3

www.experimentalproject.ro
 Organizatori / Organizers:

Proiect finan]at de / financed by: Parteneri / Partners: Cu sprijinul / With the support of:

Embassy of the
Republic of Croatia

Parteneri media / Media partners:

Echipa de proiect / Biennial Board:
Ciprian Ciuclea – Directorul Bienalei / Chairman of the Biennial ciprian.ciuclea@gmail.com
Olivia Ni]i[ – curatoare / curator olivia_nitis@yahoo.com
Mihai Zgondoiu – curator mihaizgondoiu@yahoo.com
Andreea Micu – Asistent\ Proiect / Project Assistant adamicu@gmail.com
C\t\lin Zamfir - voluntar / volunteer

Membrii Juriului Interna]ional / International Jury Members

1. Alexandru Jakabhazi - grafician, Timi[oara, România / graphic artist, Timisoara, Romania
2. Leszek Czajka - artist, directorul artistic al WizyTUjaca GALERIA, Var[ovia, Polonia /
vizual artist, Director of WizyTUjaca GALERIA, Warshaw, Poland
3. Ciprian Chirileanu - grafician, directorul Bienalei Interna]ionale de Gravura Mic\ - Graphium, Timi[oara, România /
graphic artist, Mini Print International Biennial - Graphium chairman,Timisoara, Romania
4. Ignas Kazakevicius - critic de art\, curator, directorul Klaipeda Cultural Communications Center, Lituania /
art critic,curator, Director of Klaipeda Cultural Communications Center, Lithuania
5. Liviana Dan - critic de art\, curatoare, Muzeul Brukenthal, Sibiu, România (pre[edinta juriului) /
art critic, curator, Brukenthal Museum, Sibiu, Romania (president of the jury)

4.

1.
3.
2.

5.

Ciprian Ciuclea – artist vizual,
directorul bienalei / visual artist,
chairman of the Biennial
4
dilemele experimentului
în gravur\
Bienala Interna]ional\ de Gravur\
Experimental\ [i-a propus `nc\ de la `nceput s\
pun\ `n discu]ie muta]iile [i noile tendin]e ale tehni-
cilor de multiplicare a imaginii. Deseori exist\ o re-
ticen]\ din partea arti[tilor contemporani cu privire
direct\ la constrângerile de ordin tehnic, gravura
fiind considerat\ [i depa[it\ din acest punct de
vedere, iar modalit\]ile de exprimare `ngreunate de
`ntregul mecanism de ob]inere a imaginii finale, ce
necesit\ timp, st\pânire de sine [i materiale
costisitoare. Proiectul gândit de mine de mult\
vreme, `ncearc\ s\ demonstreze contrariul.
Gravura nu mai trebuie s\ r\mân\ `nchis\ `n aces-
te limite [i nu mai impune arti[tilor doar o abordare
tehnic\ ce are ca unic scop ob]inerea unei imagini
imprimate “perfect”. Ie[irea din aceste limite
impune experimentul. Iar experimentul poate
aduce rezultate inovatoare, dar [i e[ecuri pe
m\sur\.
Nu este destul s\ experimentezi, este
necesar\ o regândire a `ntregului laborator ]inând
cont de dinamismul artei contemporane, de noile
abord\ri [i probleme, de noile tehnologii [i sinteze
conceptuale. Dar `n acela[i timp experimentul ar
trebui s\ nu mai ]in\ cont de aceste atribute, pen-
tru a se dezvolta spre inova]ie. Am lansat aceste
dileme `n rândul arti[tilor interesa]i s\-[i
dep\[easc\ temerile, s\ fie liberi, inteligen]i dar [i
plini de umor [i inventivi. ~n mare parte a[tept\rile
noastre au fost satisf\cute de numeroase proiecte
cu adev\rat incisive [i neconven]ionale.
De la instala]ie la gravura-obiect de la video per-
formance la prelucr\ri multimedia a imaginii impri-
mate, arti[tii provoca]i de acest proiect s-au “lup-
tat” permanent cu `ntreb\rile:
“ce este experimentul `n gravur\, [i cât putem
experimenta?” Sunt `ntreb\ri cu r\spunsuri nelimi-
tate [i diverse, deseori contradictorii [i nea[tep-
tate. Cât po]i experimenta `n gravur\ f\r\ s\ o
pierzi `n derizoriu sau ce po]i experimenta f\r\ ca
finalul s\ devin\ orice altceva mai pu]in gravur\?
Cred ca aceste `ntreb\ri las\ deschis\ problemati-
zarea conceptului de gravur\ experimental\ [i
reu[esc s\ dea o singur\ defini]ie: aceea ca expe-
rimentul `n gravur\ nu poate fi pe deplin definit.
Este evident c\ aceste dileme nu au descurajat
arti[tii, ci dimpotriv\. Flexibilitatea unui proiect,
acolo unde el pare c\ este prea bine definit,
reprezint\ un atu al artei contemporane. Iar gravu-
ra cu siguran]\ apar]ine contemporanului, cu noile
sale tendin]e [i muta]ii, cu libertatea sa `n expri-
mare [i nu `n ultimul rând cu rediscutarea sa din
punctul de vedere al noilor tehnologii. Artistul con-
temporan `[i alege tehnica dup\ propriile libert\]i [i
trebuie s\ con[tientizeze faptul c\ exprimarea prin
gravur\ este valabil\ [i important\ doar dac\
nivelul ei artistic r\mâne ridicat.
Cred c\ Bienala Interna]ional\ de
Gravur\ Experimental\ la a 3-a edi]ie deschide un
orizont necesar pentru arti[tii care simt nevoia s\
foloseasc\ limbajul gravurii `n secolul XXI f\r\ s\
se simt\ anacronici `ntr-o lume contemporan\
aflat\ `ntr-o permanent\ dinamic\.
the dilemmas of the
experimental engraving
The International Experimental
Engraving Biennial held forth from the very begin-
ning to place under discussion the shifts and new
tendencies of the image multiplication techniques.
Contemporary artists are often reticent to technical
restraints, due to the fact that engraving is consid-
ered overcome and the means of expression bur-
dened by the whole mechanism of obtaining the
final image, which takes time, self-control and
expensive materials. The project I have initiated,
for some time now, tries to demonstrate the oppo-
site. The engraving must not remain closed up
between these boundaries and does not impose to
artists only a technical approach that has as a
unique purpose reaching the “perfect” printed
image. Coming out of these limits dictates the
experiment. And the experiment can bring innova-
tive results, but also significant failure.
It is not enough to experiment. It is ne-
cessary to rethink the whole laboratory in regards
to the dynamics of contemporary art, to the new
approach and issues, to the new technologies and
conceptual synthesis. But at the same time the
experiment should function regardless to these
attributes in order to develop towards innovation.
I have launched these dilemmas among artists
interested in overcoming their fears, in being free,
intelligent but also full of humor and imagination.
Generally our expectances were satisfied by
numerous incisive and unconventional projects.
From installation to engraving object,
from video performance to multimedia intervention
on prints, the artists challenged by this project con-
stantly “fought” with these questions: “what does it
mean engraving experiment and how much can
we experiment?” These are questions with unlimi-
ted and diverse answers often contradictory and
unexpected. How much can one experiment in
engraving without loosing it in futility or what can
one experiment without having the end become
anything else but engraving?
I believe that these questions leave open the the
issue of experimental engraving and successfully
render a definition: experimental engraving can not
be completely defined. It is obvious that these
dilemmas did not discourage the artists but on the
contrary. The flexibility of a project, exactly where it
seems to be too well defined, represents an advan-
tage for contemporary art. And printing surely
belongs to contemporary times with its tendencies
and shifts, with its freedom of expression and last
but not least with its approach from the new media
perspective. The contemporary artist chooses
technique through his own freedom and must
become aware of the fact that expressing through
engraving is valid and important only if its artistic
level remains high.
I believe that the 3rd edition of the
International Experimental Engraving Biennial
opens a nece-ssary horizon for artists who feel the
need to use printing language in the 21st Century
without fee-ling anachronic in a contemporary
world in a constant dynamic.
5
 nu e[ti niciodat\ singur în
fa]a unei gravuri
Gravura a operat mereu într-un sens
social. Sensibilitatea personal\ era adus\ în spa]iul
public ca instan]\ [i nu ca paradigm\ postmo-
dern\. „Thinking print“, în spatele sensibilit\]ii, în
spatele ideologiei accentueaz\ puterea sociolo-
gic\ a gravurii. Gravura reprezint\ singurul enun]
repetabil, un mijloc exemplar pentru un fenomen
de difuzare f\r\ precedent.
Gravura introduce puterea metodelor de
control vizual. Gravura a introdus teorii de activare
de tipul model, melancolie, subversiune. Gravura
introduce o atrac]ie minimal\.
Gravura p\r\se[te „pozi]iile clasice, acumuleaz\
experien]a noilor medii, o anume agresivitate, o
anume suferin]\“. Chiar dac\ nu-[i pierde integral
poten]ialul reproducerii, gravura devine personal\.
Între tehnic\ [i receptarea ei, dialogul pare
înghe]at.
Sub presiunea realit\]ii, rezervorul de
imagine se schimb\. Unde intimitatea este imposi-
bil\, apar întreb\ri de tipul ce teme trebuie studi-
ate, care sunt metodele eficiente, care sunt carac-
teristicile, care este contextul, care este trans-
paren]a. Disponibilitatea gravurii de a angaja alte
medii negociaz\ distan]a critic\ [i experimentul.
Modalit\]ile de reprezentare [i modelele alternative
devin zon\ de contact între atunci [i acum.
Relevan]a social\ este prezen]\ în propriul s\u
timp. Nu factorul con]inut este important, cât
inten]ia vizual\. Identitatea devine interpretare.
O reduc]ie radical\ merge spre teritorii necunos-
cute. Strategia este aproape semiotic\.
Diagrama pentru ceea ce urmeaz\ privirea este
f\r\ pasiune. Nu exist\ decât pu]ine fantezii su-
6
biective. Obiectivitatea este optic\. Aser]iunea
reac]ionar\ este f\cut\ pentru practicile concep-
tuale. Imaginile bombastice dispar ori se dilueaz\
într-un num\r de imagini prietenoase.
Proiectele gravurii pot cuprinde orice mediu, orice
material, orice posibilitate. Se recunosc pluralismul
[i experimentul. Avem teribil de mare nevoie de
pluralism [i de experiment. Metoda modernit\]ii
intim obosit\ nu se mai intereseaz\ de trecut, ci
numai de viitor.
Caracterul ambivalent al gravurii con-
comitent pe plan formal [i pe planul emo]iei devine
caiet de schi]e [i atitudine critic\. Iar discu]ia
despre semnifica]ia social\/vizual\ [i
artistic\/tehnic\, o subversiune bine temperat\.
În gravura experimental\, func]ia
esen]ial\ se reduce la filosofia gestului: feti]a cu o
coard\ de neon, halatele transparente marca
Beuys, cutia muzical\ predispus\ la portrete, sem-
nul grafic l\sat de o minge, felul în care te aperi
folosind palete colorate [i senine, cutiile supra-
puse care fac s\ dispar\ tehnica clasic\ a gravurii
negre. Interactivitatea este un cap de pod anticipa-
tor.
Exist\ o sintagm\ „human rights of the
eye“ care schimb\ receptarea [i recunoa[te noul
context. Mitul naturii [i mitul tehnologiei, practica
teoriei, receptarea produc [i reproduc imagini.
Între realitate [i fic]iune, linia r\mâne fragil\. Între
informa]ie vizual\ [i comunicare vizual\, linia este
determinat\ structural.
St\ri noi care accentueaz\ ideea c\ nu e[ti nicio-
dat\ singur cu gravura…
 you can never stand alone
in front of an engraving
The engraving has always operated in a
social meaning. Personal sensibility was brought
into the public space as an instance and not as a
postmodern paradigm. Behind sensibility, behind
ideology, the ‘thinking print’ underlines the socio-
logical power of engraving. Engraving represents
the only repeatable phrase an exemplary instru-
ment for an unprecedented phenomenon of
diffusion.
Engraving introduces the power of visual
control methods. Engraving has introduced activa-
tion theories of the type: model, melancholy, sub-
version. Engraving introduces a minimal attraction.
Engraving abandons classical positions, accumu-
lates the experience of new-media, a certain kind
of aggressiveness, a certain kind of suffering.
Engraving becomes personal although it doesn’t
completely loose its reproductive potential.
Between technique and interception, the dialogue
seems frozen.
Under the pressure of reality, the image
reservoir changes. Questions like what kind of
themes one must study, which are the efficient
methods, which are the characteristics, the con-
text, the transparency, come up where intimacy is
impossible. The availability of engraving to engage
other media negotiates the critical distance and the
experiment. The means of representation and
alternative models become a contact area
between then and now. Social relevance is pre-
sence in its own time. The containing factor is not
as important as the visual intention. Identity
becomes interpretation.A radical reduction shifts
towards unknown territories. Strategy is almost
semiotic. The diagram for what follows the gaze is
without passion. There are only a few subjective
fantasies. Objectivity is optical. The reactionary
assertion is made for conceptual practices.
Bombastic images vanish or they dilute in a num-
ber of friendly images.
Engraving projects can include any kind
of media, material or possibility. Pluralism and
experiment are recognizable. We are in a great
need for pluralism and experiment. The method of
the intimately fatigue modernity is no longer inter-
ested in the past but only in the future.
The ambivalent character of engraving
formally and emotionally simultaneous, becomes
sketch and critic attitude book. Also the discussion Liviana Dan – critic de art\,
about social/visual and artistic/ technique signifi- Pre[edinta Juriului celei de-a treia edi]ii
cance becomes a well tempered subversion. a Bienalei Interna]ionale de Gravur\
In experimental engraving the essential Experimental\ / art critic, President of
function reduces to the philosophy of gesture: the the Jury of the 3rd International
girl with a neon skipping rope, the transparent sur- Experimental Engraving Biennial
gical coats Beuys marked, the music box inclined
to portraits, the graphic print left by a bowling ball,
the way you defend using colored and serene fly
swatters, overlapped boxes that make the classic
techniques of dark engraving disappear.
Interactivity is an anticipating bridge head.
There is the collocation ’human rights of
the eye’ which changes interception and recog-
nizes the new context. The myth of nature and
technology, theory practice and interception pro-
duce and reproduce images. Between reality and
fiction the line remains fragile. Between visual infor-
mation and visual communication the line is struc-
turally determinate.
New conditions which underline the idea that you
can never stand alone in front of an engraving…
7

Olivia Ni]i[ – critic de art\ [i curatoare /
art critic & curator
8 este terenul alunecos, plin de riscuri, pe care un
un punct de vedere curatorial
Bucure[tiul, cu rare excep]ii, este un
ora[ rupt de arta contemporan\ din celelalte
ora[e ale României, accentuând prejudecata c\
centrul este locul `n care au loc activit\]ile cele mai
importante. Am aflat de existen]a Bienalei
Interna]ionale de Gravur\ Experimental\ `n mod
conjunctural, `n anul 2005, când aceasta se afla la
a doua edi]ie. Pe lâng\ firavul interes mediatic de
a r\spândi informa]ii despre un eveniment cultu-
ral cu larg\ participare interna]ional\, in plus,
Bienala avea, s\ spunem, "dezavantajul" abord\rii
unui domeniu uitat de c\tre arti[tii români -
gravura - [i propunea o abordare neconven]ional\
sub marca experimentului.
~n prezent, aflat\ la cea de-a treia edi]ie,
Bienala Interna]ional\ de Gravur\ Experimental\ a
crescut la nivelul interesului `n rândul arti[tilor.
Calitatea lucr\rilor trimise de peste 170 de arti[ti
din toat\ lumea demonstreaz\ c\ gravura nu este
un domeniu apatizat [i c\ exerci]iul experimental
`]i dezvolt\ constant aria de dialog cultural `ntre
arti[ti [i mediile prin care ace[tia aleg s\ se
exprime.
Tr\im `ntr-o societate `n care cultura conteaz\
din ce `n ce mai pu]in. Refuzul de a sprijini un
proiect cultural de aceast\ anvergur\ apare con-
stant [i adesea te `ndeamn\ s\ abdici. Este nevoie
de mult\ pasiune, `nc\p\]ânare [i dedica]ie pen-
tru a continua. Marile companii multina]ionale se
implic\ cu greu `n sus]inerea financiar\ a
proiectelor de acest gen, fiind interesate de profit
imediat, de un target la nivelul stadioanelor.
Divertismentul nu mai las\ loc actului cultural.
Centrul Cultural Palatele Brâncovene[ti
Mogo[oaia `[i deschide por]ile pentru o Bienal\
de Gravur\ Experimental\, `n care arta contempo-
ran\ `[i define[te caracterul imperativ experimen-
tal. Arta este un câmp deschis. Experimentul este
o m\sura, un barometru cultural. Experimentul
artist `[i caut\ identitatea vizual\. Gravura este un
mediu complex, privit, `n general, cu prejudecata
unor limite ce ]in de criteriul apartenen]ei la sfera
unei abordari tradi]ionale. Experimentul `n gravur\
impune gravura ca resurs\ de limbaj `n sondarea
discursului artistic contemporan. O instala]ie de
ochelari opaciza]i de gravur\ experimental\, un
performance cu o bil\ de bowling constrâns de
regula gravurii experimentale, un joc interactiv cu
un teatru de p\pu[i imprimate experimental, o
serie de obiecte decorative gravate gastronomic
experimental care genereaz\ mesaje de gen,
imprimarea continuu\ a asfaltului unei buc\ti de
strad\, c\r]i-obiect, print-uri digitale, rafinate prop-
uneri de gravur\ pe firave suporturi experimentale
sau abord\ri tran[ante [i greoaie pe dimensiuni
generoase [i suporturi dure culmineaz\ cu vi-
ziunea ludic-non[alant serial\ a pliciurilor de
mu[te. Arta experimental\ este supus\
clasiciz\rii, dar nu `[i epuizeaz\ niciodat\ posibili-
tatea intrinsec\ de a fi experimental\.
Experimentul presupune libertate, dar [i compro-
miterea ei prin fatalismul destinului s\u. Cel care
experimenteaz\ `[i asum\ e[ecul. E[ecul experi-
mental face dovada c\ut\rii. Lipsesc din acest\
Bienal\ rateurile experimentale `n sensul unor
`ncerc\ri de a atinge un rezultat valabil semantic,
dar compromis tehnic.
Bienala Interna]ional\ de Gravur\
Experimental\ `ndeamn\ arti[tii s\ caute, s\
repereze solu]ii de limbaj contemporan. Pentru
unii, experimentul este ludic sau se afl\ la grani]a
dintre ludic [i gravitatea seriozit\]ii formale, pentru
altii experimentul `nseamn\ libertatea de a fi con-
strân[i mediului gravurii, tehnicilor de imprimare
pe care nu le pot p\r\si.
Experimentul `n gravur\ este o provocare. O
provocare deschis\ `n arta contemporan\
interna]ional\ [i imperativ\ `n arta contemporan\
româneasc\, pentru arti[ti, critici, curatori, cercet\tori,
institu]ii [i, nu `n ultimul rând, pentru public.
a curatorial point of view
Bucharest, with rare exceptions, is a city
cut off from the contemporary art from the other
Romanian cities, underlining the prejudice that the
center is the place where all important activities
take place. I became familiar with the International
Experimental Engraving Biennial by chance, in
2005 at its second edition. Beside the reduced
mediatic interest to spread the word about an
international cultural event, the Biennial had, let's
say, the "disadvantage" of approaching a forgot-
ten area by the Romanian artists - engraving - and
suggested an unconventional manner using
experimental techniques.
Today, at the 3rd edition, the International
Experimental Engraving Biennial became more
popular among artists. The quality of artworks
sent by more than 170 artists from around the
world proves that engraving is not a lethargic area
and the experimental attempt is constantly wide-
ning the cultural dialogue between artists and the
manners they choose to express themselves
through.
We live in a society in which culture is less
important every day. The refuse to support a cul-
tural project is constantly appearing and thus you
are tempted to give up. It takes a lot of passion,
stubbornness and devotion to go on. The large
multinational companies are hardly involved in the
financial support of this kind of projects, being
interested only in immediate profit, aiming only for
a stadium target level. Entertainment leaves no
room for the cultural act.
Mogosoaia "Brancovan Palaces" Cultural
Center is hosting an Experimental Engraving
Biennial in which the contemporary art defines its
experimental imperative character. Art is an open
field. The experiment is a measure, a cultural
barometer. The experiment is the slippery ground
full of risks, on which the artist is searching for
his/her visual identity. The engraving is a complex
medium, generally looked upon with the prejudice
of limitation due to its belonging to a traditional
area. The engraving experiment is imposing
engraving as a language resource in inquiring the
contemporary artistic discourse. An installation
made of glasses blinded by experimental engra-
ving, a performance with a bowling ball con-
strained by the experimental engraving rule, an
interactive game with a theatre of experimental
printed puppets, an experimental series of deco-
rative gastronomic objects that generate gender
messages, the continuous printing of an asphalt
road segment, book-objects, digital prints, refined
engravings on frail experimental medium or large
scale, trenchant and heavy approaches on hard
medium, climaxing with the playful nonchalant
vision of the fly-swatter series. Experimental art is
submitted to becoming classical, but it never
waists the intrinsic possibility of being experimen-
tal. The experiment implies freedom but also its
disparagement through the fatality of its destiny.
The one who experiments takes upon himself the
possibility of failure. The experimental failure
proves the search. This Biennial doesn't include
experimental failures, meaning the attempts to
reach a valid semantic result yet technically com-
promised.
The International Experimental Engraving
Biennial urges the artists to search, to come
across contemporary language solutions. For
some people the experiment is playful or in
between playfulness and formal seriousness, for
others the experiment means the freedom of
being compelled to the engraving medium, to the
printing techniques which cannot be abandoned.
The engraving experiment is a challenge. It is
an open challenge in the international contempo-
rary art and an imperative one in the Romanian
contemporary art, for artists, critics, curators,
researchers, institutions and last but not least, for
the public. 9
 noi expresii artistice în
“societatea cunoa[terii”
Experimentul în gravur\, tehnicile de
imprimare, dialogul cu tridimensionalul, instala]ia,
video-art-ul sunt câteva dintre lucrurile pe care ni
le-am dorit de la Bienala Interna]ional\ de Gravur\
Experimental\ în anul 2008.
Atât juriul, cât [i echipa curatorial\, au
pledat pentru o Bienal\ de profesioni[ti cu stan-
darde subtile [i substan]iale la nivelul limbajului
vizual [i la nivelul definirii unor noi matri]e stilistice
[i expresii artistice în “societatea cunoa[terii”.
Mihai Zgondoiu A III-a edi]ie a Bienalei Interna]ionale de Gravur\
artist vizual [i curator / Experimental\ 2008 ce are loc la Centrul Cultural
visual artist & curator Palatele Brâncovene[ti demonstreaz\ c\ limbajul
gravurii este actual [i multicultural în arta vizual\
contemporan\ interna]ional\.
new artistic expression in
“the society of knowledge”
10
The engraving experiment, printing
techniques, the dialogue with the three-dimensio-
nal, installation, video-art are some of the few
things we expected from the International
Experimental Engraving Biennial in 2008.
The international jury as well as the cura-
torial team pleaded for a professional Biennial with
subtle and substantial standards in visual terms
and those which can define new stylistic matrix
and artistic expressions in “the society of
knowledge”.
The third edition of the International Experimental
Engraving Biennial 2008 which takes place at the
Brancovan Palaces Cultural Center proves that the
engraving language is up to date and multicultural
within the international contemporary visual art.
matri]e cu raz\ european\
de ac]iune!
matrices with
european action area!
Într-o lume marcat\ de consumism, de
dictatura noilor tehnologii ale informa]iei [i ale
comunic\rii, de dictatura cotei de audien]\ [i de
dictatura tabloidiz\rii aspectelor intime ale vie]ii,
putem fi o altfel de m\sur\ propunând matri]e de
idei [i spirit. Aceast\ idee a matri]ei care na[te
nevoia de comunicare cu Cel\lalt [i nevoia de a
sonda interioritatea ne-au dat motiva]ia de a spriji-
ni o Bienal\ de matri]e stilistice din 32 de ]\ri ale
lumii. EURO CULTURART [i-a pus, astfel, în oper\
menirea de a multiplica un proiect artistic de sub-
stan]a [i calitatea Bienalei Interna]ionale de
Gravur\ Experimental\ de la Palatul Mogo[oaia.
În acela[i an, 2008, în care EURO CULTURART
propune un standard de civiliza]ie: biblioteci pub-
lice cu autori contemporani în s\lile de a[teptare
din g\rile române[ti [i europene printr-un proiect
intitulat „Scriitori pe Calea Regal\”. Iat\ cum scri-
itorii [i arti[tii lucreaz\ la noi c\ut\ri de sine în
matri]e cu raz\ european\ de ac]iune.
In a world marked by consumerism, by
new communication and information technologies
dictatorship, by viewer’s rate and the tabloids of
private life aspects dictatorships, we can be a dif-
ferent measure offering conceptual and spiritual
matrixes. This matrix idea from which develops the
need for communication with The Other and the
need to question interiority gave us the motivation
to support a Biennial of stylistic matrixes from 32
countries of the world. Euro CulturArt Association Dan Mircea CIPARIU - scriitor,
acted upon its purpose of multiplying an artistic pre[edintele Asocia]iei Euro CulturArt /
project with such qualities and substantiality as the writer, president of Euro CulturArt
International Experimental Engraving Biennial from Association
Mogosoaia Palace. This happens in 2008 the
same year in which Euro CulturArt recommends a
standard of civilization: public libraries with con-
temporary authors in waiting rooms from
Romanian and European train stations through a
project called “Writers on the Royal Way”. This is
how writers and artists work for new ways of self-
definition in matrixes with European action area.
11
MEXIC / MEXICO

MIGUEL ANGEL PADILLA GÓMEZ

{apte dintr-o lovitur\ / Siete de un golpe, 2006
7 ready-made print pe pânz\ / 7 ready-made print on canvas, 60x20 cm fiecare / each
mai_miguel@hotmail.com

PREMIUL BIENALEI / THE PRIZE OF THE BIENNIAL

12
 CROA}IA / CROATIA
INES MATIJEVIC

/
Cutii muzicale / Musical boxes, 2005
video performance, instala]ie, print digital / video performance, installation, digital print
ines_matijevic@yahoo.com

PREMIUL SPECIAL AL JURIULUI

THE SPECIAL PRIZE OF THE JURY
13
POLONIA / POLAND

/
AGNIESZKA CHOLEWINSKA
F\r\ titlu / No title, 2007
linogravur\ cu interven]ie de lumin\ / linocut with light intervention, 100x180 cm
skrytkaagi@gmail.com

PREMIUL PENTRU TÂN~R ARTIST

THE PRIZE FOR A YOUNG ARTIST

14
 POLONIA / POLAND
MAGDALENA UCHMAN
Cadoul / The gift, 2007
tehnic\ mixt\, 3 cutii de carton / mix technique, 3 cardboard boxes, 30x40x30 cm, 18x33x18 cm, 14x19x14 cm
magda.uchman@wp.pl

MEN}IUNE / MENTION

15
UCRAINA / UKRAINE

ANATOLY FEDIRKO
Copiii Profesorului Joseph Beuys / The children of Prof. Joseph Beuys, 2007
tehnica mixt\, instala]ie, dimensiuni variable / mixed technique, installation, variable size
fedirko@sacura.net

MEN}IUNE / MENTION

16
 MEXIC / MEXICO
JOSÉ ENRIQUE PORRAS GÓMEZ
Stup [i Gândire mexican\ / Beehive and Mexican mind, 2007
gravur\ pe mingi de bowling, gravur\ pe minge de fotbal, video performance /
carving on bowling ball, carving on football ball, video performance
pdeporras@gmail.com

MEN}IUNE / MENTION

17
ARTI{TI SELECTA}I / SELECTED ARTISTS
 AUSTRALIA
LIAM GARSTANG
Autoportret f\r\ titlu postpsihoz\,“Mama mi-a spus c\ sunt din praf de stele“ /
Untitled self portrait Post psychosis, “My mother told me I was from stardust”,
ac rece / dry point, 120x160 cm, 2007

igar4434@usyd.edu.au

19
AUSTRIA

ELLI SCHNITZER
Luminile libert\]ii / Lights of freedom, 2007
4 c-printuri, instala]ie / 4 c-prints, installation, 200x39.5 cm
elli@schnitzer.at

20
 BELGIA / BELGIUM
KAROLIEN VANSANT
F\r\ titlu A / Untitled A, 2006
litografie / lithography, 53x53 cm
jinzha@hotmail.com

21
BELGIA / BELGIUM

BOUCHEÏ MARINA
Suvenir / Souvenir, 2007 Semn de carte / Signet-livre, 2007
fotopolimer / photopolimer10,5x7,5x1 cm fotopolimer / photopolymer, 5x20x0,7 cm
bouchei.marina@gmail.com

22
 BRAZILIA / BRAZIL
VILELLA TERRA
Ceva speran]\ / Some hope, 2007
xilogravur\ pe tricou / woodcut on t-shirt, 68x96 cm
vilellaterra@gmail.com

23
BRAZILIA / BRAZIL

ADRIANO CASTRO
Gravur\ vestimentar\ / Gravura para vestir, 2007
mix media print pe jeans / mixed media print on jeans, 116x70 cm
adriano.deedee@gmail.com

24
 BULGARIA
PLAMENA DOYCHEVA
C\rare `n p\dure / Path in the wood, 2007
hârtie manual\, plante din ierbar, aquaforte, linogravura [i [tampil\ /
handmade paper, herbarium plants, etching, linocut on roll, rubber stamp, 30x65 cm
pldoycheva@abv.bg

25
BULGARIA

KALOYAN ILIEV
Om st\lucitor `n umbr\ / Bright man in shade, 2007
ac rece, mezzotinta, colaj / dry point, mezzotint, collage, 70x50 cm
kokindus@yahoo.com

26
 BULGARIA
STANISLAV BOJANKOV-STANKO
Sui Generis II, 2007
linogravur\, intaglio, colaj, perfora]ii / linocut, intaglio, collage, perforations, 110x100 cm
stanko_1966@abv.bg

27
CANADA

LUCIE LAFRENIÈRE
Mi-a dat doi ochi / Me a dado dos ojos, 2004
cologravur\ pe hârtie manual\, `nvelit\ `n plas\ de sârm\, `nmuiat\ `n bumbac colorat /
collography on handmade paper, enveloped by chicken wire, soaked in cotton pulp teinted, 23x16x7 cm
llafreniere000@sympatico.ca

28
 CANADA
DENISE PELLETIER
Omagiu lui Kawabata / Homage to Kawabata, 2007
tehnic\ mixt\, dimensiune variabil\ / mixed media, variable size
denisepelletier@msn.com

29
CANADA

DEREK MICHAEL BESANT

Camera de motel nr.13 / Motel Room nr.13, 2007
transfer de cerneal\ UV pe panz\ sintetic\ / thermal UV ink transfer on crumpled veil scrim, 90x47 cm
besantd@telus.net

30
 CANADA
LISA DRIVER
Ce a adus pisica II / What the cat brought back II, 2007
serigrafie pe lemn de cedru / silkscreen on cedar wood, 49x71 cm
lisadriver@abacom.com

31
CANADA

MARIA CHRONOPOULOS
Batiste plutind pe cer / Handkerchiefs floating in the sky, 2007
grund moale, aquaforte pe hârtie japonez\, instala]ie / softground etching on japanese paper, installation
chronopoulos_maria@hotmail.com

32
 CROATIA
ANA VIVODA
Urme II / Traces II, 2007
carte obiect, monoprint, amprente / book-object, monoprints, handprints, 18,5x14x0,7 cm
ana_vivoda@net.hr

33
ANGLIA / ENGLAND

STEPHEN MUMBERSON
{oapte chineze[ti / Chinese Whispers, 2007
tehnic\ mixt\ / mixed media, 426x26 cm
s.mumberson@mdx.ac.uk

34
 FINLANDA / FINLAND
MINNA SORA
Ad astra, 2005
4 obiecte, xilogravur\, tehnic\ mixt\, dimensiune variabil\ / 4 objects, woodcut, mixed media, variable size
Indian.red@luukku.com

35
FINLANDA / FINLAND

LEENA GOLNIK
Colier / Necklace, 2007
roller print pe carton, dimensiune variabil\ / roller print on cardboard, variable size
leena.golnik@kolumbus.fi

36
 FINLANDA / FINLAND
ANNELI HILLI
Animal, 2007
tehnic\ mixt\, frunze de plop, hârtie / mixed media, aspen leafs, tissue paper, 30x40 cm
anneli.hilli@kolumbus.fi

37
FINLANDA / FINLAND

HELENA POKKINEN
Str\lucire I - II / Radiance I - II, 2007
cutii de lemn, hârtie, tu[ [i xilogravur\ / wooden box, paper, ink, woodcut, 45x30x3/4 cm
helena.pokkinen@saunalahti.fi

38
 FRAN}A / FRANCE
LOUISE GROSE
Femeile lumii / Women of the world, 2007
linogravur\ cu interven]ie digital\ / linocut with digital intervention, 29x156 cm
louise-olive-pillet@wanadoo.fr

39
GERMANIA / GERMANY

ALBERT KRÜGER
Imaginile din spatele imaginilor I-II / The pictures behind the pictures I-II, 2007
pl\ci de xilogravur\, 2 cuburi / wooden relief print plates, 2 cubes, 25,5x25,5x25,5; 25x25x25 cm
albertkrueger@gmx.de

40
 GERMANIA / GERMANY
MANFRED P.O. WÖLK
F\r\ titlu / Without title, 2007
print digital / digital print, 18,5x18,5 cm
woelkdruckgrafik@t-online.de

41
GRECIA / GREECE

EYTIHIA PETALA
Sfoara cu piliforme romantice / The rope with romantic piliforms, 2007
3 perne, linogravur\ / 3 pillows, linocut, 70x60x8 cm fiecare / each
eytihiapet@hotmail.com

42
 GRECIA / GREECE
CHRISTIANA ILIOPOULOU
Valuri negre, gânduri roz / Black waves, Pink thoughts, 2007
monoprint-aquaforte, linogravur\ / monoprint-etching, linoleum, 25x25x4,5 cm
ikristia@sch.gr

43
INDIA

RAKESH BANI
Imagini apuse ale min]ii / Past away images on mind, 2007
xilogravur\ / woodcut, 100x96 cm
rakeshbani@gmail.com

44
 ISRAEL
BASIL COLIN FRANK
Ziduri [i cuvinte / Walls and Words, 2007
print digital / digital print, 70x150 cm
bcfrank@netvision.net.il

45
ISRAEL

ISRAELA ANGEL
Femeia izolat\, Femeia de[teapt\, Femeia ascuns\, Femeia pântec, Dincolo de v\l, Partea absorbit\ /
The isolated woman, The brigt woman, The hidden woman, The belly woman, Behind the scarf, The side absorber
6 obiecte, tehnic\ personal\ / 6 objects, personal technique, 2007
elapubli@netvision.net

46
 ISRAEL
AYELET AMIT
Comunitate / Community, 2007
tehnic\ mixt\ / mixed media, 45x35 cm
amit-ay@012.net.il

47
ITALIA / ITALY

SANDRO BRACCHITTA
Contenitori cillici, 2007
ac rece [i aquaforte pe 9 conserve, dimensiune variabil\ / drypoint, etching on 9 tins, variable size
sandrobracchitta@virgilio.it

48
 JAPONIA / JAPAN
HARUKO CHO
B-pern\ # 25 / B-cushion # 25, 2004
neco, 130x170 cm
baru@beige.ocn.ne.jp

49
JAPONIA / JAPAN

MASATO NAGAI
Vise spulberate A – B / Broken dreams A – B, 2007
aquaforte color pe hârtie japonez\ / color etching on Japanese paper, 130x193 cm
masatonagai2005@yahoo.co.jp

50
 JAPONIA / JAPAN
HIROYUKI MIYAZAKI
Lucrare 0120071106 / Work 0120071106, 2007
print digital, tehnic\ mixt\ / digital print, mixed media, 51x110 cm
hiro1014@sirius.ocn.ne.jp

51
JAPONIA / JAPAN

TOSHIO YOSHIZUMI
{irul Samsara I-II / Samsara line I-II, 2007
print cu sumi (cerneal\ japonez\) pe asfalt / print on asphalt by sumi (Japanese ink), 62,5x291 cm
toshio-yoshizumi@mua.biglobe.ne.jp

52
 COREEA / KOREA
LEE SEOUNG-KU
Din natur\ – imagini mentale / From nature – mental images, 2005
[tampil\ / stamp print, 163x91 cm
seicu001@yahoo.co.kr

53
LITUANIA / LITHUANIA

^
- .
ELVYRA KATALINA KRIAUCIUNAITE
Un pic de lini[te galben\ / A little bit of yellow silence, 2007
aquaforte, aquatinta, linogravur\, colaj [i acrilic pe hârtie manual\, dimensiune variabil\ /
etching, aquatint, linocut, handmade paper, collage, acrylic, variable size
ekk@takas.lt

54
 LITUANIA / LITHUANIA
SIGITA DACKEVICIUTE
Lumea `n mine / The world in me, 2007
print digital, obiect / digital print, object, 36x20x22 cm
sigitad@email.lt

55
LITUANIA / LITHUANIA

KARINA MATIUKIENE
Mu[tei in memoriam I-II / In memoriam to fly I-II, 2007
aquaforte, serigrafie, papier mashe / etching, silkscreen, papier mashe, 35x24x13 cm; 36x25x5 cm
karinama@takas.lt

56
 MEXIC / MEXICO
MARISA BOULLOSA
Hazard, 2007
transfer foto pe hârtie japonez\ [i lemn, cus\tur\ cu a]\ ro[ie /
photo transfer on Japanese paper and wood, sewing with red thread, 90x72 cm; 31x23 cm
mboullosa@yahoo.com

57
MAROC / MOROCO

NOUREDDINE FATHY
~n afara legii / Out the law, 2007
litografie, xilogravur\, serigrafie, tehnic\ mixt\ / lithography, woodcut, silkscreen, mixed media, 125x125 cm
nrd_fth@yahoo.fr

58
 POLONIA / POLAND
TOMASZ PIETREK
Chip secret I-II / Secret face I-II, 2007
tehnic\ personal\ / personal technique, 200x140 cm
tomaszpietrek@gmail.com

59
POLONIA / POLAND

SYBILLA SKALUBA
/

Vino la mine, cel care vezi, / Come to me, what you see, 2005
print digital / digital print, 75x130 cm
ssybilla@vp.pl

60
 POLONIA / POLAND
ALICJA SNOCH-PAWLOWSKA
Tranzi]ie 5 / Transition 5, 2007
print digital / digital print, 335x210 cm
alicjasp@interia.pl

61
POLONIA / POLAND

MAGDALENA DUDA-PATRASZEWSKA
Curs\ `n reluare / Relay-Race, 2007
printuri digitale, proiec]ie / digital prints, projection
magduda@poczta.onet.pl

62
 POLONIA / POLAND
MALGORZATA SZANDALA

/
Ruptur\ `n orizont. Morfologie. Positiv / Crack in the horizon. Morphology. Positive, 2007
print digital / digital print, 60x380 cm
szandala7@poczta.onet.pl

63
POLONIA / POLAND

ANTONI KOWALSKI
Rug\ciuni alese / Collected Prayers, 2006
tehnic\ mixt\, triptic / mixed media, triptych, 26x58 cm
antoni@interia.pl

64
 POLONIA / POLAND
MARCIN SURZYCKI
Nocturn, 2004
intaglio, tehnic\ personal\ / intaglio, personal technique, 48x130 cm
kmorstin@interia.pl

65
POLONIA / POLAND

.
ELZBIETA KARDAMASZ-CIESZYNSKA
/

Penetrare / Penetration, 2007

[ablon / pattern, 84x103 cm
elcie@onet.eu

66
 POLONIA / POLAND
MARIUSZ A. DANSKI

/
Materiale binare – Tulburare (Rela]ie) / Binary fabrics – Disturbance (Relation), 2005
print digital / digital print, 60x60 cm
mdanski@wp.pl

67
POLONIA / POLAND

MAGDALENA KOWALCZYK
Un vis V / A dream V, 2006
mixed media, fotografie [i print digital / mixed media, photography and template print, 60x60 cm
marigold@wp.pl

68
 POLONIA / POLAND
AGNIESZKA SITKO
Despre femeie 4x4 A – B / About woman 4x4 A – B, 2007
tehnic\ mixt\ / mixed media, 53,5x53,5 cm
(lucr\ri finan]ate de c\tre Ministerul Culturii [i Patrimoniului Na]ional din Polonia /
works supported by the Polish Ministry of Culture and National Heritage)
agnieszka-sitko@wp.pl

69
POLONIA / POLAND

DOROTA NOWAK
Sunt cine sunt / I am who I am, 2007
tehnic\ mixt\ / mixed media, 120x100 cm
dor_nowak@poczta.onet.pl

70
 POLONIA / POLAND
DARIA WAWRZKIEWICZ
Durere / Pain, 2006
aquaforte, obiect / intaglio, object 113 cm

dewube@o2.pl

71
PORTUGALIA / PORTUGAL

ANTÓNIO CANAU
Cravat\!? / Tie!?, 2006
print digital / digital print, 100x70 cm
a.canau@sapo.pt

72
 PUERTO RICO
HAYDEÉ LANDING
Construc]ie – Deconstruc]ie I / Construction – Deconstruction I, 2007
print digital, instala]ie / digital print, installation, 132x61 cm
hlanding@hotmail.com

73
PUERTO RICO

ELSA MELENDEZ
Scufi]a Ro[ie [i lupul Goldilocks / The red riding hood and the Goldilocks wolf, 2006
tehnic\ mixt\ (intaglio, hârtie, broderie, p\r sintetic) / mixed media (intaglio, paper, embroidery, synthetic hair), 40x60x15 cm
elsamariamelendez@yahoo.com

74
 ROMANIA
DAN HORA}IU PANAIT
Auto Amprent\ / Auto Print, 2007
obiect (linogravur\, pânz\, metal, colaj) / obiect (linocut, canvas, metal, colage), 155x40x6 cm

75
ROMANIA

BOGDAN PELMU{
Mecanism R.O.G.V.A.I.V. pentru arta contemporan\ / Mechanism R.O.G.V.A.I.V. for contemporary art, 2007
linogravur\, cear\ colorat\, cret\, acrylic, tabl\, obiect / linocut, colored wax, chalk, acrylic, metal board, object
bogdanpelmus@gmail.com

76
 ROMANIA
SUZANA FÂNTÂNARIU
~ntuneric (Replica II) / Dark (Replica II), 2006
instala]ie, xilogravur\ / installation, woodcut, 130x57x94 cm
fantanariu@yahoo.com

77
ROMANIA

ATENA ELENA SIMIONESCU

Coffeetintta, 2007
tehnic\ mixt\, object, colaj / mixed media, object, collage, 100x70x5 cm
asimionescu@arteiasi.ro

78
 ROMANIA
MARIA SURDUCAN
Rela]ie-Social\ KITTV!!! / Social-Relation KITTV!!!, 2007
linogravur\ / linocut, 13x13x4 cm
mariasurducan@gmail.com

79
SPANIA / SPAIN

CARMEN GONZALES MARTIN

Micros, 2007
tehnic\ mixt\ pe hârtie [i acetat / mixed media on paper and acetate, 75,5x60,5 cm
blue@usal.es

80
 TAILANDA / THAILAND
KRIANGKRAI KONGKHANUN
~ntuneric / Darkness, 2007
xilogravur\ cusut\ pe nylon / woodcut on nylon, 130x220 cm
kongkhanun@gmail.com

81
UCRAINA / UKRAINE

IRYNA KALENYK
Amintiri din copil\rie / Remembrance about my childhood, 2007 Sunt. Var\. Marea Neagr\ / I am. Summer. Black Sea, 2007
print pe pânz\ / print on cloth, 53,5x34x0,5 cm print pe pânz\ / print on cloth, 53,5x34,5x0,5 cm
fedirko@sacura.net

82
 SUA / USA
ANA GOLICI
Muta]ii I / Mutations I, 2007
instala]ie din printuri digitale, CD-uri gravate, dimensiune variabil\
installation of digital prints, engraved CDs, variable size
golici@stny.rr.com

83
SUA / USA

DEBORA ODEN
Din `ntuneric / Went from the dark, 2007
intaglio, 58x63 cm
doden@scad.edu

84
 EXPOZI}IE PERSONAL| / SOLO EXHIBITION
LISANDRU NEAM}U / ROMANIA
lisandruneamtzu@yahoo.com

Semnale / Signals, 2008

instala]ie, dimensiune variabil\ / print installation, variable size
 Dervi[i / Dervishes, 2008
print pe carton, instala]ie, dimensiune variabil\ / print on cardboard, installation, variable size

Urmele c\l\torului / Traveller’s steps, 2008 Volum IX / Volume IX, 2008

print pe piatr\, instala]ie, dimensiune variabil\ / print pe lemn, obiect, dimensiune variabil\ /
print on stone, installation, variable size print on wood, object, variable size
87
EXPOZI}IE PERSONAL| / SOLO EXHIBITION
KOHSEI / JAPONIA / JAPAN
 Aer din abis / Air from Bottomlessness, 2005
print pe bambus, fire de bumbac, sunet / print on bamboo, cotton strings, sound
kohsei-sky@mta.biglobe.ne.jp

89
ROMANIA

ION TI}OIU
Ac]iune, performance, instala]ie, (1 lun\ workshop de gravur\), 2008
Action, performance,installation, (1 month printmaking workshop), 2008
iontitoiu@yahoo.com

ARTIST INVITAT / INVITED ARTIST

90
EXPOZI}IE DE GRAVUR| EXPERIMENTAL|
ROMÂNEASC| CONTEMPORAN|
ROMANIAN CONTEMPORARY
EXPERIMENTAL PRINTMAKING EXHIBITION
 CIPRIAN CHIRILEANU
Lini[te / Silence, 2008
linogravur\, papier manche, obiect / linocut, papier manche, object, 200x150 cm
chirileanuc@yahoo.com

92
 CIPRIAN CIUCLEA
Gravur\ intermitent\ / Intermitent print, 2008
linogravur\ pe tuburi de neon, instala]ie de lumin\ [i sunet / linocut on neon tubes, installation, light and sound
ciprian.ciuclea@gmail.com

93
 SUZANA FÂNTÂNARIU
Lumin\-~ntuneric. Discurs xilografic obiectual, Light- Dark. Xilographic objectual discourse, 1997-2007
instala]ie-obiect, xilogravur\ colat\ pe carton [i lemn, dimensiune variabil\, concept deschis /
installation, woodcut on cardboard and wood, variable size, open concept

fantanariu@yahoo.com

94
 OVIDIU FENE{
Tabel grafic / Graphic table, 2008
instala]ie, obiecte imprimate / installation, printed objects
ovidiu.alinatoma@yahoo.com

95
 -

PETER MADARAS
Copacul vie]ii / The tree of life, 2008
lemn, hârtie, timbru sec / wood, paper, embossing, 20x25x20 cm
madaraskukac@yahoo.com

96
 OVIDIU PETCA
Fantoma lui Ray Johnson III / The ghost of Ray Johnson III, 2001
print digital / digital print, 100x70 cm

ovidiupetca2002@yahoo.com

97
 BOGDAN RA}|
Metrosexual, 2007
r\[in\ poliuretanic\,metal,print / polyurethane resin, metal, print, 50x85x24 cm
rata_bogdan_ioan@yahoo.com

98
 SANDU ADRIAN
FX 101, 2007
tehnic\ mixt\, dimensiune variabil\ / mix media, variable size
sanduadrian2001@yahoo.com

99
 RADU BURIAC
Cutie neagr\ / Black box, 2008
obiect, serigrafie / object, silkscreen, 30x30x20 cm
raduburiac@yahoo.com

100
 MARIAN ZIDARU
Orizont / Horizon, 2007
lemn, print pe hârtie, obiect / wood, paper print, object, 91x3x3 cm

101
 MIHAI ZGONDOIU
Mecanismul matri]\ / Matrix mechanism, 2008
video [i imprimare, performance / video & print, performance, 160x200 cm
mihaizgondoiu@yahoo.com

102
 ZOI}A
Dialog nonverbal / Nonverbal dialogue, 2008
proiec]ie pe corp uman, video performance / projection on human body, video performance
zoita_art@yahoo.com

103
Bienala Interna]ional\ de Gravur\ Experimental\, edi]ia a 3-a
3rd INTERNATIONAL EXPERIMENTAL ENGRAVING BIENNIAL
Centrul Cultural Palatele Brâncovene[ti
Palatul Brâncovenesc de la Mogo[oaia
29 martie - 27 aprilie 2008

The Brancovan Palaces Cultural Center

The Brancovan Palace at Mogo[oaia
March 29th - April 27th 2008

Directorul Bienalei / Biennial Chairman: Ciprian Ciuclea

Curatori / Curators: Olivia Ni]i[, Mihai Zgondoiu
Texte / Texts: Liviana Dan, Ciprian Ciuclea, Olivia Ni]i[, Mihai Zgondoiu, Dan Mircea Cipariu
Design catalog / Catalog design: Ciprian Ciuclea
Fotografii / Photos: Mihai Zgondoiu, Ciprian Ciuclea, Simona Dumitriu, Alex Calcatinge

Traducere / Translation: Olivia Ni]i[, Monica Manu

web site: www.experimentalproject.ro
web site design: Ciprian Ciuclea

Mul]umiri / Thanks to: Doina Mândru, Delia Cojocaru, Simona Cucu, Dan Mircea Cipariu,
Tomislav Vlahutin, Oskaras Vecenas, Jaroslav Godun.

Descrierea CIP a Bibliotecii Na]ionale a României

Bienala Interna]ional\ de Gravur\ Experimental\, edi]ia a 3-a,

Centrul Cultural Palatele Brâncovene[ti, Mogo[oaia
Editura Centrului Cultural Palatele Brâncovene[ti, 2008
ISBN 978-973-88221-3-9

Centrul Cultural Palatele Brâncovene[ti

The Brancovan Palaces Cultural Center

Institu]ie finan]at\ de Consiliul General al Municipiului Bucure[ti

Institution supported by The City Council of Bucharest Municipality
 3

www.experimentalproject.ro