'81


'81 jun.
Spoken letter of intent [sincere words for MoMA]
[performance in the flat (kitchen), Iasi, performer: Bogdan Armanu, camera: Bogdan Armanu]
-series of eight digital black and white photos - 



Acknowledging that for an artist or in order to become one, it is crucial to build connections and collaborate with (work with/for) art institutions, I decided that I have to build my own networks with the Western art scene. In the same time I heard that there is an art institution named MoMA which plays a very important role in the construction of the art discourse for the art scene. I wanted to send a letter to this institution, in which I would tell my story, about the drama of being poor and excluded from the world, about the impossibility of having a decent life when trying to do art. The letter should have been more like a novel, long, emotional and complex, and because of my precarious English vocabulary and especially writing, I decided that telling this story will be the best solution and also a more honest one. Therefore I spoken to an opened envelope in order to capture the word of my story and sealed it immediately, avoiding any narrative leak.
After I finished “speaking” the letter I kept it in a hidden drawer until I found a solution in order to send it to the recipient from my very peripheral, detached, political context.      





'81 aug.
Searching for a space[emigration ship]
[performance at the seaside (Black Sea), Vama Veche, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of fifteen digital black and white photos - 




Finding myself situated along with my artistic practice and activity in a peripheral, precarious and volatile artistic context I consider emigration as the only possible solution. In this situation I can just transform my desire to emigrate in a suitable space for my artistic practice, namely the West, into an obsession and an ultimate goal. Therefore in a last desperate action I am building a special ship (made from two glass bottles, one containing a letter, and one of my canvas paintings, binding them together with rope) launching it on the Black Sea, hoping that this piece of my artistic practice and my message of despair will reach the desired West and the western art scene with its institutions. I, the poor Easter-European artist, am letting to the nature’s will the fulfillment of my dream, to emerge on the western art-scene.  
 



'81 aug.
A tatoo full with love and despair
[performance at the seaside (Black Sea), Vama Veche, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of three digital black and white photos - 




Acknowledging my profound feelings of obsessive love and desire for the Western Europe, I decide to get tattooed on my left upper arm a mermaid making in this way a proof of my emotions. Even though I never had a proper, direct, relationship with my love, Western Europe, and even if she doesn’t share the same feeling with me, not knowing my existence, I will never lose my hope to emigrate and embrace her with passion. Until then, I have this pen drawn tattoo, which eventually will be washed; Western Europe will always be in my heart; my love… my only love. 





'81 aug.
Building art institutions [Kunsthalle prototypes] 
[performance at the seaside (Black Sea), Vama Veche, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of five digital black and white photos -















'81 sep.
Instruments of emergence 
[performance , Iasi, performer: Bogdan Armanu, camera: Silvia Amancei]
-series of  digital black and white photos-