Portfolio 2024

_CURRICULUM VITAE_

_EDUCATION 2023 Zero Point Summer Academy organized by tranzit.hu and tranzit.ro Mures county, Ro

2023 ‘Working Title 3’ group exhibition @ Magma Contemporary, St. Gheorghe, Ro

2020 Show off 3 group exhibition @ Matca Artspace, Cluj-Napoca, Ro

2023 ‘Resistance: Digital Transformation’ group exhibition @ LATRA, Lesvos, Greece

2020 ‘Yet means at this time, or up to now, or at a future time’ group exhibition @ Matca Artspace / Cluj-Napoca, Ro

2023 ‘Soft mechanical practices’ duo show @ FKSE, Budapest, Hu

2020 ‘Open Window’ artwork featured in QuarantineZine (online edition)

2018 – 2020 MA diploma, Fine art, Graphic art University of Art and Design, Cluj-Napoca, Romania

2023 ‘DEMO_this is not an organic community’ FKSE - Young Artists’ Studio Association, group exhibition, Budapest, Hu

2020 ‘Blockages and Restrictions’ featured online @ 1111 Gallery, Budapest, Hu

2014 – 2017 BA diploma, Fine art, Graphic art University of Art and Design, Cluj-Napoca, Romania

2023 ‘Flux_UX : (User Experience)’ artist insert in IDEA society + culture magazine

2019 ‘FLUX’ artist book; a meditation on time, space and change within digital fluxus; Bucharest, Ro

2014 – 2020 BA & MA Degree in Art Education psychopedagogy University of Art and Design, Cluj-Napoca, Romania

2022 ‘cozzzmonautica - Forest of Antennae’ group exhibition @ Indecis Artist Run Space, Timisoara, Ro

2019 ‘Bandwidth’ group exhibition @ Galeria Posibila, Bucharest, Ro group exhibition @ DH5 gallery, Linz, Austria

PERSONAL DATA

2012 – 2014 Fine art with graphics major ‘Ioan Sima’ Art college, Zalau, Ro

2022 ‘At the edge of the world’ group exhibition; Art Encounters Foundation, Timisoara, Ro

2019 Inner worlds group exhibition @ Mumush 0.0 Festival, Ro

tel: +36 30 675 1207 (HU) +40 751 667 700 (RO)

2010 – 2012 Vocational - Languages ‘Gheorghe Sincai’ Vocational college, Zalau, Ro

2021 Online school: TM Cult Contrasens Cultural Association in collaboration with Art Encounters Biennale / Cultural mediation and communication / Art criticism and journalism

CSILLA BARTUS Interdisciplinary / intermedia artist graphic designer

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mail: csillabartus@yahoo.com cs.onamission@gmail.com Date and place of birth: 1996, Simleu Silvaniei (Szilagysomlyo), Romania Nationalities: romanian, hungarian

_EXHIBITIONS upcoming in September: 2023 ‘The dissolution of reality’ group exhibition @ Stadt Galerie Lehen, Salzburg, At 2023 ‘Assembly’ group exhibition @ LATRA, Lesvos, Greece 2023 ‘OBRIGADISSIMO’ group exhibition @ Duplex, Lisbon, Portugal

2021 ‘Probably Romania 3.0’ - Galeria Posibila Polycopies book fair, Paris, France

2019 ‘Brainst@rm’ solo exhibition @ Matthias House Gallery Cluj-Napoca, Ro

2021 ‘Cosmic connections’ group exhibition @ Cosmic House, Cecalaca, Ro

2018 Visualia Festival group exhibition @ House for Culture, Cluj-N, Ro

2021 ‘Reminder to breathe’ Off-program solo installation @ OFF Biennale, during Aerocene: Museo Aero Solar project, Budapest, Hu

2018 PPM#3 xerox art show group exhibition @ Aici – Acolo Pop Up gallery, Cluj-Napoca, Ro

2020 Collection of prints from 2014 – 2017 featured in Korunk magazine ‘forum, culture and science’ - printed 2020 ‘Sometimes I have to remind myself to breathe’ online 3D exhibition MA project @ UAD, Ro

2018 ‘mintro’ - mind’s intro graduation project group exhibition @ Expo Transilvania, Cluj-N, Ro

_GRANT / INTERNSHIP / RESIDENCY

_CULTURAL WORK EXPERIENCES

_WORKSHOP leading

_DESIGN EXPERIENCES

2023 Assembly program by Artsformation & LATRA Lesvos, Greece

2022 Coordinator SSS: Syndicate of Sound and Space audio-visual opening week event with 4D Sound Budapest, Hu

2023 Healing 2/3 – on Restrictions & Resistance creating a collective consciousness LATRA, Lesvos, Greece

2018 – Freelance graphic designer/ artistic director

2023 Resistance: Decolonizing Digital Transformation program by Artsformation & LATRA Lesvos, Greece

2022 Volunteer UH fest (UltraSound festival), Budapest, Hu

2023 Member FKSE - Young Artists’ Studio Association, Budapest, Hu

2022 Assistance Art Quarter Budapest, Budapest, Hu

2023 A-i-R Salzburg Kunstverein Salzburg, At - exchange program by Budapest Gallery

2021 – Editor; co-organisor, graphician, contributor Kodzine – zine, Budapest, Hu

2022 Studio Art Quarter Budapest, Budapest, Hu

2021 Editor; Issue coordinator ARTSENSE #5 – Art and Technology newspaper for Art Encounters Biennale Contrasens Cultural Association, Timisoara, Ro

2022 NKA (National Cultural Fund of Hungary ) grant for artistic production Budapest, Hu 2019 - 2021 Erasmus+ Internships @ FKSE – Association of young artist’s studios @ Muto group (artist run space), 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

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

2018 Erasmus+ Internship @ Galeria Plan B, Berlin, De assistance, art handling, archive

2019 – 2020 Co-organisor; junior cultural manager and program coordinator @ Mumush 0.0 and 1.0 Festival Mures county, Ro

2014 Workshop two weeks workshop in photography and video @ Muze fest, Museum of Art, Zalau, Ro

2017 Kaleidoscop Art festival Co-organisor; University of Art and design, Cluj-Napoca, Romania

2013 Participant National Art Olympics, Slatina, Ro; Fine art/ Graphics

2014 – 2017 ASUAD member Student Association of the University of Art & Design, Cluj-Napoca, Ro

2023 Open Studio @ A-i-R Salzburg mapping the unknown 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 ‘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 / 2021 / 2022 Technique of marbling and DIY merch making Sketching & drawing workshop Postcard making workshop @ Mumush Festival for Arts & Music / 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

Artistic projects/ clients/ collaborations: ArtSens#10 newspaper - Timisoara, Ro Art Quarter Budapest (exhibition event, music event, website) Architecture Uncomfortable (exhibition material) EXILES experimental music label (event cover) Ganho @Letminimum Bazis (experimental music event cover and projection) Arcana Art Collection (exhibition catalogue) Kodzine (collective - zine, workshops) OFF Biennale (design mutations) Muto Group (artist run space) Hexable (artistic direction, set design, start-up) IXIR - potion (beer) label (artistic collaboration) Mumush arts & music festival, Ro Éclipse Totale (music event cover) Kolorado arts & music festival, Hu 2022 Set design - production Film Production – Dune 2 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 2016 Junior graphic designer Erasmus+ internship @ LAKI ESZTER graphic designer, Flatlab, Budapest, Hu

_andscapes: hidden desires

_work in progress

AI & environment screenshots from google search surse de inspiratie pentru researchul _andscape Cum AI este prezent in discutii despre ecologie.

Constientizarea prezentei.

Cautarea reciprocitatii.

Decolonizarea procesului.

Critica morala si etica.

Probleme generate de tehnologie Imbunatirea procesului Contemplarea instrumentelor Imbunatirea reciprocitatii Cautarea informatiilor Sintetizarea experientei Organizarea informatiilor Indepartare Apropiere Sensibilizare Desensibilizare Zoom in - Zoom out

_andscapes: featuring Magic wand&Healing tool project description

MAGIC WAND * 2023 , digital images remixed

Cabinet of curiosities - collection of tools and symbols prints and objects - interactive / in the process - recomposing, variety - generating new meaning

How AI works is a big inspiration–the hallucinating machine. Beside AI, I resumed to some more convinient digital tools and applications, that require more human input and work, but still being able of AI qualities, if used so such as Snapseed image editing app.

There is a big hope in technological developments.

What can they show us, what can they teach us?

How can they help us to do better, and to undersatnd more?

Interpreting the program’s tools like magic wand, healing tool, blend tool, spor repair, shape builder and so on, or the functions of: layers, undo, erase. etc.

These definitions are used to make an analogy between the digital realm and physcial realm.

I was also wondering how these tools can look like in real life, and if they can be used, and for what to use them.

Healing 2⁄3 2023 , digital image, screenshot printed on fabric, 100x150 cm

Healing 2⁄3 reflects on an intermediate state, some kind of process in progression, which is also indicated in the title ‘2 of 3’. Algorithmic poetry is an abstraction of the image that questions the origin, the conflict, the now, and what will come to happen.

What tools are to use for making a change? How can digital tools and interfaces show and help to find the direction to healing and for creating balance?

The screenshots are the tool to catch the machine in the working process. I wanted to document the machine in its process of becoming and processing data to catch the moments of transformation, and find those subtle, meaningful and operational malware messages that interfere with mine/ours.

Through the tools and algorithms of technology, the ‘healing tool’ option, of the used image editing program, is adopted as a metaphor for the same ‘healing’ process of the non-machine world. Therefore, inducing human emotional labor into the computational systems. Thus creating a connection between the worlds, and simultaneously referring to the healing processes, learning and unlearning, of the individual, society, environment and of the planet itself.

CREATE>DESTROY>UNDO>REPAIR>REPEAT>

healing screenshots: recording the transformations

Healing 2⁄3 workshop – screenshots, proof of Healing progresses languages: english, spanish, portuguese, italian, polish, czech.

The screenshots are the tool to catch the machine in the working process. I wanted to document the machine in its process of becoming and processing data to catch the moments of transformation, and find those subtle, meaningful and operational malware messages that interfere with mine/ours.

Healing 2⁄3 workshop > an archive of collective consciousness 2023 , digital image Decolonizing AI: an archive of collective consciousness on Restrictions The workshop based on participation and contribution is an intermedial re-sensibilisation of the interaction with digital devices. As a digital resistance, the acceleration of AI algorithmic image-making processes are deconstructed to a more human paced speed, inducing human emotional labor as the central element of the process. Radical imaginative practices are made using Snapseed image editing app, especially the Healing Tool, whose qualities are to distort, deconstruct and reconstruct images in a way that is similar to ‘deep dreaming’ – we made progress in identifying what causes for each of us a specific restriction, finding its associated image and then to deal with it with the tool we have, and by this means giving a glimpse of a control over what controls us.

The workshop was including all participant artists in the program organzied by Artsformation and Latra, in Lesvos Greece on the topic of Decolonizing Digital Transformation of Europe.

The ‘collective consciousness’ image was created as a result of the workshop Healing 2/3 made during Artsformation: Resistance. Thanks for the engagement and personal archive images and verbal input contributions to the participating artists: Tomasz Mielnik, Swaeny Nina Kersaan, Patrycja Plich, Paolo Lolicata, Nine Fumiko Yamamoto-Masson, Csilla Bartus, Margerita Pulé, Jiří Gruber, Filipa Branco Jaques, Claudio Beorchia, Angelica Marinescu, Alba Raventós

‘The weight of the space between two hands’ 2022, amestec de ciment și pudră de porțelan uscată între palmele mele, prin căldură cca. 17x8 cm Greutatea spațiului dintre cele două mâini este consecința unui act ritualic, 10 minute de ținere a unei “rugăciuni” tăcute, până când se materializează prin împietrirea greutății. Amintind de amintiri rezonante atât de bucurie, cât și de durere, acesta simbolizează instrumentul de reconectare cu sinele interior și, sperăm, și cu ceilalți.

Healing 2/3 - kinetic movements; video stills, 2023

‘KINETIC FLUX’ waters of forgetfulness 2020, meditational object artist book, digital print with helping hands and a massage ball to help in movement generating Book made during the art residency ‘Bandwith’ organized by Sounds like a book.

The concept behind the book was to give back the feeling of fluidity, To create a book body that is capable of mimicing 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, catching each moment of changing.

On the inside a transcript of meditation guide, describing the process of how to get in a meditative state; the feelings occuring inside and how the surroundings are percieved, accompanied by illustrations with Glyphs.

The pages together resulting a glitch, recomposed noisy image.

‘Access: word’ 2020, dyptich A3, print digital editat din vitrina unei Antichitati de carti Lesvos, Grecia

‘flat/3d/’ 2022, plotter cutted reflective aluminium foil on plexiglass, suspended with chains 200x90 cm Ruinele organice ale datelor digitale O oglindă pentru dizolvarea realității flat/3d/ este o suprafață a dimensiunilor combinate ale mediului și actorilor săi, generând o reacție directă de reflexie și distorsiune. Jocul fragmentat și iluzoriu între plan și 3D, chiar și 4D, întrucât unele limite se contopesc, alterează și percepțiile despre ce este înăuntru și în afara, acesta sau acela, aici și acolo, inducând noi modalități de percepere a spațiului și identității, fizicului și psihicului.

Exhibition view: ‘Cozzzmonautica - Forest of Antennae’ exhibition 2022, Indecis Artistrun space, Timisoara, Ro

Post-heritage ‘S K O U F O S’ Culinary and geopolitical approaches / Rethinking traditions sculpturi și obiecte preexistente din bioplastice Ce se întâmplă când repensăm utilizarea locurilor desemnate și a uneltelor sau metodelor concepute pentru acțiuni tradiționale specifice?

Se produce un dialog între trecut și prezent, despre transformare.

Care este materia nouă? Cum se transformă tradițiile?

Care vor fi tradițiile viitorului?

Descoperind patrimoniul natural specific sitului, mai puțin cunoscut sau apreciat din Lesvos, Skoufos, acel lucru straniu alien neidentificat. Nu știm ce este acesta. Prima mea întâlnire cu Grecia m-a condus pe plajă, acolo am găsit pescarul și acolo am găsit această plantă marină misterioasă.

A collection of ‘skoufos’ material ranged between 20x20 and 10x10 cm in their different stages of driedness inspection of both sides and the interiors

‘Pottery in 2023’

‘Plastic Embroidery’

Skoufos bowl on a tool used in agriculture for fruit picking diameter between 15 - 20 cm

Skoufos in metal ring diameter 10 cm

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

Ghost of decay

HEATWAVE 42 _ THE BEES DRINK PEARS / 2 0 2 2.0 7. 2 3 .

On that scorching morning, I was awakened by the piercing alarm of my phone, accompanied by a message flashing on the screen: “Alert! Red code in effect!

Today’s temperature is 42 degrees Celsius!” It was a striking reminder of the intense heatwave plaguing the region, a phenomenon exacerbated by the growing specter of climate change.

Facing a day filled with challenges, I couldn’t help but reflect on the events that led to this pivotal moment. The previous day, as I set out from Budapest to Transylvania, to visit my parents, specifically to the VOID (a reinterpretation and renaming of the counties of Romania found on Reddit, with Szilágy County being dubbed THE VOID), the landscape bore ominous signs of escalating heat. Along the way, I came across two vast areas devastated by raging wildfires, their flames devouring everything in their path with terrifying speed. It was a vivid and harrowing sight.

Now, on this stifling morning, amidst the warning of the red-coded heat, I found myself defying the oppressive conditions to survey the once-flourishing fruit trees in our garden with my mother. With a heavy heart, she drew my attention to the pear tree, now afflicted by drying rot, hollowed out and punctured remnants where its once succulent fruits had been. “The bees,” my mother lamented, “feast on the pears, forced to extract moisture from the fruit due to the lack of water.” (I should note that my mother had thought of them and had placed fresh water out for them, but perhaps the lure of the fruit led them astray.)

As my gaze shifted from the afflicted pear tree to the barren, parched earth surrounding it, I seemed to discern crater-like fissures, so deep that I feared the ground might give way beneath me, plunging me into a pit of lava. I wanted to document this jarring sight and sensation, so on that blistering day’s peak, I absorbed this disheartening scene into myself, took hold of the mutilated pears, and placed them on the ground, even burying them in the soil.

Standing under the blazing sun, amidst the echoes of a changing world, the heat was so intense that it felt as if the fabric of reality itself was melting away.

2022, photo documentation pears, bees, land Our fragile existence in precarity – ways of resilience

mapping the _andscapes 2 0 2 3 .0 2 . Salz burg 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.

_ANDSCAPES* 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,

* my new terminology for speculative landscapes created by imagining future scenarios

I.

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.

‘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

Fog cutter sword (detail) 2022, prints with stills from a video work, molten plastic, resin, glass fiber Impossibility to defeat the uncertainty

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.

Capitalist archaeology (detail) 2017-2022, molten plastic, stones turned into resin, stones in sand

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.

Tap to reveal (detail) 2022, print and flexiglass impossible task, screen is not functional.

Reflecting on current Disasters (detail) 2022, charcoal, molten plastic, photo printed

‘CAVES’ ‘Creature at the edge of _andscapes’ 2023, photo print and collage, A4

2023, bio-waste on linen with epoxy, folded cilinder 70x30 cm

‘Recomposing Pseudopodia’ 2022, print and resin + helping hand tool bioplastic sculptures 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.

Reflects on change, damage and adaptability within biodiversity and extinction.

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 , extinction and of the bio- and ecosystem.

Here is a speculation on creating new synthetic species with the help of robotic hands - helping hand tool.

Thank you!

Study for movement 2021, graphite on paper the skeleton of a molten plastic