print and flexiglass
impossible task, screen is not functional.
Merging (detail)
2022, photo print, molten plastic assambled, stones on foam with mechanical hands
Installation made to reflect on construction sites. Merging 2D print with 3D objects creating a break-through.
Reflecting on current Disasters (detail)
2022, charcoal, molten plastic, photo printed
creatures of the _andscapes
‘Haunter and haunted’
2023, photo print, collage, epoxy, reed, A4
Continuing on the Pseudopodia project. Remixing leftovers.
Composing the unworldly creatures and making up stories.
creatures of the _andscapes
‘Chimera/Pseudopodia
‘The
‘The edge of the _andscapes 2023, photo collage
IV’ 2023, photo collage
precious light’ 2023, photo collage
creatures of the _andscapes
2022, different pieces of molten plastic, resin, shells
Continuing on the Pseudopodia project. Remixing leftovers.
Composing the unworldly creatures.
‘Pseudopodia
2023, photo print, photo assamblage epoxy, A4
‘Pseudopodia II’
III’
‘Pseudopodia I’ 2022, resin and glass fiber
‘Icy Veins’ 2022, resin and glass fiber
creatures of the _andscapes
‘CAVES’
2023, bio-waste on linen with epoxy, folded cilinder 70x30 cm
‘Creature at the edge of _andscapes’ 2023, photo print and collage, A4
II. INTROSPECTION / III. DIGITAL FLUX
‘space between praying hands’
2022, cement and porcelain powder mixture dried between my hands heat
healing screensho ts: re co rd ing the tr ansformations
DESTROY>UNDO>REPAIR
2020, design and instruction on the pillow 2020, stills from the video performing with the installation
‘Sometimes I have to remind myself to breathe’ 2020, installation, video performance
Installation for rest composed by a yoga mat, a book and a pillow on which instructions guide those who’s posture is incorrect, because they suffer from anxiety, stress, causing them pain. This small exercise opens the thorax (heart and lungs), streches the abdomen and relaxes the neck and shoulders, all for a better oxygen circulation, full relaxation and meditation adn all in the name and for the sake of art and well-being.
‘Open window’
2021, 3D, virtual // digital print, resin and metal distancers, 40x30 cm
In quarantine time as a necesity to express how I felt about isolation and the excess of using digital, or what my deaydreams were about I have started to create digital images combined with ‘do it yourself’ home printing improvised set (because of the lack of tools and studio sapace).
‘Open window’ is a symbol for the connection between the outside and the inside, the window being the connection with the outside world as in the material and in the virtual places.
‘Flow and continuity’ - ‘Pattern recognition’ 2020, pen on semi-transparent paper, A4
This work is an observation about the functions of the mind and flow state. How the thinking is in connection with the drawing.
(1) I started to draw the right side of the illustration, it took me a lot of time and concentration, enough for dragging me into the world I have been creating, I was there, inside that imagined place, without planning the next steps I just let myself being carried by this chaos to figure out.. This pleasure generated a flow state and after I finished the right part I moved to the left to start again the other side of the ‘frame’, without realizing what I am doing or gonna do I just continued to draw to have each part finished.
(2) A recognition of the presence of a flow state and a continuity, came when the two sequences switched place and the result was almost perfectly melted as continuation of each other.
2.
1.
‘FLUX’
waters of forgetfulness
2020, meditational object artist book, digital print
Book made during the art residency ‘Bandwith’ organized by Sounds like a book.
The ten days residency plus post-production organized by Sounds like a book had two components: sound and graphic design. First we worked with sound as inspiration to build up the concept and in the second phase to implement it in a book. The concept behind the book was to give back the feeling of fluidity, the continuosity of the river flowing, of the time passing and changes.
The set of 14 pages on the one part consist of the 14 images done about the river. On the inside a transcript of meditation guide, describing the process of how to get in a meditative state, the feeling occuring inside and some poetical description about the surroundings accompanied by ilustrations with Glyphs.
Images are arranged in an ascending order and marked by initially the seconds when the images were taken, after some thoughts I’ve changed it to any kind of time: hours, seconds, year, terrestrial time, because I felt like this poetic and philosophical way of wroking with time, has no linearity. Also each image is marked by a yellow line in the same way as the lines were changed naturally by the flow.
The pages together resulting a glitch, recomposed noisy image.
‘Digital Ruin + pseudopodia’
2022, self-adhesive silver foil cutted with plotter cutter on plastic sheet + translucent digital print experiment on aluminium foil
Imagining future scenarios and Resilience practices
The project embodies the concept of a ‹ pseudopodia ›, which is an amoeboid cell that moves with the help of ghost arm-like projections. Pseudopodia represents transformation through movement, and through its membrane I connect the different flowing ‹ arm-ideas › to reflect on the problems of change, damage and adaptability within biodiversity and the Anthropocene. Bringing together the power of imagination and reality based information to use it as a tool for critical speculative practice, in which recent happenings are examined and questions are asked regarding the future of humanity, of climate and of the ecosystem.
The Movile Cave, found in 1986 a few miles away from the Black Sea in Romania,represents the core of the work. The oddly existing natural phenomena of a 5.5 million years time capsule, a subterranean chemosynthesis-based ecosystem, where scientists identified around 33 species that are unique just to this cave (spiders, water scorpions, pseudoscorpions, centipedes, leeches, and terrestrial isopods). These spectacular creatures in complete darkness, isolated, and at the precarious edge of existence, survived the harsh environment of poisonous sulphurous atmosphere. During their transformation to adapt to the new conditions, they have lost their ability to see, their appendages and antennae became extra long in order to navigate, and they became translucent, their bodies lost pigmentation.
On the other side the project is inspired by human-made adjustments and developments in technology and architecture for new urban living. Saudi Arabian’s ‘zero-gravity’ city THE LINE is going to be built on 170 km long, 500 m high and 200 m wide, tall and narrow, experiments with “what sort of life is possible within its mirrored walls… Proposes an entirely alien way of life, with its occupants living along a stark boundary between the hyper-dense city and a wild, untouched desert.” (“living in THE LINE: interview explores daily life in saudi arabia’s future vertical city”)
Connecting the oddly existing natural phenomena of the Movile Cave and THE LINE city concept, generates a question: in which way do we need to transform to adapt to the concepts of a shiny future city structures and modern- tech- industrial architectures designed for a living?
‘Pseudopodia I’
2022, resin and glass fiber
Exhibition view: ‘Cozzzmonautica - Forest of Antennae’ exhibition 2022, Indecis Artistrun space, Timisoara, Ro
Thank you!
Study for movement
2021, graphite on paper
